Before her birth, her father had started a brewery in the city of San Juan, Argentina, producing beer and soda.

In 1896 the family returned to San Juan, Argentina, and a few years later, in 1901, moved to Rosario because of economic issues[vague].

[3] Supporting herself with teaching and newspaper journalism, she lived in Buenos Aires where the social and economical difficulties faced by Argentina's growing middle classes were inspiring an emerging body of women's rights activists.

[4] Storni was among the first women to find success in the male-dominated arenas of literature and theater in Argentina, and as such, developed a unique and valuable voice that holds particular relevance in Latin American poetry.

[7] Storni published some of her first works in 1916 in Emin Arslan's literary magazine La Nota, where she was a permanent contributor from 28 March until 21 November 1919.

In spite of economic difficulties, she published La inquietud del rosal in 1916, and later started writing for the magazine Caras y Caretas while working as a cashier in a shop.

[11] In the rapidly developing literary scene of Buenos Aires, Storni soon became acquainted with other writers, such as José Enrique Rodó and Amado Nervo.

Quiroga led the Anaconda group and Storni became a member[12] together with Emilia Bertolé, Ana Weiss de Rossi, Amparo de Hieken, Ricardo Hicken and Berta Singerman[13] During one of her most productive periods, from 1918 to 1920 Storni published three volumes of poetry: El dulce daño (Sweet Pain), 1918; Irremediablemente (Irremediably), 1919; and Languidez (Languor) 1920.

These verses were written around the same time as the more loosely structured prose poems of her lesser-known volume, Poemas de Amor, from 1926.

[15] The magazine Nosotros was influential in spearheading the rise of new Argentine literature by helping to form the opinions of the readers.

In 1923, Nosotros published a survey aimed at members of the “new literary generation.” The question was simple: Which three or four poets under the age of thirty do you admire the most?

[16] After the play's short run, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres.

She wrote the following works intended for children: Blanco...Negro...Blanco, Pedro y Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores de estatuas and El Dios de los pájaros.

Mistral called her a woman of a great city “who has passed, touching all and incorporating all.” Jose Maria Delgado wrote to Horacio Quiroga and recommended that he travel to Buenos Aires to get to know Storni and talk about her poetry.

They began to go to the cinema together with both of their children and had an opportunity to go to a meeting in a house on Tronador street, where many great writers of the age met to play games.

On a note for the Anaconda group's trip to Montevideo, the list of participants includes “Alfonsina” without her last name, a demonstration of their strong friendship.

On the other hand, in a note dated May 11, 1922, about a future visit, Quiroga revealed that he would travel with both his children and Storni, and would have them all eat together.

After a reunion in a house that Quiroga had rented from Vicente Lopez, where they read each other's writings, the two later went out to the movies and various concerts offered by the Wagner Society.

[3] Around 1:00 AM on Tuesday, 25 October 1938, Storni left her room and headed towards the sea at La Perla beach in Mar del Plata, Argentina and died by suicide.

Although her biographers hold that she jumped into the water from a breakwater, a popular legend is that she slowly walked into the sea until she drowned.