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
The ego's blocking the light from coming.
If you start thinking about who's going to read it [you're writing], or what grade will you get, or is it going to win that award, or are you going to get into this graduate program, you're blocking the light, and the light is that guidance and love we get when we open up our hearts and are guided by our higher selves, or God, or the Buddha Lupe [Buddha and the Virgin of Guadalupe fused together, as they are in the tattoo on Sandra's right arm], or whatever you believe in, or love.
There are two things you need to ask for, to open up that channel, so you get the light. One is humility, because our ego is always going to block that guidance, and so you ask for humility.And the second thing you're going to ask for is courage, because what you're going to be asked to do is bigger than what you think you can do.
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.
My father always defined my gender to my brothers. He'd say, 'This is your sister; you must take care of her.'
I spent my thirties living out of boxes and moving every six months to a year. It was my cloud period: I just wandered like a cloud for ten years, following the food supply. I was a hunter, gatherer, an academic migrant.
I wasn't aware that 'House on Mango Street' was so influenced by Spanish until after I finished.
I think that Mexican-American kids live in a global world. It's not even bi-, it's multi-. You know, for those of us who grew up with different countries on our block, different nationalities, you know, we moved into multiple worlds.
I was a little press writer when the National Endowment for the Arts came to my rescue and gave me an award. I couldn't buy a light bulb. Almost more than the money, the awards are important because they show that someone believes in you.
I was a terrible student. Still, I managed to get into college, but my daydreaming threatened to sabotage me. I used behavior modification to break the cycle. I started by setting an arbitrary time limit on studying: for every 15 minutes of study, I'd allow myself an hour of daydreaming. I set the alarm.
Writing is like sewing together what I call these 'buttons,' these bits and pieces.
I'm afraid I'm still trying to find that balance. Especially now that everyone wants a piece of me. I find that I have to become more and more reclusive, and pick and choose when I am public and when I am private.
In my youth, daydreaming nurtured me, provided a safe haven. I'd sleep for twelve hours and even when awake escape to the safe place in my mind.
Once people are not here physically, the spiritual remains. We still connect, we can communicate, we can give and receive love and forgiveness. There is love after someone dies.