MY WICKED WICKED WAYS
ODD FOR SUCH A CITY POET LIKE ME
TO FIND SUCH COMFORT IN THE DARK--
I WHO ALWAYS FEARED IT--AND YET
I LOVED THE WAY IT WRAPPED ME LIKE A SKIN. . letter to Ilona from the south of
BLACK LACE BRA KIND OF
WATCHALE! SHE’S A BLACK LACE BRA
KIND OF WOMAN, THE KIND WHO SERVES
UP SUICIDE WITH EVERY KAMIKAZI
POURED INTO NEON BLUE OF EVENING
A TEASE AND A TWIRL. I’VE SEEN THAT
TWO-STEP GIRL IN ACTION. I’VE GAMBLED BAD
ODDS AND SAT SHOTGUN AS SHE RAMBLED
HER ’59 PONTIAC BETWEEN THE BLURRED
LINES DIVIDING SENSE FROM SENSELESSNESS
RUIN YOUR CLOTHES, SHE WILL.
GET YOU HOME AFTER HOURS
DRIVING HER ’59 SEVENTY FIVE ON 35
LIKE THERE IS NO TOMORROW.
WOMAN ZYDECO-ING INTO HER OWN DECADE.
THIRTY YEARS PLEATED BEHIND HER LIKE
THE WAIL OF A SAN ANTONIO ACCORDION.
AND NOW THE GOOD TIMES ARE COMING. GIRL,
I TELL YOU, THE GOOD TIMES ARE HERE. . loose woman
YOU BRING OUT THE MEXICAN IN ME. THE HUNKERED THICK DARK SPIRAL.
THE CORE OF A HEART HOWL.
THE BITTER BILE.
THE TEQUILA LÁGRIMAS ON SATURDAY ALL
THROUGH NEXT WEEKEND SUNDAY.
YOU ARE THE ONE I’D LET GO THE OTHER LOVES FOR,
SURRENDER MY ONE-WOMAN HOUSE.
ALLOW YOU RED WINE IN BED,
EVEN WITH MY VINTAGE LACE LINENS. MAYBE. MAYBE. FOR YOU.
YOU BRING OUT THE DOLORES DEL RÍO IN ME.
THE MEXICAN SPITFIRE IN ME.
THE RAW NAVAJAS, GLINT AND PASSION IN ME.
THE RAISE CAIN AND DANCE WITH THE ROOSTER-FOOTED DEVIL IN ME.
THE SPANGLED SEQUIN IN ME.
THE EAGLE AND SERPENT IN ME.
THE MARIACHI TRUMPETS OF THE BLOOD IN ME.
THE AZTEC LOVE OF WAR IN ME.
THE FIERCE OBSIDIAN OF THE TONGUE IN ME.
THE BERRINCHUDA, BIEN-CABRONA IN ME.
THE PANDORA’S CURIOSITY IN ME.
THE PRE-COLUMBIAN DEATH AND DESTRUCTION IN ME.
THE RAINFOREST DISASTER, NUCLEAR THREAT IN ME.
THE FEAR OF FASCISTS IN ME.
YES, YOU DO. YES, YOU DO. YOU BRING OUT THE COLONIZER IN ME. THE HOLOCAUST OF DESIRE IN ME.
THE MEXICO CITY ‘85 EARTHQUAKE IN ME.
THE POPOCATEPETL/IXTACCIHUATL IN ME.
THE TIDAL WAVE OF RECESSION IN ME.
THE AGUSTÍN LARA HOPELESS ROMANTIC IN ME.
THE BARBACOA TAQUITOS ON SUNDAY IN ME.
THE COVER THE MIRRORS WITH CLOTH IN ME. SWEET TWIN. MY WICKED OTHER, I AM THE MEMORY THAT CIRCLES YOUR BED NIGHTS,
THAT TUGS YOU TAUT AS MOON TUGS OCEAN.
I CLAIM YOU ALL MINE,
ARROGANT AS MANIFEST DESTINY.
I WANT TO RATTLE AND RENT YOU IN TWO.
I WANT TO DEFILE YOU AND RAISE HELL.
I WANT TO PULL OUT THE KITCHEN KNIVES,
DULL AND SHARP, AND WHISK THE AIR WITH CROSSES.
ME SACAS LO MEXICANA EN MI,
LIKE IT OR NOT, HONEY. YOU BRING OUT THE ULED-NAYL IN ME. THE STAND-BACK-WHITE-BITCH-IN ME.
THE SWITCHBLADE IN THE BOOT IN ME.
THE ACAPULCO CLIFF DIVER IN ME.
THE FLECHA ROJA MOUNTAIN DISASTER IN ME.
THE DENGUE FEVER IN ME.
THE ¡ALARMA! MURDERESS IN ME.
I COULD KILL IN THE NAME OF YOU AND THINK
IT WORTH IT. BRANDISH A FORK AND TERRORIZE RIVALS,
FEMALE AND MALE, WHO LOITER AND LOOK AT YOU,
LANGUID IN YOU LIGHT. OH, I AM EVIL. I AM THE FILTH GODDESS
TLAZOLTÉOTL. I AM THE SWALLOWER OF SINS.
THE LUST GODDESS WITHOUT GUILT.
THE DELICIOUS DEBAUCHERY. YOU BRING OUT
THE PRIMORDIAL EXQUISITENESS IN ME.
THE NASTY OBSESSION IN ME.
THE CORPORAL AND VENIAL SIN IN ME.
THE ORIGINAL TRANSGRESSION IN ME. RED OCHER. YELLOW OCHER. INDIGO.
COCHINEAL. PIÑÓN. COPAL. SWEETGRASS. MYRRH.
ALL YOU SAINTS, BLESSED AND TERRIBLE,
VIRGEN DE GUADALUPE, DIOSA COATLICUE,
I INVOKE YOU. QUIERO SER TUYA. ONLY YOURS. ONLY YOU. QUIERO AMARTE. AARTE. AMARRARTE.
LOVE THE WAY A MEXICAN WOMAN LOVES. LET
ME SHOW YOU. LOVE THE ONLY WAY I KNOW HOW. loose woman 1994
spesso nelle recensioni dei
tuoi libri ricorre la parola "magia": esiste una magia del
cuento? la parola ha un potere?
Probabilmente i critici vogliono alludere al realismo magico, la
corrente letteraria sudamericana, ma io non mi sento affatto
vicina a quella impostazione: io non vedo nessuna magia, credo
che quello che racconto sia piuttosto tragico. Non voglio in
nessun modo essere avvicinata a una letteratura che ammicca al
fantastico, a temi del genere. Voglio rimanere attaccata con le
unghie e con i denti alla realtà.
david frati - mangialibri.com
lei ama parlare di "chicanismo". Di che cosa si tratta? "Chicanismo" è un po’
come femminismo. Non è che se sei una donna sei per forza
femminista, e che se sei mexican american sei chicanista. Chiè
nato negli Stati Uniti da una famiglia d’origine messicana a
volte vive un’esistenza profondamente "colonizzata". Ma se
diventa consapevole della storia e dell’oppressione vissuta
dagli immigrati, e decide di fare resistenza, di impegnarsi per
la comunità, di scrivere libri per il cambiamento sociale, ecco
che fa del chicanismo.
giovanni godio - stpauls.it
i'm concerned that the young people
are not seeing themselves in the books that they read
hairs - pelitos -per bambini
bad boys - poesie
loose woman - poesie
my wycked - wicked ways - poesie
the house of mango street
woman hollering creek
FOSSO DELLA STRILLONA
have you seen marie ?
A HOUSE OF MY OWN
PURO AMOR - short stories
i'm useless with words as if somehow i had
to learn to speak
all over again as if the
words i needed
haven't been invented
sandra cisneros -
CISNEROS VIENE TRADOTTA
IN PIU DI 20 INGUE AL 2019
Thomas Wolfe Prize
'The faculty chose her based upon her body of work and her
excellence and her life as a working writer'
Irons - director Thomas Wolfe Prize and
Lecture - 2014
. national medal of arts by barack obama at the white
PEN/Nabokov Award for
Achievement in International Literature
' living author whose body of work, either written in or
translated into English, represents the highest level
achievement in fiction, nonfiction, poetry, and
or/drama, and is of enduring originality and consummate
I dedicate this award to my
immigrant father, whose longing for home taught us to
love and know our own story
Un coro di voci femminili, storie o
istantanee di vita. Le tre parti che compongono il libro riflettono
la crescita da bambina a donna delle protagoniste, con una
variazione di temi, ritmi e registri linguistici che mettono in luce
le straordinarie capacità narrative di Sandra Cisneros. Immagini,
colori e odori emergono dalle pagine con una forza narrativa senza
uguali: la scrittura figurativa di Cisneros, la sua bravura nel
dipingere veri e propri affreschi, dando loro non solo una
dimensione visiva, ma anche olfattiva e sonora, appare in questa
raccolta in tutta la sua potenza. Ingenuità e passionalità, ma anche
disincanto e amarezza caratterizzano le protagoniste di questi
racconti in una società in cui i ruoli dell’uomo e della donna sono
cristallizzati in rapporti di subalternità. ibs - 2019
... il modo in cui si cresce
è un po' come una cipolla o come i cerchi nei tronchi degli alberi o
come le mie bamboline di legno che entrano una dentro l'altra. ... Per un attimo non voglio
pensare né al tuo passato né al tuo futuro. Perché adesso sei qui e
sei mio. ...
Ti dipingo e ridipingo come mi pare maria anna patti - repubblica.it -
My Wicked Wicked Ways This is my father.
See? He is young.
He looks like Errol Flynn.
He is wearing a hat
that tips over one eye,
a suit that fits him good,
and baggy pants.
He is also wearing
those awful shoes
the two-toned ones
my mother hates.
Here is my mother.
She is not crying.
She cannot look into the lens
because the sun is bright.
the one my father knows
is not here.
She does not come till later.
My mother will get very mad.
Her face will turn red
and she will throw one shoe.
My father will say nothing.
After a while everyone
will forget it.
Years and years will pass.
My mother will stop mentioning it.
This is me she is carrying.
I am a baby.
She does not know
I will turn out bad.
First published in 1987, in MY WICKED WICKED WAYS Cisneros embraces
her first passion - verse - in poems remarkable for their plainspoken
In lines both comic and sad, the author of
The House on Mango Street deftly - and dazzlingly - explores the human
For those familiar with Cisneros only from
her fiction, MY WICKED WICKED WAYS shows the acclaimed author in an
entirely new light, and for readers everywhere, here is a showcase
of one of our most powerful writers at her lyrical best.
HOUSE OF MY OWN a richly
illustrated compilation of true stories and nonfiction pieces that,
taken together, form a jigsaw autobiography: an intimate album of a
literary legend's life and career. From
the Chicago neighborhoods where she grew up and set her
groundbreaking The House on Mango Street to her abode in Mexico, in
a region where "my ancestors lived for centuries," the places Sandra
Cisneros has lived have provided inspiration for her now-classic
works of fiction and poetry. But a house of her own, where she could
truly take root, has eluded her. With this collection--spanning
nearly three decades, and including never-before-published
work--Cisneros has come home at last.
Ranging from the private (her parents' loving and tempestuous
marriage) to the political (a rallying cry for one woman's liberty
in Sarajevo) to the literary (a tribute to Marguerite Duras), and
written with her trademark sensitivity and honesty, these poignant,
unforgettable pieces give us not only her most transformative
memories but also a revelation of her artistic and intellectual
influences. Here is an exuberant, deeply moving celebration of a
life in writing lived to the fullest--an important milestone in a
storied career. amazon - 2015
A long time ago, which was yesterday, I could
tell time by the typeface on my manuscripts. I mean yesterday
BC—Before Computers. I owned a variety of manual typewriters and
only gradually and reluctantly moved into the electronic world
without somehow ever managing to get ahold of the Rolls-Royce of
typewriters—an IBM. I roamed
about the earth and borrowed typewriters in Greece, France, the
former Yugoslavia, Mexico, and throughout the United States. My
manuscripts were sheaves of paper with holes from where the placket
struck the page too fiercely. And everywhere I went, the poems or
stories or essays I typed, with their mismatched typefaces and
consistent typing errors, reminded me, like passport stamps, where
I’d been. stories from my life - a house of my own
- sandra cisneros - pen.og - 2019
I have always been a daydreamer, and that's a lucky thing for a
writer. Because what is a daydreamer if not another word for
thinker, visionary, intuitive-all wonderful words synonymous with
my hair long and curly
like the Cretan priestesses who leapt
over the backs of bulls and held
snakes in their hands. I
was creating. I had my
own money. And, I had a
house of my own. This
to me was power .
I'm gathering up my
stray lambs that have wandered out of sight and am herding them
under one roof, not so much for the reader's sake, but my own, -
Cisneros writes in the introduction to A House of My Own, her new
memoir. Where are you, my little loves, and where have you gone? Who
wrote these and why? I have a need to know so that I can understand
my life. Any
regrets? None about men or the choices
in my art. I have regrets about things I had to let go. Animals. I
regret I had to find homes for some of my pets when I moved to
Mexico. It was so sad for me. When I adopt animals, I promise to be
there to the end. Until death. I felt I had broken a promise. But I
don't regret mistakes or people that broke my heart or the choices I
made to follow my writing. I had to make those choices.
maggie galehouse - houstonchronicle.com
A house for me is a space to decide whether I
want to be sad and not turn on the lights, to sleep until noon or
beyond, read a book propped up by fringed pillows, shut off the
ringer of the phone, wear my pajamas all day, and not venture
farther than the backyard fence if I feel like it.
from tenemos layaway or how I became an art collector
so what’s next for you, and your travels—recently you’ve finished
the book, and you were just here in Portland for Wordstock–what do
you like to do here? I actually considered moving to Portland. I
didn’t. I couldn’t do it. I think it was a little homogenous for me.
But I love visiting Portland. I love being on book tour, and that’s
what I’m doing next. I’m excited to visit literary places and
whenever I’m in town I just want to walk around and appreciate the
beautiful trees. Portland’s a literary city for me, like Rome or
Buenos Aires, where you know everyone will appreciate a good book.
olivia olivia - therumpus.net - fb/sc -
We do this because the
world we live in is a house on fire and the people we love are
burning SC on why she writes -
Caramelo - Puro cuento
Una famiglia messicana
E’ la bambina Celaya- dietro cui si nasconde la
scrittrice stessa- che racconta: è la più piccola di sette fratelli,
unica femmina a cui il padre si rivolge con le dolci parole, ‘cielo
mio’, e alla sua voce si mischiano quelle dei fratelli, divisi in
due gruppi di “grandi” e “piccoli”, del papà e della mamma, degli
zii e delle zie, dei nonni. Alcune più prepotenti, altre che fanno
fatica ad udirsi, sommerse dai toni più forti. Un inizio che ci
travolge con una folla di personaggi, tutti con un soprannome o un
diminutivo: i fratelli si chiamano Rafa, Ito, Tikis, Toto, Lolo e
Memo, uno zio è Faccia Grassa, un altro è zio Bimbo, e c’è una Nonna
Tremenda e un Nonno Piccolo, solo per dirne alcuni. stradanove.net
The girl Candelaria had skin bright as copper
veinte centavos coin after you’ve sucked on it. Not transparent as
an ear like Aunty Light-Skin’s. Not shark-belly pale like Father and
the Grandmother. Not red river-clay like Mother and her family. Not
the coffee-with-too-much milk color like me, nor the fried-tortilla
color of the washerwoman her mother Amparo. Not like anybody. Smooth
as peanut butter, deep as brunt-milk candy. mdbrady.wordpress.com
How before my body wasn't my body. I
didn't have a body. I was a being as close to a spirit as a spirit.
I was a ball of light floating across the planet. I mean the me I
was before puberty, that red Rio Bravo you have to carry yourself
over. I don't know how it is with boys. I've never been a boy. But
girls somewhere between the ages of, say, eight and puberty, girls
forget they have bodies. It's the time she has trouble keeping
herself clean, socks always drooping, knees pocked and bloody, hair
crooked as a broom. She doesn't look in mirrors. She isn't aware of
being watched. . . . There isn't the sense of the female body's
volatility, its rude weight, the nuisance of dragging it about.
There isn't the world to bully you with it, bludgeon you, condemn
you to a life sentence of fear. It's the time when you look at a
young girl and notice she is her ugliest, but at the same time, at
her happiest. She is a being as close to a spirit as a spirit .
Sandra Cisneros lives in the King William Historical District of San
Antonio in a house which she painted periwinkle. This caused some
controversy among the neighborhood and gained coverage in local
media. Cisneros states: "The issue is bigger than my house. The
issue is about historical inclusion. I want to paint my house a traditional color, but please give me a broader palette than surrey
beige, sevres blue, hawthorn green, frontier days brown, and
Plymouth Rock grey. . . . I thought I had painted my house a
historic color. Purple is historic to us. It only goes back a
thousand years or so to the pyramids. It is present in the Nahua
codices, book of the Aztecs, as is turquoise, the color I used for
my house trim; the former color signifying royalty, the latter,
water and rain."
Most recently, Cisneros changed the color of her house from
periwinkle to pink.
PURPLE HOUSE VENDUTA
- Sandra Cisneros Sold Her House on Guenther Street
Sandra Cisneros fought for her periwinkle
purplehouse on Guenther Street in San Antonio.
Back in 1997, shortly
after she bought the place, she became embroiled in a legal fight
with the San Antonio Historic and Design Review Commission, who
opposed the idea of the MacArthur “Genius” Grant recipient and House
On Mango Street author painting her house an unapproved color.
Cisneros was challenged to prove that her preferred shade of purple
was “historically appropriate.” . My history is made up of a community
whose homes were so poor and unimportant as to be considered
unworthy of historic preservation. No famous architect designed the
houses of the tejanos, and there are no books in the San Antonio
Conservation Society library about houses of the working-class
community, no photos romanticizing their poverty, no ladies’
auxiliary working toward preserving their presence. Their homes are
gone; their history is invisible. The few historic homes that
survived have access cut off by freeways because city planners did
not judge them important .
dan solomon - texasmonthly.com - 2015
One day I painted my house tejano colors;
the next day, my house is in all the news, cars swarming by,
families having their photos taken in front of my purple casita as
if it were the Alamo. The neighbors put up an iced-tea stand and
made 10 dollars ! . All this
happened because I chose to live where I do. I live in San Antonio
because I’m not a minority here. I live in the King William
neighborhood because I love old houses. Since my neighborhood is
historic, certain code restrictions apply. Any house alteration
plans must be approved by the Historic Design and Review Committee.
This is to preserve the neighborhood’s historic character, and
that’s fine by me. andrea
gompf - remezcla.com - 2016
the room of my own I
had always been dreaming
. . uninterrupted
time to think and imagine . . mysanantonio.com
HAVE YOU SEEN MARIE ?
it wasn’t written for children as none of my
I wrote it for myself to deal with my own grief and it
helped transform me
The internationally acclaimed author of The House on Mango Street
gives us a deeply moving tale of loss, grief, and healing: a
lyrically told, richly illustrated fable for grown-ups about a
woman’s search for a cat who goes missing in the wake of her mother’s
The word “orphan” might not seem to apply to a fifty-three-year-old
woman. Yet this is exactly how Sandra feels as she finds herself
motherless, alone like
glove left behind at the bus station.” What just might save her is
her search for someone else gone missing: Marie, the black-and-white
cat of her friend, Roz, who ran off the day they arrived from
Tacoma. As Sandra and Roz scour the streets of San Antonio, posting
flyers and asking everywhere, “Have you seen Marie?” the pursuit of
this one small creature takes on unexpected urgency and meaning.
With full-color illustrations that bring this transformative quest
to vivid life, Have You Seen Marie? showcases a beloved author’s
storytelling magic, in a tale that reminds us how love, even when it
goes astray, does not stay lost forever.
The illustrated fable starts as a search for a
friend's missing cat but quickly becomes a meditation on loss, a way
for the main character, also named Sandra, to process her mother's
death. As Sandra and her friend
Roz search San Antonio for Marie, questioning not just Sandra's
neighbors but also their pets and the neighborhood squirrels, Sandra
goes on her own inner quest to make peace with her profound grief..."
San Francisco Chronicle What did you learn about yourself from this
book? Every time I write, I gain something – that’s
how I know I’m done writing. Reading this story aloud and writing it
was transformational and healing; it nourished my spirit. I truly
believe you cannot overcome grief. You pass through it and it will
always accompany you. This book, creating art, made me understand
that my profession is a way for me to nourish myself when my spirit
was dying. During grief your heart is broken open and you become
open to light, intuition, creativity and beauty. The art comes as
you do the work of briefing. And you should create, because it’s a
way to transform that darkness into light, weave that straw into
gold. Otherwise you become stuck and deprive yourself of an
opportunity to grow spiritually. Did you ever think as a young writer that you’d
be so famous? How has that changed your life and career? Yes and no. I think we all have moments of
clairvoyance and see a hint of the future. I did sense that I would
be popular and reach lots of people; I knew that from the very
beginning with ‘The House on Mango Street.’ But at the same time, I
took typing lessons and learned skills so I would have something to
fall back on. I was practical about living my life and being able to
earn my own money because I knew the men I selected would be gone –
which was true – and I created lots of parachutes, so that I could
take care of myself. nina terrero -
tutta l'arte è
la perla è l'autobiografia dell'ostrica
I’m reminded of a favorite quote by
Fellini “The pearl is the
oyster’s autobiography” -
Each time I told the story of my mother’s death I was an
oyster adding another layer of nacre to the invading sand grain.
Each telling shaped the story and allowed me to gradually transform
a wound into a pearl. And survive.
What inspired you to write "Have You Seen
Marie?" I was working on the 25th anniversary
tour of "The House on Mango Street." I wanted to make a small book
that people could have or give to someone in a place of grief. My
mother had just passed, but I still felt the need to create
something. My friend and artist of the book, Ester Hernandez,
had just lost her mother too, and I proposed that she join me, and
she very reluctantly joined the project.
cindy y.rodriguez - edition.cnn.com
All of my work is
influenced by fairy tales
and I hope my
Hans Christian Andersen's
influence. He wrote for adults, but he was aware that children were
in the room. And now people think it's for children! This is the
thing people don't realize -- Hans Christian Andersen
and The Brothers Grimm were
And who spoke those
Who passed them down from one generation to the next? Grandmothers. Men
collected them and put their names on it!
However Hans Christian Andersen took grandmothers' superstitions
and polished them with his poetry and made something really
beautiful, introducing spoken Danish to Danish literature.
That sounds a lot like this new psychological
practice called bibliotherapy. That's actually a very old concept from
the Native Americans,
so I'm not inventing that, I'm repeating that from elders and
ancestors who know that stories are medicine.
huffingtonpost.com - 2012
anche Sandra Cisneros nell'adattamento teatrale di Have You Seen
Author Sandra Cisneros said she isn’t nervous
about making her stage debut during the 24th annual Macondo Writers
Workshop. She’ll be playing the role of the San Antonio River in an
adaptation of her short story Have You Seen Marie? expressnews.com - 2019
why the book is for kids and
adults alike: "I kept insisting this when I was
reading this when it was still in paper form and it wasn't even a
book, 'Oh no, no this isn't for children," but I had to concede that
its for everybody. I will read it to adults and there will be
children in the room. Children are the most honest critics, most
difficult critics. If they don't like something they'll get up and
leave. They would stay until the last paragraph. They were listening.
Afterwards they would come up to me and say, 'Are you the lady that
read the story about the cat ?
For them its a story about a cat … It's
a story, I have to admit now, for orphans little and big, or people
who have had a loss little and big."
Hollering Creek - FOSSO DELLA STRILLONA
Sandra Cisneros’ Woman Hollering Creek is the follow-up novel to her
triumphant and acclaimed The House on Mango Street. … a collection
of short stories strung together in a unified text. These stories
may be read … individually…
The language in this piece is haunting. Her description of a broken
human heart is comparable with a small wounded animal that needs to
be put out of its misery.
… the beautiful language Cisneros uses to capture the sentiments of
the human heart. ...
… Spanish whirred like silk, rolled and puckered and hissed …
cannon - examiner.com
coro di voci femminili, storie o istantanee di vita. Le tre parti
che compongono il libro riflettono la crescita da bambina a donna
delle protagoniste, con una variazione di temi, ritmi e registri
linguistici che mettono in luce le straordinarie capacità narrative
di Sandra Cisneros. Immagini, colori e odori emergono dalle pagine
con una forza narrativa senza uguali: la scrittura figurativa della
Cisneros, la sua bravura nel dipingere veri e propri quadri, dando
loro non solo una dimensione visiva, ma anche olfattiva e sonora,
appare in questa raccolta in tutta la sua potenza. Ingenuità e
passionalità, ma anche disincanto e amarezza caratterizzano le
protagoniste di questi racconti in una società in cui i ruoli
dell'uomo e della donna sono cristallizzati in rapporti di
subalternità. ibs - 2012
Rachel says that
love is like a big black piano being pushed off the top of a
three-story building and you’re waiting on the bottom to catch it.
But Lourdes says its not that way at all. It’s like a top, like all
the colors in the world are spinning so fast they’re not colors
anymore and all that’s left is a white hum. There was once a man, a
crazy who lived upstairs from us. He couldn’t talk, just walked
around all day with this harmonica in his mouth. Didn’t play it.
Just sort of breathed through it, all day long, wheezing in and out.
That’s how it is with me. Love, I mean
I always tell people that I became a writer not
because I went to school but because my mother took me to the
library. I wanted to become a writer so I could see my name in the
card catalog. fb/sc - 2014
Ay, Miliano, don't you see ?
The wars begin here, in our hearts and in our beds. You have
a daughter. How do you want her treated? Like you treated me? All
I've wanted was words, that magic to soothe me a little, what you
could not give me.
woman hollering creek - and other stories
The only way to fall in love with a book is to meet the right book
LA CASA DI MANGO - the house of mango street
- ANCHE IN VERSIONE TEATRALE
I write because the world we live in is a house on fire, and the
people we love are burning . Television has grown up in the
last 20 years and now is the time to tell our stories .
When I teach writing, I tell the story of the
moment of discovering and naming my otherness. It is not enough
simply to sense it; it has to be named, and then written about from
there. Once I could name it, I ceased being ashamed and silent. I
could speak up and celebrate my otherness... da introduzione
En inglés mi nombre quiere decir esperanza. En
español tiene muchas letras. Quiere decir tristeza, decir espera.
know what you are Esperanza? You are like the Cream
of Wheat cereal. You’re like the lumps .
She looked out the window her whole life, the way so
many women sit their sadness on an elbow. I wonder if she made the
best with what she got or was she sorry because she couldn’t be all
the things she wanted to be. Esperanza. I have inherited her name,
but I don’t want to inherit her place by the window.
La disillusione fa presto a prendere il posto
della speranza di fronte ad una casa sgradevole, in un quartiere che
ha del grottesco, straripante di loschi personaggi che segnano
l'infanzia e l'adolescenza di Esperanza e delle sue compagne, cui
tuttavia non manca mai la forza di sorridere alla vita.
UN ROMANZo spontaneo, candido, ma allo stesso tempo incisivo e
commovente, di tanto in tanto sconcertante, che mette in luce la
contraddizione di un mondo legato alla miseria, al sobborgo, al
disinganno; quella stessa contraddizione che si percepisce nel
toccante finale de La casa di Mango Street, il luogo da cui fuggire,
ma al quale non si può fare a meno di tornare
E’ tutto un chiacchiericcio allegro, a volte
sguaiato, a tratti sgrammaticato. Esperanza parla di se e delle
donne di famiglia, lo fa con la profondità inconsapevole di una
ragazzina che osserva le infelicità montanti, le insoddisfazioni che
si insinuano sotto i lavelli stracolmi di piatti incrostati.
E lei sa da che parte vuole stare, sa cosa vuole diventare, anche se
è la figlia bruttona che nessuno viene a cercare, Esperanza sa che
farà rumore spostando la sedia quando si alzerà da tavola senza
sparecchiare, sa che la porta scardinata che sbatterà farà un gran
fracasso quando andrà per la sua strada, che sarà il futuro o forse
solo e ancora Mango Street. roberta paraggio - statoquotidiano.it - 2012
A series of poetic vignettes circling around
a girl in Chicago named Esperanza Cordero. It was originally
published in 1984, but has since been translated into many languages
and incorporated into the curriculum at many schools. Cisneros drew
on her experiences as a teacher in Chicago to craft a moving,
sometimes horrifying portrait of what it’s like growing up Latina in
the inner city. Even the picture book version of a segment of the
book, “Hairs/Pelitos,” gets kudos from people. Recommended age: 12
and older. There are intimations of physical and sexual abuse that
make it inappropriate for young kids. Despite the topics, the
language is elliptical not graphic. fb/sc - bill
vourvoulias latino.foxnews.com - 2013
We do this because the
world we live in is a house on fire and the people we love are
burning. from “a house of my own” the introduction to the 25th anniversary
edition of the house on mango street - 2013
E_BOOK dal 2013 - inglese e spagnolo
In English my name means hope.
In Spanish it means too many letters. It means sadness, it means
waiting. It is like the number nine. A muddy color.
It is the Mexican records my father plays on Sunday mornings when he
is shaving, songs like sobbing.
fb/sc - 2014
the first time I read the
house on mango street, in high school, a teacher described it as a
controversial book, maybe because it is so truthful. That's not controversial. What's
controversial to me is the news. I don't see my work as eccentric; I
see it as being true to my heart. Everybody else goes to jobs they
hate or live in cities they can't stand or follow rules they know
are wrong—those to me are the controversial people. I feel like I'm
living my truth every day. brianna wellen - chicagoreader.com -
and you’re collaborating on turning the house
on mango street into an opera, too?
Yes, it will be an opera, and I’m so thrilled.
My mother would love that. She was a big fan of opera, and she
would borrow records from the library and sing along with them
because she had a beautiful voice. She couldn’t understand what she
was singing, but she followed the words. She would say ‘Sandra,
listen,’ and just open her mouth. The composer Derek Bermel
approached my agent. He wanted to do a suite of songs [based on The
House on Mango Street], and he sent along a sample of what he does.
It made me cry, it was so grand and so filled with emotion. I
started blinking back tears. So he created the suite. I loved it. I
thought, ‘I can get into this.’ And then he said, ‘Would you like to
work with me and expand it into an opera—and would you like to do
the libretto?’ I said, ‘Isn’t that a lovely word, libretto? I would
like to add it to what I can do.
romeo rosales - bookriot.com - fb/sc - 30.5.2019
You know what you are Esperanza ?
You are like the Cream of Wheat cereal .
You’re like the lumps 1984
national museum of
- chicago - 2015
At the time I was
it started as my own
but transformed into a
piece of fiction
All the emotions are
the setting is mine
the house is mine
the characters are a composite
my students' stories
banned and challenged YA
books . The Bluest Eye
Morrison . The Kite
Runner - Khaled
Hosseini . The House on Mango Street
- Sandra Cisneros
The hunkered thick dark spiral. The
core of a heart howl. The bitter bile.
The tequila lágrimas on Saturday all
through next weekend Sunday. You are
the one I’d let go the other loves for surrender my one-woman house.
Allow you red wine in bed even with my vintage lace linens. Maybe.
you. Quiero ser tuya. Only
yours. Only you. Quiero
amarte. Atarte. Amarrarte.
Love the way a Mexican woman loves.
Let me show you . Love
the only way I know how. POEMS OF THE
AMERICAN SOUTH This one-of-a-kind collection of poems about
the American South ranges over four centuries of its dramatic
history. The arc of poetry of the South, from slave songs to
Confederate hymns to Civil War ballads, from Reconstruction turmoil
to the Agrarian movement to the dazzling poetry of the New South, is
richly varied and historically vibrant. No other region of the
United States has been as mythologized as the South, nor contained
as many fascinating, beguiling, and sometimes infuriating
contradictions. Poems of the American South includes poems both by
Southerners and by famous observers of the South who hailed from
elsewhere. These range from Herman Melville, Walt Whitman,
Allan Poe, and Francis Scott Key through Langston Hughes, Robert
Penn Warren, Wallace Stevens, Elizabeth Bishop, James Dickey, and
Donald Justice, and include a host of living poets as well: Wendell
Berry, Rita Dove, Sandra Cisneros, Yusef Komunyakaa, Naomi Shihab
Nye, C. D. Wright, Natasha Trethewey, and many more. Organized
thematically, the anthology places poems from past centuries in
fruitful dialogue with a diverse array of modern voices who are
redefining the South with a verve that is reinvigorating American
poetry as a whole. amazon -
randomhouse - fb/sc - 2014
Sandra Cisneros has a fondness for animals and
this little gem of a story makes that abundantly clear. La casa
azul, the cobalt blue residence of Mister and Missus Rivera,
overflows with hairless dogs, monkeys, a fawn, a passionate
Guacamaya macaw, tarantulas, an iguana, and rescues that resemble
ancient Olmec pottery. Missus loves the rescues most because their
eyes were filled with grief. She takes lavish care of her husband
too, a famous artist, though her neighbors insist he has eyes for
other women: Hes spoiled. Hes a fat toad. She cannot reject him.
?because love is like that. No matter how much it bites, we enjoy
and admire the scars. Thus, the generous creatures pawing her belly,
sleeping on her pillow, and kneeling outside her door like the
adoring Magi before the just-born Christ. This beautiful chapbook is
bi-lingual and contains several illustrationsline drawings by
Cisneros herself. amazon - 2018
.pdf- english - short stories -
2015 - fb/sc
puro amor rispetto ai miei romanzi con tante pagine come i precedenti La casa di
Mango Street o Caramelo, c’è anche l’albo per ragazzi Bravo
Bruno !Puro Amor è qualcosa di
diverso. È un’opera di narrativa racchiusa in poche
pagine che però diventa anche un album che contiene i miei disegni,
pubblicati qui per la prima volta. È la storia di
un pittore molto f amoso e di sua moglie, che invece non
era così conosciuta. Vivevano nella Casa Azul a
Coyoacán, Città del Messico, circondati da tantissime bestiole. Non
solo domestiche, anche scimmie, pappagalli, tarantole, iguane.
Ovviamente è il racconto di Frida e Diego, quando lui era un artista
assai celebre, mentre Frida Kahlo era semplicemente la ’Señora
Rivera’. Mi ha colpito il profondo senso di solitudine che lei deve aver provato sia nella
relazione complessa con il marito che con la sua malattia e
sofferenza. Uno stato d’animo analogo l’ho provato
anch’io quando mi sono dovuta confrontare con la morte di mia madre.
È stato questo lo sguardo di cui ho fatto tesoro per introdurmi
nella loro storia. Una storia che parla anche di
come si ama quando si è maturi. I disegni, nel ritrarre gli animali,
entrano in contatto con questo sentimento. L’amore non ha confini e può essere
esplorato da punti di vista differenti. Non esiste
solo quello che riguarda le relazioni fra gli uomini, ma pure con i
fiori, gli animali, tutto ciò che dà la luce -sc manuela de leonardis - ilmanifesto.it - 2019
Sandra Cisneros on How to Use Literature as an Act of Peace If you are always with people who think like
you, how are you going to grow? -sc Wearing a beautiful embroidered tunic,
Cisneros began her presentation by reading an essay titled "Huipiles,"
named for the indigenous garments worn for millennia in Mexico. I wear this textile as a way for me to resist
the mexiphobia going on under the guise of Homeland Security. To
acknowledge I’m not in agreement with the border vigilantes. To say
I’m of las Americas, both North and South. This cloth is the flag of
who I am.
-sc aspen words in aspen - co - 2016 caroline tory -
CHCI's 2017 Chair's Award Sandra Cisneros has been a strong voice
for the Latino community through her writing. She has mastered the
art of poignant storytelling and her works illustrate real life - joys
and heartbreak, strength and determination - while encouraging a
spirit of kindness and generosity toward all people. Both on and off
the page, Sandra is a voice of activism, positive change, and most
importantly - hope . -
Congressman Joaquín Castro, Chairman, CHCI
Lifetime Achievement Award from the TEXAS INSTITUTE of LETTERS
Sandra Cisneros has been a guiding force in American literature for
over thirty years. We are overjoyed at this opportunity to
recognize her in Texas, where Sandra has made so many historic and
TIL President Steve Davis
fORD FOUNDATION AWARD 2017
Sandra Cisneros is a poet, short story writer,
novelist, and essayist, whose work explores the lives of the
working-class. Her numerous awards include NEA fellowships in both
poetry and fiction, the Texas Medal of the Arts, a MacArthur
Fellowship, several honorary doctorates and book awards nationally
and internationally. Cisneros has fostered the careers of many
emerging writers through two non-profit organizations she founded :
the Macondo Foundation and the Alfredo Cisneros del Moral
. macondo _ writers Sandra Cisneros is a potent example of
the power of cultural capital. She is a best-selling writer, but
also has profoundly invested in our community. Macondo-the writers
movement she founded-is a thrilling example of that. tonydiaz.net - 2018