387:, "works with dedicated and compassionate writers who view their work and talents as part of a larger task of community-building and non-violent social change." Officially incorporated in 2006, the foundation began in 1998 as a small workshop that took place in Cisneros's kitchen. The Macondo Workshop, which has since become an annual event, brings together writers "working on geographic, cultural, economic, social and spiritual borders" and has grown from 15 participants to over 120 participants in the first 9 years. Currently working out of Our Lady of the Lake University in San Antonio, the Macondo Foundation makes awards such as the Gloria E. AnzaldĂșa Milagro Award honoring the memory of AnzaldĂșa, a fellow Chicana writer who passed away in 2004, by providing Chicano writers with support when they are in need of some time to heal their "body, heart or spirit" and the Elvira Cordero Cisneros Award which was created in memory of Sandra Cisneros's mother. Macondo offers services to member writers such as health insurance and the opportunity to participate in the Casa Azul Residency Program. The Residency Program provides writers with a furnished room and office in the Casa Azul, a blue house across the street from where Cisneros lives in San Antonio, which is also the headquarters of the Macondo Foundation. In creating this program, Cisneros "imagined the Casa as a space where Macondistas could retreat from the distractions of everyday life, and have a room of his/her own for the process of emotional, intellectual and spiritual introspection."
562:, for example, a group of girl characters speculate about what function a womanâs hips have: "Theyâre good for holding a baby when youâre cooking, Rachel says... You need them to dance, says Lucy... You gotta know how to walk with hips, practice you know." Traditional female roles, such as childrearing, cooking, and attracting male attention, are understood by Cisneros's characters to be their biological destiny. However, when they reach adolescence and womanhood, they must reconcile their expectations about love and sex with their own experiences of disillusionment, confusion and anguish. Esperanza describes her "sexual initiation"—an assault by a group of Anglo-American boys while awaiting her friend Sally at the fairground. She feels stricken and powerless after this, but above all betrayed; not only by Sally, who was not there for her, but "by all the women who ever failed to contradict the romantic mythology of love and sex". Cisneros illustrates how this romantic mythology, fueled by popular culture, is often at odds with reality in
623:, has according to Wyatt "become the representative of a female sexuality at once passive, "rapeable," and always already guilty of betrayal". Cisneros describes the problematic dichotomy of the virgin and the whore presented by these two figures: "Weâre raised in a Mexican culture that has two role models: La Malinche and la Virgen de Guadalupe. And you know thatâs a hard route to go, one or the other, thereâs no in-betweens." Madsen has noted that these 'good' and 'bad' archetypes are further complicated by the perception, held by many Chicana feminists, that they would be guilty of betraying their people, like La Malinche, if they attempt to define their femininity in more "Anglo" terms. Through her work, Cisneros critiques the pressures Chicanas face to suppress their sexuality or channel it into socially acceptable forms so as to not be labeled "Malinchista...corrupted by gringa influences which threaten to splinter people".
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Mexican woman. But, I didn't think it had anything to do with why I felt so much imbalance in my life, whereas it had everything to do with it! My race, my gender, and my class! And it didn't make sense until that moment, sitting in that seminar. That's when I decided I would write about something my classmates couldn't write about." She cast aside her attempt to conform to
American literary canons, realizing that instead of being something to be ashamed of, her own cultural environment was a source of inspiration. From then on, she would write of her "neighbors, the people saw, the poverty that the women had gone through." Cisneros says of this moment: "So to me it began there, and that's when I intentionally started writing about all the things in my culture that were different from them - the poems that are these city voices - the first part of
472:, Cisneros soon translates it in a way that does not interrupt the flow of the text. She enjoys manipulating the two languages, creating new expressions in English by literally translating Spanish phrases. In the same book Cisneros writes: "And at the next full moon, I gave light, TĂa Chucha holding up our handsome, strong-lunged boy." Previous sentences inform the reader that a baby is being born, but only a Spanish speaker will notice that "I gave light" is a literal translation of the Spanish "di a luz" which means "I gave birth." Cisneros said of these playful hybrids: "All of a sudden something happens to the English, something really new is happening, a new spice is added to the English language." Spanish always has a role in Cisneros's work, even when she writes in English. As she discovered, after writing
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family's fortune. Her paternal grandfather was a veteran of the
Mexican revolution, and used what money he had saved to give her father, Alfredo Cisneros de Moral, the opportunity to go to college. However, after failing classes due to what Cisneros called his "lack of interest" in studying, Alfredo ran away to the United States to escape his father's anger. While roaming the southern United States with his brother, Alfredo visited Chicago where he met Elvira Cordero Anguiano, who would later become Sandra's mother. After getting married, the pair settled in one of Chicago's poorest neighbourhoods. Cisneros's biographer Robin Ganz writes that she acknowledges her mother's family name came from a very humble background, tracing its roots back to Guanajuato, Mexico, while her father's was much more "admirable."
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for the children, and eventually the instability caused
Cisneros's six brothers to pair off in twos, leaving her to define herself as the isolated one. Her feelings of exclusion from the family were exacerbated by her father, who referred to his "seis hijos y una hija" ("six boys and a girl") rather than his "siete hijos" ("seven children"). Ganz notes that Cisneros's childhood loneliness was instrumental in shaping her later passion for writing. Cisnerosâs one strong female influence was her mother, Elvira, who was a voracious reader and more enlightened and socially conscious than her father. According to Ganz, although Elvira was too dependent on her husband and too restricted in her opportunities to fulfil her own potential, she ensured her daughter would not suffer from the same disadvantages.
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Nobody's garbage to pick up after." An aspiring writer, Esperanza yearns for "a space for myself to go, clean as paper before the poem." She feels discontented and trapped in her family home, and witnesses other women in the same position. According to SaldĂvar, Cisneros communicates through this character that a woman needs her own place in order to realize her full potential—a home which is not a site of patriarchal violence, but instead "a site of poetic self-creation." One source of conflict and grief for
Cisneros's Chicana characters is that the male-dominated society in which they live denies them this place. Critics such as Jacqueline Doyle and Felicia J. Cruz have compared this theme in Cisneros's work to one of the key concepts in
634:. In the stories "Never Marry a Mexican" and "Woman Hollering Creek", the female protagonists grapple with these "Mexican icons of sexuality and motherhood that, internalized, seem to impose on them a limited and even negative definition of their own identities as women". The protagonist in "Never Marry a Mexican" is haunted by the myth of la Malinche, who is considered a whore and a traitor, and defies la Malinche's passive sexuality with her own aggressive one. In "Woman Hollering Creek" the protagonist reinvents the la Llorona myth when she decides to take charge of her own future, and that of her children, and discovers that the
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encompass notions of sex, class, gender, ethnicity, identity, and community." Cisneros frequently divorces the border from its strictly geographic meaning, using it metaphorically to explore how
Chicana identity is an amalgamation of both Mexican and Anglo-American cultures. The border represents the everyday experiences of people who are neither fully from one place nor the other; at times the border is fluid and two cultures can coexist harmoniously within a single person, but at other times it is rigid and there is an acute tension between them. Literary critic Katherine Payant has analyzed the border metaphor in
296:. I think it's ironic that at the moment when I was practically leaving an institution of learning, I began realizing in which ways institutions had failed me." Drawing on Mexican and Southwestern myths, popular culture and conversations in the city streets, Cisneros wrote to convey the lives of people she identified with. Literary critic Jacqueline Doyle has described Cisneros's passion for hearing the personal stories that people tell and her commitment to expressing the voices of marginalized people through her work, such as the "thousands of silent women" whose struggles are portrayed in
661:, which manifests in references to the Chicano/a characters' Mexican roots and the (im)migration between the two countries, the recurrence of overlapping pre-Columbian, mestizo and Southwestern Chicano myths, and the portrayal of Chicano/as as "straddling two or three cultures." Payant makes use of Gloria AnzaldĂșa's concept of living "on the borderlands" to describe the experience of Cisneros's Chicana characters who, in addition to their struggle to overcome patriarchal constructs of their gender and sexual identity, must negotiate linguistic and cultural boundaries.
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Chicana identity and gender inequalities) in an approachable way. Cisnerosâs writing has been influential in shaping both
Chicana and feminist literature. Quintana sees her fiction as a form of social commentary, contributing to a literary tradition that resembles the work of contemporary cultural anthropologists in its attempt to authentically represent the cultural experience of a group of people, and acknowledges Cisneros's contribution to Chicana feminist aesthetics by bringing women to the center as empowered protagonists in much of her work.
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vignettes to longer event-driven stories, and from highly poetic language to brutally frank realist language. Some stories lack a narrator to mediate between the characters and the reader; they are instead composed of textual fragments or conversations "overheard" by the reader. For example, "Little
Miracles, Kept Promises" is composed of fictional notes asking for the blessings of patron saints, and "The Marlboro Man" transcribes a gossiping telephone conversation between two female characters.
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river after she is unable to retrieve her children and it is claimed that she can be heard wailing for them in the sound of the wind and water. These entities, from the gentle and pure Virgen de
Guadalupe, to the violated and treacherous la Malinche, to the eternally grieving la Llorona give rise to a "fragmentary subjectivity" often experienced by Chicanas, and their need to come to terms with them, renegotiate them on their own terms, or reject them altogether.
578:. According to Madsen, Cisneros refers to herself as "wicked" for having "reappropriated, taken control of, her own sexuality and the articulation of it â a power forbidden to women under patriarchy". Through these poems she aims to represent "the reality of female sexuality" so that women readers will recognize the "divisive effects" of the stereotypes that they are expected to conform to, and "discover the potential for joy in their bodies that is denied them".
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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
503:, thus eliciting such varied reader responses as "it is about growing up", to "it's about a Chicana's growing up", to "it is a critique of patriarchal structures and exclusionary practices". Cisnerosâs writing is rich not only for its symbolism and imagery, deemed by critic Deborah L Madsen to be "both technically and aesthetically accomplished", but also for its social commentary and power to "evoke highly personal responses".
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roots once she obtains her dream house, and to open her doors to those who are less fortunate. Esperanza says "Passing bums will ask, Can I come in? I'll offer them the attic, ask them to stay, because I know how it is to be without a house." According to SaldĂvar, this statement of
Esperanza's alludes to "the necessity for a decent living space" that is fundamental to all people, despite the different oppressions they face.
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snippets are then mixed and matched to create her stories. Names for her characters often come from the San Antonio phone book; "she leafs through the listings for a last name then repeats the process for a first name." By mixing and matching the she is assured that she is not appropriating anyone's real name or real story, but at the same time her versions of characters and stories are believable.
226:(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
420:. As Ganz observes, previously only male Chicano authors had successfully made the crossover from smaller publishers. That Cisneros had garnered enough attention to be taken on by Vintage Press said a lot about the possibility for Chicano literature to become more widely recognized. Cisneros spoke of her success and what it meant for Chicana literature in an interview on
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of particular interest to Cisneros is the home. As literary critics Deborah L. Madsen and RamĂłn SaldĂvar have described, the home can be an oppressive place for Chicanas where they are subjugated to the will of male heads-of-household, or in the case of their own home, it can be an empowering place where they can act autonomously and express themselves creatively. In
437:, she moved away from the poetic style that was common in Chicana literature at the time and began to define a "distinctive Chicana literary space", challenging familiar literary forms and addressing subjects such as gender inequality and the marginalization of cultural minorities. According to literary critic Alvina E Quintana,
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The third figure, La Llorona, who derives from a centuries-old Mexican/Southwestern folktale, is "a proud young girl marries above her station and is so enraged when her husband takes a mistress of his own class that she drowns their children in the river". She dies grief-stricken by the edge of the
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Cisneros breaks the boundary between what is a socially acceptable way for women to act and speak and what is not, using language and imagery that have a "boisterous humor" and "extrovert energy" and are even at times "deliberately shocking". Not all readers appreciate this "shocking" quality of some
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As Madsen has described, Cisneros's "effort to negotiate a cross-cultural identity is complicated by the need to challenge the deeply rooted patriarchal values of both Mexican and American cultures." The lives of all Cisnerosâs female characters are affected by how femininity and female sexuality are
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the young protagonist, Esperanza, longs to have her own house: "Not a flat. Not an apartment in back. Not a man's house. Not a daddy's. A house all my own. With my porch and my pillow, my pretty purple petunias. My books and my stories. My two shoes waiting beside the bed. Nobody to shake a stick at.
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refers not only to her novels' geographic locations, but also to the positions her characters hold within their social context. Chicanas frequently occupy Anglo-dominated and male-dominated places where they are subject to a variety of oppressive and prejudicial behaviors; one of these places that is
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The challenges faced by Cisnerosâs characters on account of their gender cannot be understood in isolation from their culture, for the norms that dictate how women and men ought to think and behave are culturally determined and thus distinct for different cultural groups. Through her works, Cisneros
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in relation to gender, but to class as well. As SaldĂvar has noted, "Aside from the personal requirement of a gendered woman's space, Esperanza recognizes the collective requirements of the working poor and the homeless as well." He refers to Esperanza's determination not to forget her working-class
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Works by Cisneros can appear simple at first reading, but this is deceptive. She invites the reader to move beyond the text by recognizing larger social processes within the microcosm of everyday life: the phone conversation in "The Marlboro Man" is not merely idle gossip, but a text that allows the
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Cisneros often incorporates Spanish into her English writing, substituting Spanish words for English ones where she feels that Spanish better conveys the meaning or improves the rhythm of the passage. However, where possible she constructs sentences so that non-Spanish speakers can infer the meaning
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Cisneros's writing is often influenced by her personal experiences and by observations of the people in her community. She once confided to other writers at a conference in Santa Fe that she writes down "snippets of dialogue or monologue - records of conversations she hears wherever she goes." These
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Cisneros currently lives and writes in San Antonio, Texas, in a "Mexican-pink" home with "many creatures little and large." In 1990 when Pilar E. RodrĂguez Aranda asked Cisneros in an interview for the Americas Review why she has never married or started a family, Cisneros responded "I've never seen
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Cisneros's fiction comes in various formsâas novels, poems, and short storiesâby which she challenges both social conventions, with her "celebratory breaking of sexual taboos and trespassing across the restrictions that limit the lives and experiences of Chicanas", and literary ones, with her "bold
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I think I can't be happy if I'm the only one that's getting published by Random House when I know there are such magnificent writers-both Latinos and Latinas, both Chicanos and Chicanas-in the U.S. whose books are not published by mainstream presses or whom the main-stream isn't even aware of. And,
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Cisneros founded the Alfredo Cisneros del Moral Foundation in 2000. Named in the memory of her father, the foundation "has awarded over $ 75,500 to writers born in Texas, writing about Texas, or living in Texas since 2007". Its intention is to honour Cisneros's father's memory by showcasing writers
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in 1978. It was while attending this workshop that Cisneros discovered how the particular social position she occupied gave her writing a unique potential. She recalls being suddenly struck by the differences between her and her classmates: "It wasn't as if I didn't know who I was. I knew I was a
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Taking work as an upholsterer to support his family, Cisneros's father began "a compulsive circular migration between Chicago and Mexico City that became the dominating pattern of Cisneros's childhood." Constantly moving between the two countries necessitated finding new places to live and schools
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Sandra Cisneros was born in Chicago on 20 December 1954. The only surviving female of seven children, she considered herself the "odd number in a set of men." Cisneros's maternal great-grandfather had played the piano for the Mexican president and was from a wealthy background, but gambled away his
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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 USA instilled in her the sense of "always straddling
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also make trips to Mexico to reunite with family members. However, to quote literary critics JesĂșs Benito and Ana MarĂa Manzanas, the "image of the border has become fully meaningful not only when we consider it as a physical line but when we decenter it and liberate it from the notion of space to
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transgressive meaning of the gesture", thinking that she was merely being lewd for shock value, and questioned her legitimacy as a feminist. Cisnerosâs initial response to this was dismay, but then she reports thinking "Wait a second, whereâs your sense of humor? And why canât a feminist be sexy?"
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of the myth, which is the Spanish word for the sound made by la Llorona, can be interpreted as a "joyous holler" rather than a grieving wail. It is the borderland, that symbolic middle ground between two cultures, which "offers a space where such a negotiation with fixed gender ideals is at least
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conveys the experiences of Chicanas confronting the "deeply rooted patriarchal values" of Mexican culture through interactions not only with Mexican fathers, but the broader community which exerts pressure upon them to conform to a narrow definition of womanhood and a subservient position to men.
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Her biculturalism and bilingualism are also very important aspects of her writing. Cisneros was quoted by Robin Ganz as saying that she is grateful to have "twice as many words to pick from...two ways of looking at the world," and Ganz referred to her "wide range of experience" as a "double-edged
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When Cisneros addresses the subject of female sexuality, she often portrays negative scenarios in which men exert control over women through control over their sexuality, and explores the gap she perceives between the real sexual experiences of women and their idealized representation in popular
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is a book that has reached beyond the Chicano and Latino literary communities, and is now read by people of all ethnicities. Quintana states that Cisneros's writing is accessible for both Anglo- and Mexican-Americans alike since it is free from anger or accusation, presenting the issues (such as
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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 Foundation, which provides
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cover (3rd Woman Press, 1987). Cisneros says of this photo: "The cover is of a woman appropriating her own sexuality. In some ways, thatâs also why itâs wicked: the scene is trespassing that boundary by saying 'I defy you. I'm going to tell my own story.'" Some readers "failed to perceive the
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is a collection of twenty-two short stories that form a collage of narrative techniques, each serving to engage and affect the reader in a different way. Cisneros alternates between first person, third person, and stream-of-consciousness narrative modes, and ranges from brief impressionistic
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that they began to infiltrate her subconscious mind. Once while she was writing the story "Eyes of Zapata," she awoke "in the middle of the night, convinced for the moment that she was Ines, the young bride of the Mexican revolutionary. Her dream conversation with Zapata then became those
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Many theorists, including Jacqueline Doyle, Jean Wyatt, Emma Perez and Cordelia Candelaria, have argued that the gender identity of Mexican and Chicana women is complexly constructed in reference to these three figures. La Virgen de Guadalupe, a Catholic icon of the manifestation of the
611:. These symbolic figures are of great importance to identity politics and popular culture in Mexico and the southwest United States, and have been used, argues theorist Norma AlarcĂłn, as reference points "for controlling, interpreting, or visualizing women" in Mexican-American culture.
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reader to dig into the characters' psyches and analyze their cultural influences. Literary critics have noted how Cisneros tackles complex theoretical and social issues through the vehicle of apparently simple characters and situations. For example, RamĂłn SaldĂvar observes that
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Although Cisneros does not explicitly locate her stories and novels on the Mexico-U.S. border, Sadowski-Smith identifies the concept as perhaps Cisneros's most salient theme due to the constant border crossings, both real and metaphorical, of characters in all of her works.
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Literary critic Claudia Sadowski-Smith has called Cisneros "perhaps the most famous Chicana writer", and she has been acknowledged as a pioneer in her literary field as the first female Mexican-American writer to have her work published by a mainstream publisher. In 1989,
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primarily in English, "the syntax, the sensibility, the diminutives, the way of looking at inanimate objects" were all characteristic of Spanish. For Cisneros, Spanish brings to her work not only colourful expressions, but also a distinctive rhythm and attitude.
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In addition to being an author and poet, Cisneros has held various academic and teaching positions. In 1978, after finishing her MFA degree, she taught former high-school dropouts at the Latino Youth Alternative High School in Chicago. The 1984 publication of
347:, Cisneros wrote: "It's why I moved from Illinois to Texas. So that the relatives and family would allow me the liberty to disappear into myself. To reinvent myself if I had to. As Latinas, we have to... Because writing is like putting your head underwater."
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Cisneros has been instrumental in building a strong community in San Antonio among other artists and writers through her work with the Macondo Foundation and the Alfredo Cisneros del Moral Foundation. The Macondo Foundation, which is named after the town in
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Award in 2005; the novel also received the Dublin International IMPAC award, and was nominated for the Orange Prize in England. In 2003, Cisneros became part of the second group of recipients of the newly formed Texas Cultural Trust's Texas Medal of Arts.
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a marriage that is as happy as my living alone... My writing is my child and I don't want anything to come between us." She has said that she enjoys living alone because it gives her time to think and write. In the introduction to the third edition of
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defined within this patriarchal value system and they must struggle to rework these definitions. As Cisneros has said: "There's always this balancing act, we've got to define what we think is fine for ourselves instead of what our culture says."
499:"represents from the simplicity of childhood vision the enormously complex process of the construction of the gendered subject". In the same vein, Felicia J. Cruz describes how each individual will interact differently with
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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.
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sword." Cisneros's ability to speak two languages and to write about her two cultures gives her a unique position from where she is able to tell not just her story, but also the stories of those around her.
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Perez, Emma (1993), "Sexuality and Discourse: Notes from a Chicana Survivor", in AlarcĂłn, Norma; Castro, Rafaela; Perez, Emma; Pesquera, Beatriz; Sosa Riddell, Adaljiza; Zavella, Patricia (eds.),
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She has further received the Quality Paperback Book Club New Voices Award, the Anisfield-Wolf Book Award, the PEN Center West Award for best fiction, and the Lannan Foundation Literary Award for
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Cisneros shows how Chicanas, like women of many other ethnicities, internalize these norms starting at a young age, through informal education by family members and popular culture. In
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AlarcĂłn, Norma (1982), "Chicana's Feminist Literature: A Re-vision Through Malintzin/or Malintzin: Putting Flesh Back on the Object", in Moraga, Cherrie; AnzaldĂșa, Gloria (eds.),
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As a pioneer Chicana author, Cisneros filled a void by bringing to the fore a genre that had previously been at the margins of mainstream literature. With her first novel,
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of Cisnerosâs work. Both female and male readers have criticized Cisneros for the ways she celebrates her sexuality, such as the "suggestive" photograph of herself on the
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culture. However, Cisneros also describes female sexuality in extremely positive terms, especially in her poetry. This is true, for example, of her 1987 volume of poetry
272:; although Cisneros had written her first poem around the age of ten, with her teacher's encouragement she became known for her poetry throughout her high-school years.
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RodrĂguez Aranda, Pilar E. (Spring 1990), "On the Solitary Fate of Being Mexican, Female, Wicked and Thirty-three: An Interview with Writer Sandra Cisneros",
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in the Americas, is revered in Mexico as a "nurturing and inspiring mother and maiden". La Malinche, the indigenous mistress and intermediary of conquistador
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you know, if my success means that other presses will take a second look at these writers... and publish them in larger numbers then our ship will come in.
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secured her a succession of Writer-in-Residence posts at universities in the United States, teaching creative writing at institutions such as the
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Benito, JesĂșs; Manzanas, Ana MarĂa (2002), "Border(lands) and Border Writing: Introductory Essay", in Benito, JesĂșs; Manzanas, Ana MarĂa (eds.),
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A recurrent theme in Cisnerosâs work is the triad of figures that writer and theorist Gloria AnzaldĂșa has referred to as "Our Mothers": the
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Payant, Katherine (1999), "Borderland Themes in Sandra Cisneros's Woman Hollering Creek", in Payant, Katherine B.; Rose, Toby (eds.),
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464:. But that's what they called the creek that ran behind the house." Even if the English-speaking reader does not initially know that
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3037:"On Not Being La Malinche: Border Negotiations of Gender in Sandra Cisneros's 'Never Marry a Mexican' and 'Woman Hollering Creek'"
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960:(2007). By Carlos Cumpian, Sandra Cisneros, Carlos Cortez, Beatriz Badikian, Cynthia Gallaher, Margarita Lopez-Castro, Raul Nino.
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Cisneros was recognised by the State University of New York, receiving an honorary doctorate from at Purchase in 1993 and a
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takes place in Chicago where the narrator lives, and in Mexico City where she visits extended family. Various characters in
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experimentation with literary voice and her development of a hybrid form that weaves poetry into prose". Published in 1991,
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obsessively watched by the female characters are juxtaposed with the abuse and poverty they face in their own lives.
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Dasenbrock, Reed Way (1992), "Interview: Sandra Cisneros", in Jussawalla, Feroza; Dasenbrock, Reed Way (eds.),
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Harrington, Patricia (Spring, 1988), "Mother of Death, Mother of Rebirth: The Mexican Virgin of Guadalupe",
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in San Antonio, Texas. Cisneros has also worked as a college recruiter and an arts administrator.
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has been translated worldwide and is taught in American classrooms as a coming-of-age novel.
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Candelaria, Cordelia (1993), "Letting La Llorona Go, or Re/reading History's Tender Mercies",
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Border Fictions: Globalization, Empire, and Writing at the Boundaries of the United States
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2751:"Haunting the Borderlands: La Llorona in Sandra Cisneros's Woman Hollering Creek""
737:
118:
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Cisneros, Sandra (1986), "Cactus Flowers: In Search of Tejana Feminist Poetry",
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When Cisneros describes the aspirations and struggles of Chicanas, the theme of
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who are as proud of their craft as Alfredo was of his craft as an upholsterer.
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When Cisneros was eleven, her family made a down-payment on their own home in
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The Immigrant Experience in North American Literature: Carving Out a Niche
404:, which was originally published by the small Hispanic publishing company
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2750:
2505:"Thanks for telling the story of Texas through the arts" (editorial),
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Cisneros once found herself so immersed in the characters of her book
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692:. This book was selected as the noteworthy book of the year by both
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Cisneros writes: "La Gritona. Such a funny name for such a lovely
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Candelaria, Cordelia (1980), "La Malinche, Feminist Prototype",
211:
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2253:
954:(2005). By Carmen Lomas Garza. Introduction by Sandra Cisneros.
2684:, Jackson: University Press of Mississippi, pp. 287â306,
2558:
This Bridge Called My Back: Writings by Radical Women of Color
3070:
2814:
2770:
2740:
2408:
MacArthur: The John D. and Catherine T. MacArthur Foundation
2358:"Sandra Cisneros: Woman Hollering Creek and Other Stories",
948:(2000). By Eduardo Galeano. Contribution by Sandra Cisneros.
275:
In 1976 Cisneros was awarded a Bachelor of Arts degree from
2388:, Mountain & Plains Independent Booksellers Association
2257:
NEA Literature Fellowships: 40 Years of Supporting Writers
1912:
harvnb error: multiple targets (2Ă): CITEREFCisneros1994 (
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66:
to this revision, which may differ significantly from the
2294:"The American Book Awards / Before Columbus Foundation",
283:(MFA) degree after completing a writerâs workshop at the
68:
326:. More recently she has been a Writer-in-Residence at
708:, won the Mountain & Plains Booksellers' Award.
673:
in 1981 and 1988, and in 1985 was presented with the
2871:, Columbia, SC: University of South Carolina Press,
2579:
Literature and Ethnicity in the Cultural Borderlands
2492:Associated Press. "Talented Texans to be honored,"
912:
Text "Caramelo, or, Pure Cuento: A Novel" ignored (
590:
2682:Interviews with Writers of the Post-Colonial World
719:was highly regarded by several journals including
3002:Sagel, Jim (1991), "Sandra Cisneros: Interview",
2985:, Charlottesville: University of Virginia Press,
2913:, Berkeley: Third Woman Press, pp. 159â184,
1391:
1389:
1359:
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481:Narrative modes, diction, and apparent simplicity
220:(1984) and her subsequent short story collection
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3016:Chicano Narrative: The Dialectics of Difference
2560:, Watertown, MA: Persephone, pp. 182â189,
1466:
1464:
550:Construction of femininity and female sexuality
3018:, Madison: The University of Wisconsin Press,
2980:
2781:"Sandra Cisneros: Border Crossings and Beyond"
2576:
2254:National Endowment for the Arts (March 2006),
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669:Sandra Cisneros received fellowships from the
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2452:The International IMPAC Dublin Literary Award
2341:, Embassy of the United States, Dar es Salaam
1609:
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630:The three "Mothers" come out most clearly in
2892:, Westport, CT: Greenwood, pp. 95â108,
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1308:"CSUMB professor honored with Milagro award"
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189:American Book Award,Clay McDaniel Fellowship
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1759:
1518:Interview with Tom Vitale on NPR Quoted in
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2679:
2648:"On the 'Simplicity' of Sandra Cisneros's
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2537:Borderlands: The New Mestiza = La Frontera
2518:"Legislature honors 13 artists, patrons,"
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3073:subscription required for online access.)
2934:, Philadelphia: Temple University Press,
2817:subscription required for online access.)
2773:subscription required for online access.)
2743:subscription required for online access.)
2703:"More Room of Her Own: Sandra Cisneros's
2674:subscription required for online access.)
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76:Revision as of 18:37, 2 December 2008 by
3275:Emergency Tacos: Seven Poets Con Picante
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566:, where multiple references to romantic
541:Cisneros not only explores the issue of
456:of Spanish words from their context. In
345:Borderlands/La Frontera: The New Mestiza
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3180:Woman Hollering Creek and Other Stories
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1472:"Alfredo Cisneros Del Moral Foundation"
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690:Woman Hollering Creek and Other Stories
659:Woman Hollering Creek and Other Stories
654:Woman Hollering Creek and Other Stories
632:Woman Hollering Creek and Other Stories
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458:Woman Hollering Creek and Other Stories
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818:, Bloomington, IN: Third Woman Press,
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364:characters's dialogue in her story."
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2932:Home Girls: Chicana Literary Voices
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3216:Caramelo, or, Pure Cuento: A Novel
2474:Orange Broadband Prize for Fiction
506:
350:
320:University of California, Berkeley
155:Novelist, poet, short story writer
140:
3352:
3291:
2701:Doyle, Jacqueline (Winter 1994),
62:. The present address (URL) is a
3331:Loyola University Chicago alumni
2981:Sadowski-Smith, Claudia (2008),
2512:
2335:"Hispanic Heritage Month 2007",
2297:American Booksellers Association
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591:Construction of Chicana identity
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946:Days and Nights of Love and War
671:National Endowment for the Arts
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2361:The Anisfield-Wolf Book Awards
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1364:Bennett, Steve (2008-07-27).
1343:. macondofoundation.org. 2008
642:
384:One Hundred Years of Solitude
210:(born 20 December 1954) is a
200:http://www.sandracisneros.com
3316:American short story writers
2930:Quintana, Alvina E. (1996),
1366:"Macondo â words as weapons"
701:The American Library Journal
7:
3035:Wyatt, Jean (Autumn 1995),
2867:Madsen, Deborah L. (2000),
2779:Ganz, Robin (Spring 1994),
2496:, February 7, 2003, page 2.
2382:Regional Book Award Winners
308:
24:of this page, as edited by
10:
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2855:CS1 maint: date and year (
2749:Doyle, Jacqueline (1996),
2522:, March 26, 2003, page 2B.
2427:"Terne e vincitori 2005",
2218:Benito & Manzanas 2002
1319:. csumb.edu. 24 April 2007
836:, New York: Random House,
679:Before Columbus Foundation
95:
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3341:University of Iowa alumni
3321:Hispanic American writers
3289:
3242:
3156:The House on Mango Street
3135:
2705:The House on Mango Street
2646:Cruz, Felicia J. (2001),
2535:AnzaldĂșa, Gloria (1987),
2507:Austin American-Statesman
921:Cisneros, Sandra (2004),
886:Cisneros, Sandra (2002),
868:Cisneros, Sandra (1994),
850:Cisneros, Sandra (1994),
832:Cisneros, Sandra (1991),
814:Cisneros, Sandra (1987),
797:The House on Mango Street
795:Cisneros, Sandra (1989),
782:, Houston: Arte PĂșblico,
780:The House on Mango Street
778:Cisneros, Sandra (1984),
762:Cisneros, Sandra (1980),
683:The House on Mango Street
664:
650:The House on Mango Street
560:The House on Mango Street
527:The House on Mango Street
497:The House on Mango Street
474:The House on Mango Street
439:The House on Mango Street
435:The House on Mango Street
402:The House on Mango Street
395:Chicano literary movement
333:
316:The House on Mango Street
298:The House on Mango Street
277:Loyola University Chicago
265:The House on Mango Street
236:The House on Mango Street
217:The House on Mango Street
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173:The House on Mango Street
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3336:Mexican American writers
3079:Woolf, Virginia (1998),
3014:SaldĂvar, RamĂłn (1990),
2520:San Antonio Express-News
2430:Fondazione Premio Napoli
2405:"MacArthur Fellows: C",
1397:"Organizational History"
964:
511:
246:Early life and education
2911:Chicana Critical Issues
1450:. macondofoundation.org
1426:. macondofoundation.org
1402:. macondofoundation.org
1218:"About Sandra Cisneros"
766:, San Jose, CA: Mango,
732:San Francisco Chronicle
98:ââCareer and later life
53:ââCareer and later life
3168:My Wicked, Wicked Ways
2844:Check date values in:
2656:Modern Fiction Studies
2449:"The 2004 Shortlist",
1258:, p. introduction
816:My Wicked, Wicked Ways
584:My Wicked, Wicked Ways
576:My Wicked, Wicked Ways
431:
424:on 19 September 1991:
379:Gabriel GarcĂa MĂĄrquez
324:University of Michigan
45:18:37, 2 December 2008
2650:House on Mango Street
2116:RodrĂguez Aranda 1990
1896:RodrĂguez Aranda 1990
1445:"Casa Azul Residency"
1244:RodrĂguez Aranda 1990
925:, New York: Vintage,
799:, New York: Vintage,
426:
422:National Public Radio
414:Woman Hollering Creek
361:Woman Hollering Creek
304:Later life and career
294:House on Mango Street
292:- and the stories in
1477:. sandracisneros.com
1338:"Macondo Foundation"
1223:. sandracisneros.com
713:MacArthur fellowship
2953:The Americas Review
2509:, February 9, 2003.
2338:Programs and Events
2206:Sadowski-Smith 2008
1495:Sadowski-Smith 2008
890:, New York: Knopf,
872:, New York: Knopf,
854:, New York: Knopf,
793:. Second edition:
747:, which led to her
675:American Book Award
601:Virgen de Guadalupe
536:A Room of One's Own
281:Master of Fine Arts
115:â Previous revision
3204:Loose woman: Poems
1375:. mysanantonio.com
1373:mySA entertainment
870:Loose woman: Poems
721:The New York Times
715:in 1995. In 2003,
695:The New York Times
406:Arte PĂșblico Press
341:Gloria E. AnzaldĂșa
290:Wicked Wicked Ways
285:University of Iowa
228:Chicana literature
3298:
3297:
3004:Publishers Weekly
2494:Houston Chronicle
2471:"2003 Longlist",
1968:, p. 119-120
744:The Seattle Times
726:Los Angeles Times
534:'s famous essay "
416:was published by
279:, and received a
205:
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3228:Vintage Cisneros
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1846:
1842:
1834:
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1822:
1818:
1810:
1806:
1798:
1794:
1786:
1782:
1772:
1767:
1760:
1752:
1748:
1740:
1733:
1725:
1721:
1713:
1709:
1701:
1694:
1686:
1682:
1674:
1667:
1661:Dasenbrock 1992
1659:
1655:
1647:
1643:
1635:
1631:
1625:Dasenbrock 1992
1623:
1610:
1602:
1598:
1590:
1586:
1578:
1574:
1566:
1562:
1554:
1550:
1542:
1538:
1530:
1526:
1517:
1513:
1505:
1501:
1493:
1489:
1480:
1478:
1474:
1470:
1469:
1462:
1453:
1451:
1447:
1443:
1442:
1438:
1429:
1427:
1423:
1419:
1418:
1414:
1405:
1403:
1399:
1395:
1394:
1387:
1378:
1376:
1368:
1362:
1355:
1346:
1344:
1340:
1336:
1335:
1331:
1322:
1320:
1310:
1306:
1305:
1298:
1293:
1289:
1284:
1280:
1275:
1271:
1266:
1262:
1254:
1250:
1242:
1235:
1226:
1224:
1220:
1214:
1201:
1193:
1189:
1181:
1177:
1169:
1165:
1157:
1153:
1147:Dasenbrock 1992
1145:
1141:
1135:Dasenbrock 1992
1133:
1129:
1121:
1117:
1109:
1105:
1097:
1090:
1082:
1069:
1061:
1052:
1044:
1037:
1029:
1025:
1017:
1013:
1005:
998:
990:
986:
978:
971:
967:
942:
933:
911:
902:
901:
898:
880:
862:
852:Hairs = Pelitos
844:
826:
807:
790:
758:
738:Chicago Tribune
667:
645:
593:
552:
520:often emerges.
514:
509:
507:Literary themes
483:
453:
448:
397:
374:
353:
351:Writing Process
336:
311:
306:
248:
208:Sandra Cisneros
147:
146:Sandra Cisneros
138:
137:
136:
135:
134:
119:Latest revision
107:
106:
96:
93:
82:
80:
67:
51:
48:
31:
29:
12:
11:
5:
3354:
3344:
3343:
3338:
3333:
3328:
3323:
3318:
3313:
3296:
3295:
3290:
3287:
3286:
3284:
3283:
3271:
3259:
3246:
3244:
3243:Contributed to
3240:
3239:
3237:
3236:
3224:
3212:
3200:
3188:
3176:
3164:
3152:
3139:
3137:
3133:
3132:
3125:
3124:
3117:
3110:
3102:
3096:
3095:
3090:978-0192834843
3089:
3075:
3074:
3031:
3030:
3025:978-0299124748
3024:
3010:
3009:
2998:
2997:
2992:978-0813926896
2991:
2977:
2976:
2947:
2946:
2941:978-1566393737
2940:
2926:
2925:
2920:978-0943219097
2919:
2905:
2904:
2899:978-0313308918
2898:
2884:
2883:
2878:978-1570033797
2877:
2863:
2862:
2819:
2818:
2775:
2774:
2745:
2744:
2697:
2696:
2691:978-0878055722
2690:
2676:
2675:
2642:
2641:
2626:
2625:
2610:
2609:
2594:
2593:
2588:978-9042015098
2587:
2573:
2572:
2567:978-0930436100
2566:
2552:
2551:
2546:978-0933216259
2545:
2530:
2527:
2525:
2524:
2511:
2498:
2485:
2463:
2441:
2419:
2397:
2372:
2350:
2327:
2308:
2286:
2246:
2234:
2222:
2210:
2198:
2186:
2171:
2159:
2144:
2132:
2120:
2108:
2096:
2084:
2056:
2044:
2032:
2013:
2001:
1982:
1970:
1958:
1946:
1934:
1919:
1900:
1888:
1871:
1859:
1840:
1828:
1816:
1804:
1802:, pp. 6â8
1792:
1780:
1758:
1746:
1731:
1719:
1707:
1692:
1680:
1665:
1653:
1641:
1629:
1608:
1596:
1584:
1572:
1560:
1548:
1536:
1524:
1511:
1499:
1487:
1460:
1436:
1412:
1385:
1353:
1329:
1296:
1294:Ganz 1994, p27
1287:
1285:Ganz 1994, p27
1278:
1276:Ganz 1994, p26
1269:
1267:Ganz 1994, p26
1260:
1248:
1233:
1199:
1187:
1175:
1163:
1151:
1139:
1127:
1115:
1103:
1088:
1067:
1050:
1035:
1023:
1011:
996:
984:
968:
966:
963:
962:
961:
955:
949:
941:
938:
937:
936:
932:978-1400034055
931:
918:
897:978-1400041503
896:
883:
879:978-0679416449
878:
865:
861:978-0679890072
860:
847:
843:978-0394576541
842:
829:
825:978-0943219011
824:
811:
806:978-0679734772
805:
789:978-0934770200
788:
775:
757:
754:
666:
663:
644:
641:
592:
589:
551:
548:
532:Virginia Woolf
513:
510:
508:
505:
482:
479:
452:
449:
447:
444:
412:; and in 1991
396:
393:
373:
370:
352:
349:
335:
332:
310:
307:
305:
302:
247:
244:
203:
202:
196:
195:
191:
190:
187:
186:Notable awards
183:
182:
169:
165:
164:
161:
157:
156:
153:
149:
148:
145:
78:
64:permanent link
27:
16:
15:
9:
6:
4:
3:
2:
3353:
3342:
3339:
3337:
3334:
3332:
3329:
3327:
3326:Living people
3324:
3322:
3319:
3317:
3314:
3312:
3309:
3308:
3306:
3293:
3292:List of works
3288:
3281:
3277:
3276:
3272:
3269:
3265:
3264:
3260:
3257:
3253:
3252:
3248:
3247:
3245:
3241:
3234:
3230:
3229:
3225:
3222:
3218:
3217:
3213:
3210:
3206:
3205:
3201:
3198:
3194:
3193:
3189:
3186:
3182:
3181:
3177:
3174:
3170:
3169:
3165:
3162:
3158:
3157:
3153:
3150:
3146:
3145:
3141:
3140:
3138:
3134:
3130:
3123:
3118:
3116:
3111:
3109:
3104:
3103:
3100:
3092:
3086:
3082:
3077:
3076:
3072:
3066:
3060:
3046:
3042:
3038:
3033:
3032:
3027:
3021:
3017:
3012:
3011:
3005:
3000:
2999:
2994:
2988:
2984:
2979:
2978:
2972:
2966:
2958:
2954:
2949:
2948:
2943:
2937:
2933:
2928:
2927:
2922:
2916:
2912:
2907:
2906:
2901:
2895:
2891:
2886:
2885:
2880:
2874:
2870:
2865:
2864:
2858:
2851:
2838:
2830:
2826:
2821:
2820:
2816:
2810:
2804:
2790:
2786:
2782:
2777:
2776:
2772:
2760:
2756:
2752:
2747:
2746:
2742:
2736:
2730:
2716:
2712:
2708:
2706:
2699:
2698:
2693:
2687:
2683:
2678:
2677:
2673:
2661:
2657:
2653:
2651:
2644:
2643:
2637:
2633:
2628:
2627:
2621:
2617:
2612:
2611:
2605:
2601:
2596:
2595:
2590:
2584:
2580:
2575:
2574:
2569:
2563:
2559:
2554:
2553:
2548:
2542:
2538:
2533:
2532:
2521:
2515:
2508:
2502:
2495:
2489:
2476:
2475:
2467:
2454:
2453:
2445:
2432:
2431:
2423:
2410:
2409:
2401:
2384:
2383:
2376:
2363:
2362:
2354:
2340:
2339:
2331:
2325:, p. 107
2324:
2319:
2317:
2315:
2313:
2299:
2298:
2290:
2282:
2276:
2259:
2258:
2250:
2243:
2238:
2231:
2226:
2219:
2214:
2207:
2202:
2196:, p. 244
2195:
2190:
2184:, p. 243
2183:
2178:
2176:
2169:, p. 112
2168:
2163:
2156:
2151:
2149:
2141:
2140:Cisneros 1986
2136:
2130:, p. 123
2129:
2124:
2117:
2112:
2106:, p. 243
2105:
2100:
2093:
2088:
2081:
2077:
2073:
2069:
2065:
2060:
2054:, p. 182
2053:
2048:
2041:
2040:AnzaldĂșa 1987
2036:
2028:
2022:
2017:
2011:, p. 122
2010:
2005:
1997:
1991:
1986:
1980:, p. 121
1979:
1974:
1967:
1962:
1956:, p. 121
1955:
1950:
1944:, p. 119
1943:
1938:
1932:, p. 114
1931:
1926:
1924:
1915:
1909:
1908:Cisneros 1994
1904:
1897:
1892:
1886:, p. 108
1885:
1880:
1878:
1876:
1869:, p. 184
1868:
1867:SaldĂvar 1990
1863:
1855:
1850:, p. 108
1849:
1848:Cisneros 1994
1844:
1838:, p. 183
1837:
1836:SaldĂvar 1990
1832:
1825:
1820:
1814:, p. 923
1813:
1808:
1801:
1796:
1790:, p. 108
1789:
1788:SaldĂvar 1990
1784:
1776:
1771:, p. 132
1770:
1769:Cisneros 1994
1765:
1763:
1756:, p. 108
1755:
1754:SaldĂvar 1990
1750:
1744:, p. 113
1743:
1738:
1736:
1729:, p. 915
1728:
1723:
1717:, p. 181
1716:
1715:SaldĂvar 1990
1711:
1705:, p. 914
1704:
1699:
1697:
1690:, p. 913
1689:
1684:
1678:, p. 105
1677:
1672:
1670:
1663:, p. 288
1662:
1657:
1650:
1649:Cisneros 1991
1645:
1638:
1637:Cisneros 1991
1633:
1627:, p. 289
1626:
1621:
1619:
1617:
1615:
1613:
1605:
1604:Quintana 1996
1600:
1593:
1592:Quintana 1996
1588:
1581:
1580:Quintana 1996
1576:
1569:
1568:Quintana 1996
1564:
1558:, p. 911
1557:
1552:
1545:
1544:Quintana 1996
1540:
1533:
1528:
1521:
1515:
1508:
1503:
1496:
1491:
1473:
1467:
1465:
1446:
1440:
1422:
1416:
1398:
1392:
1390:
1374:
1367:
1360:
1358:
1339:
1333:
1318:
1317:
1309:
1303:
1301:
1291:
1282:
1273:
1264:
1257:
1256:AnzaldĂșa 1987
1252:
1245:
1240:
1238:
1219:
1212:
1210:
1208:
1206:
1204:
1196:
1191:
1184:
1179:
1172:
1167:
1161:, p. 106
1160:
1155:
1149:, p. 302
1148:
1143:
1137:, p. 302
1136:
1131:
1124:
1119:
1113:, p. 107
1112:
1107:
1100:
1095:
1093:
1085:
1080:
1078:
1076:
1074:
1072:
1064:
1059:
1057:
1055:
1047:
1042:
1040:
1033:, p. 106
1032:
1027:
1021:, p. 910
1020:
1015:
1008:
1003:
1001:
994:, p. 107
993:
988:
981:
976:
974:
969:
959:
956:
953:
950:
947:
944:
943:
940:Contributions
934:
928:
924:
919:
915:
906:
899:
893:
889:
884:
881:
875:
871:
866:
863:
857:
853:
848:
845:
839:
835:
830:
827:
821:
817:
812:
808:
802:
798:
791:
785:
781:
776:
773:
769:
765:
760:
759:
756:List of works
753:
750:
749:Premio Napoli
746:
745:
740:
739:
734:
733:
728:
727:
722:
718:
714:
709:
707:
703:
702:
697:
696:
691:
686:
684:
680:
676:
672:
662:
660:
655:
651:
640:
637:
633:
628:
624:
622:
621:Hernån Cortés
618:
612:
610:
606:
602:
597:
588:
585:
579:
577:
571:
569:
565:
561:
556:
547:
544:
539:
537:
533:
528:
523:
519:
504:
502:
498:
492:
489:
478:
475:
471:
467:
463:
459:
446:Writing style
443:
440:
436:
430:
425:
423:
419:
415:
411:
410:Vintage Press
407:
403:
392:
388:
386:
385:
380:
369:
365:
362:
357:
348:
346:
342:
331:
329:
325:
321:
317:
301:
299:
295:
291:
286:
282:
278:
273:
271:
267:
266:
261:
260:Humboldt Park
256:
252:
243:
239:
237:
231:
229:
225:
224:
219:
218:
213:
209:
201:
197:
192:
188:
184:
181:
180:
175:
174:
170:
168:Notable works
166:
162:
158:
154:
150:
143:
132:
128:
124:
120:
116:
112:
99:
90:
86:
81:
74:
73:
70:
65:
54:
39:
35:
30:
23:
3273:
3261:
3249:
3226:
3214:
3202:
3190:
3178:
3166:
3154:
3142:
3128:
3080:
3049:, retrieved
3047:(2): 243â271
3044:
3040:
3015:
3003:
2982:
2956:
2952:
2931:
2910:
2889:
2868:
2828:
2824:
2793:, retrieved
2788:
2784:
2763:, retrieved
2758:
2754:
2719:, retrieved
2714:
2710:
2704:
2681:
2672:Project MUSE
2664:, retrieved
2662:(4): 910â946
2659:
2655:
2649:
2635:
2631:
2622:(3): 111â115
2619:
2615:
2603:
2599:
2578:
2557:
2536:
2519:
2514:
2506:
2501:
2493:
2488:
2478:, retrieved
2473:
2466:
2456:, retrieved
2451:
2444:
2434:, retrieved
2429:
2422:
2412:, retrieved
2407:
2400:
2390:, retrieved
2381:
2375:
2365:, retrieved
2360:
2353:
2343:, retrieved
2337:
2330:
2301:, retrieved
2296:
2289:
2265:, retrieved
2263:, p. 17
2256:
2249:
2244:, p. 96
2237:
2232:, p. 95
2225:
2213:
2208:, p. 33
2201:
2189:
2162:
2157:, p. 56
2142:, p. 74
2135:
2123:
2118:, p. 65
2111:
2099:
2094:, p. 26
2087:
2059:
2052:AlarcĂłn 1982
2047:
2035:
2023:, p. 69
2016:
2004:
1992:, p. 68
1985:
1973:
1961:
1949:
1937:
1903:
1898:, p. 66
1891:
1862:
1843:
1831:
1819:
1807:
1795:
1783:
1749:
1722:
1710:
1683:
1656:
1651:, p. 93
1644:
1639:, p. 46
1632:
1606:, p. 68
1599:
1594:, p. 75
1587:
1582:, p. 67
1575:
1570:, p. 73
1563:
1551:
1546:, p. 55
1539:
1534:, p. 74
1527:
1522:, p. 27
1514:
1509:, p. 27
1502:
1497:, p. 33
1490:
1479:. Retrieved
1452:. Retrieved
1439:
1428:. Retrieved
1415:
1404:. Retrieved
1377:. Retrieved
1372:
1345:. Retrieved
1332:
1321:. Retrieved
1314:
1290:
1281:
1272:
1263:
1251:
1225:. Retrieved
1197:, p. 24
1190:
1185:, p. 24
1178:
1173:, p. 53
1166:
1154:
1142:
1130:
1125:, p. 23
1118:
1106:
1101:, p. 22
1086:, p. 21
1065:, p. 20
1048:, p. 19
1026:
1014:
1009:, p. 54
987:
957:
951:
945:
922:
887:
869:
851:
833:
815:
796:
779:
763:
742:
736:
730:
724:
720:
716:
710:
705:
699:
693:
689:
687:
682:
668:
658:
653:
649:
646:
635:
631:
629:
625:
613:
598:
594:
583:
580:
575:
572:
563:
559:
557:
553:
542:
540:
526:
521:
517:
515:
500:
496:
493:
487:
484:
473:
469:
465:
461:
457:
454:
451:Bilingualism
438:
434:
432:
427:
418:Random House
413:
401:
398:
389:
382:
375:
366:
360:
358:
354:
344:
337:
315:
312:
297:
293:
289:
274:
263:
257:
253:
249:
240:
235:
232:
221:
215:
207:
206:
177:
171:
22:old revision
19:
18:
3311:1954 births
2846:|date=
2632:Third Woman
2323:Madsen 2000
2242:Payant 1999
2230:Payant 1999
2220:, p. 3
2167:Madsen 2000
2128:Madsen 2000
2021:Aranda 1990
2009:Madsen 2000
1990:Aranda 1990
1978:Madsen 2000
1966:Madsen 2000
1954:Madsen 2000
1942:Madsen 2000
1930:Madsen 2000
1884:Madsen 2000
1826:, p. 4
1742:Madsen 2000
1676:Madsen 2000
1159:Madsen 2000
1111:Madsen 2000
1031:Madsen 2000
992:Madsen 2000
982:, p. 6
706:Loose Woman
639:possible".
617:Virgin Mary
605:La Malinche
568:telenovelas
270:Vietnam War
160:Nationality
20:This is an
3305:Categories
3051:2008-11-11
2959:(1): 65â80
2831:(1): 25â50
2795:2008-09-30
2791:(1): 19â29
2765:2008-10-18
2761:(1): 53â70
2721:2008-10-18
2666:2008-10-31
2529:References
2480:2008-11-12
2458:2008-11-12
2436:2008-11-12
2414:2008-11-09
2392:2008-11-11
2367:2008-11-12
2345:2008-11-12
2303:2008-11-09
2267:2008-11-09
2194:Wyatt 1995
2182:Wyatt 1995
2155:Doyle 1996
2104:Wyatt 1995
2072:Perez 1993
2068:Wyatt 1995
2064:Doyle 1996
1824:Woolf 1998
1800:Doyle 1994
1532:Sagel 1991
1481:2008-11-11
1454:2008-11-11
1430:2008-11-11
1406:2008-11-11
1379:2008-11-21
1347:2008-11-11
1323:2008-11-21
1227:2008-11-11
1171:Doyle 1996
1007:Doyle 1996
980:Doyle 1994
643:Borderland
609:La Llorona
152:Occupation
102:minor edit
57:minor edit
2717:(4): 5â35
2600:Frontiers
1812:Cruz 2001
1727:Cruz 2001
1703:Cruz 2001
1688:Cruz 2001
1556:Cruz 2001
1520:Ganz 1994
1507:Ganz 1994
1195:Ganz 1994
1183:Ganz 1994
1123:Ganz 1994
1099:Ganz 1994
1084:Ganz 1994
1063:Ganz 1994
1046:Ganz 1994
1019:Cruz 2001
3144:Bad Boys
3059:citation
2965:citation
2837:citation
2803:citation
2729:citation
2616:Heresies
2606:(2): 1â6
2275:citation
905:citation
888:Caramelo
764:Bad Boys
717:Caramelo
381:'s book
322:and the
309:Teaching
89:contribs
38:contribs
3006:: 74â75
772:7339707
677:by the
212:Chicana
194:Website
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735:, the
729:, the
723:, the
665:Awards
468:means
466:arroyo
462:arroyo
334:Family
79:Seto58
28:Seto58
3136:Works
3071:JSTOR
2815:JSTOR
2785:MELUS
2771:JSTOR
2741:JSTOR
2711:MELUS
2386:(PDF)
2261:(PDF)
1311:(XML)
965:Notes
636:grito
543:place
522:Place
518:place
512:Place
470:creek
3280:2007
3268:2005
3256:2000
3233:2004
3221:2002
3209:1994
3197:1994
3185:1991
3173:1987
3161:1983
3149:1980
3085:ISBN
3069:. (
3065:link
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892:ISBN
874:ISBN
856:ISBN
838:ISBN
820:ISBN
801:ISBN
784:ISBN
768:OCLC
698:and
681:for
607:and
131:diff
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123:diff
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