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
I was looking at a lot of experimental writers, and I was very intrigued by short-short fiction, writers who would write little things, what I call buttons now, little vignettes.
I don't really think our government at heart wants peace. So I urge you, write to Mrs. Laura Bush, because she reads.
I can't stand it when people say, "If you're writing a novel, you should read this and that." Because it's like giving someone another person's prescription. How do you know that's what they need?
[Writing is like fishing]. You don't bow because you made the fish. That's the difference. If you know that, then you bow for your labor.You crafted, you worked, you put in those hours so that you could catch that fish. But you didn't make that fish. You just caught the fish. That will help you stay humble and bow for the right reason and be very lucid about the work you do.
You have to remember that writing itself is so solitary. You start writing because you're lonely.
You know how sometimes you meet writers that are so full of themselves? They feel really proud that they wrote something . But what they don't understand - and I like to tell this to writers - is that writing is like fishing. It's just like fishing. If you don't fish that often, you're not going to catch that many fish.
I want to write an essay called "Fear of Mexico," because I always feel like Mexico's this lover that never writes to me.
You know, we should have cards like the deaf have. "Can't talk, I'm writing today."
My Spanish is a daughter's Spanish. I write, but my Spanish really is very limited.
The comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.
You meditate and then you can put on your pajamas, or you can imagine you're wearing your pajamas, and you talk about your piece of writing in the language you would use if you were wearing your pajamas and you were seated at a table with your very good friend. And you wouldn't have to get all dressed up or clean up the table.
I tell people to write the stories that you're afraid to talk about, the stories you wish you'd forget, because those have the most power. Those are the ones that have the most strength when you give them as a testimony.
The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.