Chirico. Ocampo did not abandon her artistic training; she produced illustrations for Borges' poetry and painted throughout her life. Borges perceived a connection between Ocampo's painting and poetry, writing that "like Rosetti and Blake, Silvina has come to poetry by the luminous paths of drawing and painting, and the immediacy and certainty of the visual image persist in her written pages." Unpublished works by Ocampo are part of the Silvina Ocampo Collection at the University of Notre Dame. Ocampo was awarded Argentina's National Prize for Poetry in 1962, among other literary awards. First publications Ocampo published her first book of short stories, Viaje olvidado, in 1937. Most of the stories do not exceed two pages in length. The book was reviewed by Victoria Ocampo in Sur, where she remarked on the autobiographical aspects of the stories and reproached her sister for having "distorted" those childhood memories. Sur played a foundational role in the life of Ocampo, facilitating her connections with Borges, Bioy, Wilcock, and others in her circle. It was in this magazine where the first stories, poems, and translations of Ocampo appeared. Despite the initial negative reviews of Viaje olvidado, the book came to be considered a fundamental text within the writer's collection of works, introducing readers to the features and themes that would characterize her future works. A few years later, Ocampo collaborated with Borges and Bioy Casares in the preparation of two anthologies: Antología de la literatura fantástica (1940), with a prologue by Bioy, and Antología poética Argentina (1941). In 1942, she introduced her first two books of poetry, Enumeración de la Patria and Espacios métricos. From then on, she alternated writing narratives with poetry. In 1948, she published Autobiografía de Irene, stories where she shows a greater fluency in writing and a greater influence of Borges and Bioy appears. Despite this, the book did not have much impact at the time of its appearance. Two years earlier she had written a crime novel with Bioy Casares, Los que aman, odian. After several years of publishing only poetry (Los sonetos del jardín, Poemas de amor desesperado, Los nombres, which won the National Poetry Prize) she returned to writing stories in 1959 with La furia, with which she finally obtained some recognition. La furia is often considered the point in which Ocampo reached the fullness of her style. The 1960s and 70s Ocampo was somewhat less active in