Poet, Narrator and journalist Paraguayan, born in Villeta (river port city, to the South of the country) in 1956. Author of a brief but intense poetic production that has found a magnificent reception among readers and critics, it has ventured also with singular mastery in prose fiction, so it is currently considered to be one of the most significant voices of the Paraguayan contemporary literature written by women.
Oriented, in his career, towards scientific courses that have nothing to do with literary creation (s degree in chemistry and pharmacy), showed however since his early youth a marked inclination towards the cultivation of poetry, which led her to enroll in the "workshop of poetry Manuel Ortiz Guerrero", a group of young artists which was honored the figure and work of one of the poets and most popular playwrights of the nationprematurely disappeared in 1933. The first poetic compositions published Delfina Acosta saw the light between the pages of a collective volume edited by this workshop, entitled travelling poetry (1984); However, for already a year the name of the Paraguayan author had begun to circulate through the forums and literary gossip in the capital of the country, as a result of your obtaining the second prize in the contest "Young poetry" (1983).
His poetic career underwent a remarkable boost in the mid-1980s, when he/she printed a collection of verses, published under the title of all voices, female... (Asunción: Ediciones Taller, 1986), was awarded the prize "Friends of art"). In this exceptional collection of poems, Delfina Acosta, unchaste and sincere, looks out over the complexity of the feminine soul, to leave it reflected in verses of beauty as disturbing as the poem entitled "Female tricks": "me is still a number in gloves: / a son of big eyes, plasma warm / and navel medicated with iodide / who pariré in a context of anesthesia." / Your tears will be your half turn / after having arranged that you will, / that you have already gone, and that moaning / give back with my firm breasts. / To go carry your scent / and complex vision of its fair: / aluminum Canaries and puppet / drowning in sunny bath. / Unpredictable rotation of courage. / Raped Tablet slot / in pursuit of the compressed twenty-one. "/ A drink of water sealed my character".
After a year, Delfina Acosta name returned to sound with force in the literary and journalistic media of the Paraguay, this time due to his win in the "Floral Games" convened by the City Council of the capital of the country to commemorate the four hundred and fifty anniversary of the founding of Asunción. At this event, the local writer won the prize "Silver Mburucuya" thanks to his work entitled Asunción Pilares.
At the beginning of the 1990s, Delfina Acosta oriented their creative desires towards the generic scope of the brief narrative, where it soon garnered some honours and distinctions which equated the quality of his prose with the good reception given his previous lyric creation. Thus, in 1991 he/she was awarded with the "first mention" in the contest of the municipality of Asunción, and two years later won a "special mention" in the short story contest "Néstor Romero Valdovinos" (1993), thanks to its splendid story entitled "The feast in the sea" (1993), little then appeared printed between the pages of the Rotary today. Author of other short stories that remain unpublished or have seen the light in literary publications, that same year in 1993 resumed his poetic work with the edition of the cross of the Hummingbird (1993), which came to confirm the depth and quality of a lyrical voice that is already, by its own merits, in the major anthological shows samples of contemporary Paraguayan poetry.
In the mid-1990s, the Paraguayan writer decided to compile a selection of his stories in a volume entitled the journey (assumption: Ed. Don Bosco, 1995), soon considered by critics as one of the most finished of the current Paraguayan narrative. In the stories that make up this book, Delfina Acosta avails itself of a grotesque approach, applied to their female protagonists and most of the characters that surround them, allows you to show the senselessness of the female traditional mentality within an urban society that, in the large cities of the Paraguay, aspires to a social and moral cosmopolitanism too away from such outdated values. Observed from the point of view youth and life of the writer, the behaviors of their outdated characters reveal undertones of maladjustment and frustration that, although it often lead to ridiculous or absurd situations, you also drag a secret air of revenge and condemnation of those who have been able to get rid of social and moral constraints of the past. It would seem that their players--almost all of them are mature or elderly women who have left behind a hollow existence and flat, littered with unsatisfied longings - hate from the impotence who have managed to escape from these retrograde customs and that adherence to an outdated values which, in their respective life adventures, have led them to frustration, emptiness and unhappiness.
Thus, v. gr., the protagonist of the story entitled "Amalia seeks boyfriend" is a sixty-year-old woman who, despite his advanced age, still houses the grotesque hoping to find a virile and passionate man who can bring you that happiness which he/she herself has moved away, by his own inaction, throughout his life. An evenly in the story entitled "The aunt" is rarefied and moth-eaten family atmosphere which makes it impossible for the love affair of the protagonist; and the Fable "The Raven", is a reactionary and outdated mother that shows its horror and stupor before the final flight of his daughter with the man he/she loves, both transformed into a pigeon and a crow - respectively - which, nevertheless, appear doomed to an impossible love, because the shape of their beaks makes it impossible to kiss.
Delfina Acosta uses humor, irony and the richness of its poetic language to create figures and grotesque situations which, absurd and pure, highlight the violent clash between the mentality of modern Paraguayan women and feminists anchored in the values of the past and emphasize caricatured condition that are ultimately reduced women empecinadas in keepagainst all odds, the principles of traditional education. Without doubt, the tale which more correctly reflects the intention of the author - for many, the best story of Delfina Acosta - is entitled "wedding dress", where the Paraguayan author overlooks the frustration and resentment that nests in the souls of two old spinsters dedicated exclusively to the preparation of a few wedding suits that they never will be. Unable to flee to their destination, attributed her single status to the fact of having been, during their lives, too honest, not as women who will wear their white clothes; and, to take revenge on them, only they have pathetic resort prick them occasionally with pins during testing of costumes, childish and ridiculous behavior that becomes the best parable of impotence and frustration of those unhappy beings which, despite its apparent defeat, cling to death to retrograde principles which are considered their latest depositories.
After pleasing convulsion in the Paraguayan lyrics with the publication of the accounts of the voyage, Delfina Acosta returned to meet the demands of the tasters of his splendid poetry with Ballad of my people (assumption: graphic Copirama publishing, 1998), a collection of poems which, in the opinion of his prologue Hugo Rodríguez Alcalá - to whom is dedicated the work — "could be titrated with strict accuracy Romancero de Villeta because Delfina Acosta"a native of Villeta, is deeply villetana and is content to refer to Villeta, not to the country or to other realities connotadas by the word people." Divided into five sections ("characters villetanos", "Sad romance", "Personal Romances", "Fantasy romance" and "Other"), this dazzling poetic creation exercise uses one of classic metric molds of the Spanish lyric tradition to deepen, now from the intimate sensitivity which provides the poetic discourse, in particular literary universe that had already begun to build the author in all voices, women... and, above all, on the trip. A mere enumeration of some of the titles of poems that comprise it ("The old maid", "The mad of the North wind", "The gossip of the town", "the bride comes to horse", "The bearded Lady", "Carmiña", "The three mourning women", "The ghost of María", etc.) is sufficient to show the variety and richness of the figures who will be joining the private gallery of female characters created by Delfina Acosta in earlier works from these pages, they are now added other complementary figures ("Ladybug", "Don Nicanor", "Don Solari", "The fool", "Drowning", "Palomo and Tristan") and new literary motifs ("Hour", "The rose away", "Butterfly", "Candle light", "the House") that comprise, beyond a testimonial description of the place of origin of the author, a protean and prolific creative universe that has its roots in the personal childhood memories and shows all the skill of the writer at the time extract, of his own experience and his acute observation capacity, the materials with which builds his work: "because girls marry / eclairs, dressed / do lie layette / with bouquet of thorns / bridal Manuela, / has promised." / The years you go by / as repeated autumns / who husks her cheeks / and leave his cold lips. / Sitting on wicker armchair / sewing and earthing a dress. / Sitting his life is going. / Sewing will be the same. "/ Was requested to San Antonio / thirty years has, its destination, / and was promised / on the occasion which did not come" (from "the old maid").