Sandra Cisneros
Sandra Cisneros
Sandra Cisnerosis an American writer best known for her acclaimed first novel The House on Mango Streetand her subsequent short story collection Woman Hollering Creek and Other Stories. Her work experiments with literary forms and investigates emerging subject positions, which Cisneros herself attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards including a National Endowment for the Arts Fellowship, and is...
NationalityAmerican
ProfessionNovelist
Date of Birth20 December 1954
CityChicago, IL
CountryUnited States of America
There [DreamTigers by Jorge Luis Borges] were these little fablesque things, you know, dream tigers, beautiful, beautiful pieces that when you read them had the power of a long piece, but they were prose, and they had the power of poetry, in that the last line wasn't the end, it was a reverberation, like when you tap on a glass made of crystal, and it goes ping.
I've put up with too much, too long, and now I'm just too intelligent, too powerful, too beautiful, too sure of who I am finally to deserve anything less.
If you can't fall asleep, learn how to meditate. I would recommend you listen to a beautiful tape called Spiritual Power, Spiritual Practice [Energy Evaluation Meditations For Morning and Evening, 1998]. It was the one that got me out of my writer's block when I was writing Caramelo. It's by Carolyn Myss.
My trainer taught me, because he's Iranian, and that's a beautiful snack [pistachios]. I have some with me, actually, in my bag. You could eat that on a plane instead of the salted nuts. And a serving size a day is the size of your hand, not the size of your head!
These stories celebrate what's at the heart of so many Latino success stories -- a desire to achieve and make a difference, ... Visitors to this Smithsonian exhibit will have the opportunity to learn about Latinos who have made varying but very important contributions to the American fabric.
At the time I was writing it, it started as my own memoirs but transformed into a piece of fiction. All the emotions are mine, the setting is mine, the house is mine. But the characters are a composite of my students' stories.
The good stories are what no one wants to talk about. So you make up a story because no one is going to tell you the truth.
The beauty of literature is you allow readers to see things through other people's eyes. All good books do this.
Well, I'm Buddhist, Ray, and so part of my Buddhism has allowed me to look a little more deeply at people and the events in my life that created me. And I think a lot of that Buddhism comes out in the world view in this novel.
I felt a failure because I couldn't sustain myself from what I earned from my writing. My day jobs were what mattered, and it was hard to even get those because universities wouldn't hire me as a real writer.
What's always a challenge for me is that my Spanish is not the level of my English. Nor do I read in Spanish the way I read in English.
My father never wanted me to be a writer. He didn't - he came to terms with it maybe two years before he died. He wanted me to be a weather girl because when I was growing up, there were very few Latinas on television, and in the early '70s when you first started seeing Latinas on TV, they would be the weather girls.
I liked the books I read that said things like 'I shan't'. I would try to find a way to say in my life, to reply, 'I shan't do that, mother.' That was so far away from my barrio world.
I grew up listening to the Beatles and being an ardent Beatles fan when I was in third grade all the way to adulthood, and listening to all kinds of music that came to us either at the flea market or in our living rooms or on the 'Ed Sullivan' show - all these places we were influenced by.