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
Mom used to walk with me for something like two or three miles to get to the day-old bakery. They had those machines where you buy doughnuts, those vending machines with the long johns and doughnuts. We would buy those bagels and pastries because that was our treat. And come back with shopping bags of these sweets, and who knows what was in it? That was what we could afford that could feed that many people.
You know, if you've got nine people that you've got to get a treat for - because you do have sweet food, even if you're poor - you can't go out and buy a Sara Lee cake. You buy the big bag of cookies, those chocolate and vanilla ones with the icing. That has a lot of trans fat in it, but it goes a long way with a lot of people.
When we started publishing, you had to be better than good. You had to be excellent. But as long as people are reading, I don't care what they're reading.
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 think that it's not enough to do the little Band-Aid things of having celebrities come and read to children. Not that we don't need to read to children, but we don't need to just do it one time and feel good about it. I think we need to think long range about poor people and their relationship to libraries.
I look at Thich Nhat Hanh and I look at Marshall Rosenberg, and they're more concerned about the long range. And that long range means that you have to sit down with people who don't think like you. I want to reach people who don't think like me.
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.