Hailed as "not only a gifted writer, but an absolutely essential one" (The New York Times Book Review), Sandra Cisneros has firmly established herself as an author of electrifying talent. Here are verses, comic and sad, radiantly pure and plainspoken, that reveal why her stories have been praised for their precision and musicality of language.
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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 national and international book awards, including Chicago’s Fifth Star Award, the PEN Center USA Literary Award, and the National Medal of the Arts awarded to her by President Obama in 2016. Most recently, she received the Ford Foundation’s Art of Change Fellowship, was recognized among The Frederick Douglass 200, and was awarded the PEN/Nabokov Award for Achievement in International Literature.
Her classic, coming-of-age novel, The House on Mango Street, has sold over six million copies, has been translated into over twenty languages, and is required reading in elementary, high school, and universities across the nation.
In addition to her writing, Cisneros has fostered the careers of many aspiring and emerging writers through two non-profits she founded: the Macondo Foundation and the Alfredo Cisneros del Moral Foundation. She is also the organizer of Los MacArturos, Latino MacArthur fellows who are community activists. Her literary papers are preserved in Texas at the Wittliff Collections at Texas State University.
Sandra Cisneros is a dual citizen of the United States and Mexico and earns her living by her pen. She currently lives in San Miguel de Allende.
This collection reveals the same affinity for distilled phrasing and surprise, both in language and dramatic development, found in Cisneros's volumes of short stories, Woman Hollering Creek and The House on Mango Street . For a glimpse of it, see the poem "Josie Bliss": "a tropical dream / of Wednesdays / a bitter sorrow / like the salt / between the breasts." Of the book's four parts, the first two immerse the reader in the Chicana homefront, including the poet's own place in it, presumably the San Antonio familiar from her prose work. The remaining two parts leave the barrio behind, as the author's world becomes more cosmopolitan and still more personal. Here Cisneros reflects on herself and her men, on how she treats them and they her. Although some poems in the last sections are excellent--"No Mercy," with its air of a prosecutor's brief, is splendid--as a love poet, Cisneros attitudinizes too much and uses her tight style more to ration her candor than to impel images. Even so, a disconcerting degree of sentimentality somehow gets through ("I forget the reasons, but I loved you once, / remember?"), along with some enervated deadpan humor: "I've learned two things. / To let go / clean as kite string. / And to never wash a man's clothes. / These are my rules."
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