Sandra Cisneros - Quotes

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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. ---->>>

The older I get, the more I'm conscious of ways very small things can make a change in the world. Tiny little things, but the world is made up of tiny matters, isn't it?

The older I get, the more I'm conscious of ways very small things can make a change in the world. Tiny little things, but the world is made up of tiny matters, isn't it?

I am a woman, and I am a Latina. Those are the things that make my writing distinctive. Those are the things that give my writing power. ---->>>

Revenge only engenders violence, not clarity and true peace. I think liberation must come from within. ---->>>

I feel comfortable in Spanish, I chat like a parrot, but I don't have the confidence in Spanish that I do in English. ---->>>

I try to be as honest about what I see and to speak rather than be silent, especially if it means I can save lives, or serve humanity. ---->>>

I was silent as a child, and silenced as a young woman; I am taking my lumps and bumps for being a big mouth, now, but usually from those whose opinion I don't respect.

I was silent as a child, and silenced as a young woman; I am taking my lumps and bumps for being a big mouth, now, but usually from those whose opinion I don't respect.

I always tell people that I became a writer not because I went to school but because my mother took me to the library. I wanted to become a writer so I could see my name in the card catalog. ---->>>

Writing is like sewing together what I call these 'buttons,' these bits and pieces. ---->>>

I usually say Latina, Mexican-American or American Mexican, and in certain contexts, Chicana, depending on whether my audience understands the term or not. ---->>>

I have to understand what my strengths and limitations are, and work from a true place. I try to do this as best I can while still protecting my writer self, which more than ever needs privacy. ---->>>

I think people should read fairy tales, because we're hungry for a mythology that will speak to our fears. ---->>>

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. ---->>>

My feminism is humanism, with the weakest being those who I represent, and that includes many beings and life forms, including some men. ---->>>

The more you speak more languages, the more you understand about yourself. ---->>>

But I deal with this meditating and by understanding I've been put on the planet to serve humanity. I have to remind myself to live simply and not to overindulge, which is a constant battle in a material world. ---->>>

'Hispanic' is English for a person of Latino origin who wants to be accepted by the white status quo. 'Latino' is the word we have always used for ourselves. ---->>>

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. ---->>>

I wanted to write something in a voice that was unique to who I was. And I wanted something that was accessible to the person who works at Dunkin Donuts or who drives a bus, someone who comes home with their feet hurting like my father, someone who's busy and has too many children, like my mother. ---->>>

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.

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.

All of my work is influenced by fairy tales, and I hope my work shows Hans Christian Anderson's influence. ---->>>

Generally if you're a daughter in a Mexican family, no one wants to tell you anything; they tell you the healthy lies about your family. ---->>>

I wasn't aware that 'House on Mango Street' was so influenced by Spanish until after I finished. ---->>>

One press account said I was an overnight success. I thought that was the longest night I've ever spent. ---->>>

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. ---->>>

My father always defined my gender to my brothers. He'd say, 'This is your sister; you must take care of her.' ---->>>

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. ---->>>

Sometimes I feel I can't quite master my written and spoken Spanish, because I'm too much a student of English. I would need another lifetime to learn it. ---->>>

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. ---->>>

I realize that when I moved out of my father's house I shocked and frightened him because I needed a room of my own, a space of my own to reinvent myself. ---->>>

Perhaps the greatest challenge has been trying to keep my time to myself and my private life private in order to do my job. Everything that is most mine belongs to everyone now. ---->>>

There are many Latino writers as talented as I am, but because we are published through small presses, our books don't count. We are still the illegal aliens of the literary world. ---->>>

I don't see any kind of mirror of power, male power, that is, as a form of liberation. I don't believe in an eye for an eye. I don't believe this is truly freedom. ---->>>

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. ---->>>

In the business world, I did fairly well, but wasn't happy. A bout of sciatica put me flat on my back. All I could do was read, listen to my mother's stories about the Sandovals, and daydream: a return to self. My writing career had begun. ---->>>

I thought that strange syntax was the language of story books. I didn't realize those were poor translations... English from Edwardian times. ---->>>

One of my favorite writers is Hans Christian Anderson. His stories speak to the times. ---->>>

For a writer, for the solitude to write, you don't need a room of your own, you need a house. ---->>>

Mexico is only a memory of childhood safety. ---->>>

I think my family and closest friends are learning about my need to withdraw, and I am learning how to restore and store my energy to both serve the community to the best of my ability and to serve my writer's heart. ---->>>

I've always read broadly: literary fiction, sci-fi, fantasy, chick lit, historical, dystopian, nonfiction, memoir. I've even read Westerns. I prefer female protagonists. ---->>>

And the nice thing about writing a novel is you take your time, you sit with the character sometimes nine years, you look very deeply at a situation, unlike in real life when we just kind of snap something out. ---->>>

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. ---->>>

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. ---->>>

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. ---->>>

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. ---->>>

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. ---->>>

I was raised in Chicago, so always used Latina. It's what my Father and brothers called ourselves, when we meant the entire Spanish-speaking community of Chicago. ---->>>

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. ---->>>

Biography

Nationality: American
Born: 12-20, 1954
Birthplace:
Die:
Occupation: Author
Website:

Sandra Cisneros (born December 20, 1954) is an American writer. She is best known for her first novel The House on Mango Street (1984) and her subsequent short story collection Woman Hollering Creek and Other Stories (1991). 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 regarded as a key figure in Chicana literature. Cisneros's early life provided many experiences she would later draw on as a writer: she grew up as the only daughter in a family of six brothers, which often made her feel isolated, and the constant migration of her family between Mexico and the United States instilled in her the sense of "always straddling two countries ... but not belonging to either culture." Cisneros's work deals with the formation of Chicana identity, exploring the challenges of being caught between Mexican and Anglo-American cultures, facing the misogynist attitudes present in both these cultures, and experiencing poverty. For her insightful social critique and powerful prose style, Cisneros has achieved recognition far beyond Chicano and Latino communities, to the extent that The House on Mango Street has been translated worldwide and is taught in American classrooms as a coming-of-age novel. Cisneros has held a variety of professional positions, working as a teacher, a counselor, a college recruiter, a poet-in-the-schools, and an arts administrator, and has maintained a strong commitment to community and literary causes. In 1998 she established the Macondo Writers Workshop, which provides socially conscious workshops for writers, and in 2000 she founded the Alfredo Cisneros Del Moral Foundation, which awards talented writers connected to Texas. Cisneros currently resides in San Antonio, Texas.(wikipedia)