Sandra Cisneros (born December 20, 1954) is a Mexican-American writer. He is best known for his first novel The House on Mango Street (1984) and his next short story collection Woman Hollering Creek and Other Stories (1991). His experiments work with literary forms and investigate the positions of emerging subjects, which Cisneros himself attributes to grow in the context of cultural hybridity and economic imbalances that give him a unique story to tell. She is a recipient of numerous awards including the National Endowment for the Arts Fellowship, awarded one of 25 new Ford Foundation Art of Change scholarships in 2017, and is considered a key figure in the Chicana literature.
Early life Cisneros provided many experiences which he later described as a writer: he grew up as the only daughter in a family of six siblings, who often made him feel isolated, and his family's constant migration between Mexico and the United States instilled in him a sense of "always straddling the two country... but not in any culture. " Cisneros's work relates to the establishment of Chicana identity, exploring the challenges captured between Mexican and Anglo-American cultures, confronting the misogynist attitudes in both cultures, and experiencing poverty. For his broad-minded social critique and a strong prose style, Cisneros has achieved recognition far beyond the Chicano and Latino communities, to the extent that
Cisneros has held various professional positions, worked as a teacher, counselor, college recruit, a poet at school, and an art administrator, and has maintained a strong commitment to society and the cause of literature. In 1998 he founded the Macondo Writers Workshop, which provided a social-conscious workshop for writers, and in 2000 he founded Alfredo Cisneros Del Moral Foundation, which rewarded talented writers connected to Texas. Cisneros is currently in San Antonio, Texas.
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Cisneros was born in Chicago, Illinois on December 20, 1954, the third child of seven children. The only surviving daughter, she considers herself "an odd number in a bunch of men". Grandfather Cisneros has played the piano for the Mexican presidency and comes from a rich background, but he is risking his family's wealth. His father's grandfather was a veteran of the Mexican Revolution, and he used what money he saved to give his father, Alfredo Cisneros de Moral, a chance to go to college. However, after a class failed because of what Cisneros called "lack of interest" in learning, Alfredo fled to the United States to avoid angering his father. While exploring southern South America with his brother, Alfredo visited Chicago where he met Elvira Cordero Anguiano. After marriage, the couple settled in one of Chicago's poorest neighborhoods. Cisneros biographer Robin Ganz writes that he recognizes his mother's surname from a very simple background, tracing its roots back to Guanajuato, Mexico, while his father is much more "admirable".
Taking a job as a handyman to support his family, Cisneros's father began a "compulsive circular migration between Chicago and Mexico City that became the dominating pattern of Cisneros childhood." Their families continue to move between the two countries, requiring them to find new places to live as well as schools for children. Eventually instability caused the six Cisneros sisters to pair up in pairs, leaving him to define himself as being isolated. The feeling of being ostracized from his family was exacerbated by his father, who referred to "seis hijos y una hija" ("six sons and one daughter") rather than "siete hijo" ("seven children"). Ganz notes that Cisneros's childhood loneliness played an important role in shaping his passion for writing later. The only strong Cisneros woman's influence was her mother, Elvira, who was a gluttonous and more enlightened reader and more socially conscious than her father. According to Ganz, even though Elvira is too dependent on her husband and too limited in her chance to fulfill her own potential, she makes sure her daughter will not suffer the same loss as she did.
His family made a down payment on their own home in Humboldt Park, a Puerto Rico-dominated neighborhood in Chicago's West Side when he was eleven years old. This environment and character will then be the inspiration for Cisneros novel The House on Mango Street. For high school, Cisneros attends the Josephinum Academy, a small school for Catholic girls. Here he finds an ally in a high school teacher who helped him write poetry about the Vietnam War. Although Cisneros has written his first poem around the age of ten, with the encouragement of his teacher he became famous for writing during his high school years. In high school he wrote poetry and became the editor of a literary magazine, but, according to himself, he did not actually start writing until his first creative writing class on campus in 1974. After that, it took a long time to find his own voice. He explained, "I reject what is in my hands and imitate the voices of the poets I admire in books: the sound of great men like James Wright and Richard Hugo and Theodore Roethke, are all wrong for me."
Cisneros was awarded an art degree from Loyola University Chicago in 1976, and received a master's degree in fine arts from the Iowa Writers' Workshop at the University of Iowa in 1978. While attending the Workshop Cisneros discovered how the particular social position occupied made him write a unique potential. He remembered suddenly being attacked by the difference between him and his classmates: "It's not as if I do not know who I am I know I am a Mexican woman, but I do not think it has anything to do with why I feel so much imbalance in my life, when everything is related to that! My race, my gender, and my class! And it does not make sense until then, sitting at the seminar That's when I decided I would write about something that can not be written by a friend my classmates. "He set aside his efforts to conform to the American literary canon and adopted a deliberate style of writing against his classmates, realizing that instead of being a shame, his own cultural environment was a source of inspiration. From then on, he will write about "his neighbors, the people [he] see, the poverty that women have gone through."
Cisneros said at the moment:
So for me it started there, and that's when I deliberately started writing about everything in my culture that was different from them - the poems that are the voices of this city - the first part of the Wicked Wicked Ways > - and the story on House on Mango Street . I think it's ironic that at a time when I practically left a learning institution, I began to realize where the institution's way had failed.
Referring to Mexican and Western popular culture and conversations in city streets, Cisneros writes to convey the lives of people he knows. The literary critic Jacqueline Doyle describes Cisneros's desire to hear personal stories told by people and his commitment to express the voice of marginalized people through his work, such as the "thousands of quiet women" whose struggle is depicted in The House on Mango Street .
Five years after receiving the MFA, he returned to Loyola University-Chicago, where he previously obtained a BA in English, to work as an administrative assistant. Prior to this job, he worked at Chicano barrio in Chicago, teaching drop-outs in Latin High School Teens. Through these jobs, he gained more experience with the problems of young Latin Americans.
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Next life and career
Teaching
In addition to being a writer and poet, Cisneros has held various academic and teaching positions. In 1978, after completing his MFA degree, he taught former drop-out children at Latin American High School in Chicago. The 1984 publication of The House on Mango Street secured the succession of post-in-residence writers in universities in the United States, teaching creative writing at institutions such as the University of California, Berkeley and the University of Michigan. He later became a writer-in-residence at Our Lady of the Lake University in San Antonio, Texas. Cisneros also works as a college recruit and art administrator.
Family
Cisneros is currently in San Miguel de Allende, a city in central Mexico, but for many years he lived and wrote in San Antonio, Texas, in a controversial "pink Mexican" house with "many small and big creatures". In 1990 when Pilar E. RodrÃÆ'guez Aranda asked Cisneros in an interview for Americas Review why he never married or started a family, Cisneros replied, "I have never seen a marriage as happy as my own life. I am my son and I do not want anything between us. "He has elaborated elsewhere that he enjoys his own life because it gives time to think and write. In the introduction to the third edition of Gloria E. AnzaldÃÆ'ºa Borderlands/La Frontera: The New Mestiza , Cisneros writes: "That's why I moved from Illinois to Texas, so my family and family will allow me the freedom to disappear into me To find myself back if I had to.As a Latino, we must... Because writing is like putting your head under water. "
The writing process
Cisneros's writing is often influenced by his personal experience and by the observation of many people in his community. He once told another writer at a conference in Santa Fe that he wrote "a snippet of dialogue or monologue - a record of the conversation he heard wherever he went." The trailer is then mixed and matched to make the story. The names for his character often come from San Antonio's phonebook; "He flipped through the list for last name, then repeated the process for the first name." By mixing and matching, he is convinced that he does not use real names or real-life stories of anyone, but at the same time his character versions and stories are trustworthy.
Cisneros once found himself so engrossed in the character of his book Woman Hollering Creek that they began to infiltrate his subconscious mind. Once when he was writing the story of "Eyes of Zapata," he woke up "in the middle of the night, convinced for that moment that he was Ines, the young bride of the Mexican revolutionaries, his dream conversations with Zapata later becoming the characters.
Biculturalism and bilingualism are also very important aspects of his writing. Cisneros is quoted by Robin Ganz as saying that he is grateful to have "twice as many words to choose... two ways of looking at the world," and Ganz refers to his "experiences" as "double-" edged swords. "Cisneros' ability to speak both languages ​​and write about his two cultures gives him a unique position from which he is able to tell not only his story but also the stories of those around him.
Community heritage
Cisneros has been instrumental in building a strong community in San Antonio among other artists and writers through his work with the Macondo Foundation and the Alfredo Cisneros del Moral Foundation. The Macondo Foundation, named after the city in Gabriel GarcÃÆ'a MÃÆ'¡rquez Hundred Years of Loneliness, , "works with dedicated and loving writers who see their work and talents as part of a larger task from community development and nonviolent social change. "Formally established in 2006, the foundation began in 1998 as a small workshop that takes place in the kitchen of Cisneros. The Macondo Writers Workshop, which has since become an annual event, brings together writers "working on geographical, cultural, economic, social and spiritual borders" and has grown from 15 participants to more than 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 Gloria E. AnzaldÃÆ'ºa Milagro Award in honor of AnzaldÃÆ'ºa's memory, a Chicana writer who died in 2004, giving Chicano writers with support when they needed some time to heal their "body, heart or spirit" and the Elvira Cordero Cisneros Award created to commemorate the mother of Sandra Cisneros. Macondo offers services to member authors such as health insurance and the opportunity to participate in the Casa Azul Residency Program. The Residency program provides the writer with furnished rooms and offices at 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 "imagines the Casa as a space where Macondistas can withdraw from the disruption of everyday life and have its own room for emotional, intellectual and spiritual introspection."
Cisneros founded the Alfredo Cisneros del Moral Foundation in 2000. Named to commemorate his father, the foundation "has provided over $ 75,500 to writers born in Texas, writing about Texas, or living in Texas since 2007". The goal is to honor the memories of Cisneros' father by displaying writers who are proud of their craft because Alfredo is his craftsman as a furniture backfill.
Chicano literary movement
The literary critic Claudia Sadowski-Smith calls Cisneros "probably the most famous Chicana writer", and Cisneros has been recognized as a literary pioneer as the first Mexican-American woman writer to have his work published by major publishers. In 1989, The House on Mango Street, originally published by a small publishing company Hispanic Arte PÃÆ'ºblico Press, was reissued in the second edition by Vintage Press; and in 1991 Woman Hollering Creek was published by Random House. As Ganz observes, previously only Chicano male writers managed to make crossovers from small publishers. That Cisneros has garnered considerable attention to be taken by Vintage Press says a lot about the possibilities for the Chicano literature to become more widely known. Cisneros talked about his success and what it meant for the Chicana literature in an interview on National Public Radio on September 19, 1991:
I think I can not be happy if I am the only one published by Random House when I know there are great writers - both Latin and Latin, Chicanos and Chicanas - in the US whose books are not published by mainstream presses or that the mainstream does not even realize it. And, you know, if my success means that another emphasis will take a second view on these authors... and publish it in greater numbers, then our ship will enter.
As a pioneering Chicana writer, Cisneros filled the void by bringing forward the genre that was previously on the outskirts of mainstream literature. With his first novel, The House on Mango Street, he moved from a poetic style common to Chicana literature at the time and began to define "a typical Chicana literary space", challenging a familiar literary form. and address issues such as gender inequality and marginalization of cultural minorities. According to literary critic Alvina E Quintana, House on Mango Street is a book that has transcended the Chicano and Latin literary communities and is now read by people of all ethnicities. Quintana states that Cisneros's writings are accessible to both Anglo and Mexican-Americans for being free from anger or accusation, presenting issues (such as Chicana identity and gender inequality) in an approachable way. The writings of Cisneros have been influential in shaping 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 an attempt to authentically represent a group's cultural experience, and recognize Cisneros's contribution to Chicana's feminist aesthetics by bringing women to the center as an empowered protagonist in much of his work.
Writing style
Bilingualism
Cisneros often incorporated Spanish into his English writing, replacing Spanish words for English where he felt that Spain was better at conveying meaning or improving the rhythm of that passage. However, if possible, he makes sentences so that non-Spanish speakers can deduce the meaning of Spanish words from the context. In Woman Hollering Creek and Other Stories Cisneros writes: "La Gritona, a very funny name for someone so pretty arroyo , but that's what they call the creek running behind home. "Even if an English-speaking reader does not initially know that arroyo means Narrative mode, diction, and real simplicity
Cisneros fiction comes in various forms - such as novels, poems, and short stories - in which he challenges both social conventions, with "celebrations breaking sexual taboos and unauthorized entry across boundaries that limit the life and experience of the Chicanas", and literary works, with "his experiments who dared with the literary voice and its development from a hybrid form that interwoven poetry into prose ". Published in 1991, Woman Hollering Creek and Other Stories is a collection of twenty-two short stories forming narrative techniques, each serving to engage and influence the reader in different ways. Cisneros alternates between the first person, the third person, and the narrative mode of the flow of consciousness, and ranges from impressionistic short sketches to stories driven by longer events, and from very poetic language to realistically bright language. Some stories have no narrator to mediate between characters and readers; they are actually composed of textual fragments or conversations that the reader "hears". For example, "Little Miracles, Kept Promises" consists of fictitious notes asking for the patron saints, and "The Marlboro Man" transcribes phone conversations gossiping between two female characters.
The works of Cisneros can appear simple at the first reading, but this is deceptive. He invites the reader to move beyond the text by recognizing greater social processes in the microcosm of everyday life: the telephone conversation in "The Marlboro Man" is not just empty gossip, but a text that allows readers to dig into the character's psyche and analyze the influence their culture. The literary critic has noted how Cisneros tackles complex theoretical and social issues through vehicles that appear to be simple characters and situations. For example, RamÃÆ'³n SaldÃÆ'var observes that the House in Mango Street "represents from the simplicity of a very complex childhood vision of the development process of the gender subject". In the same vein, Felicia J. Cruz explains how each individual will interact differently from Woman Hollering Creek and Other Stories , thus raising a varied reader's response like "it's about growing", for "this on "Growth grown in Chicana", became "a critique of patriarchal structures and exclusive practices." Cisneros's writing is rich not only for symbolism and image, which critic Deborah L Madsen regarded as "technically and aesthetically pleasing" social commentary and his power to "evoke a very personal response." This helped him achieve the way he taught.
Literary Themes
Places
When Cisneros describes the aspirations and struggles of the Chicanas, the theme of places often appears. Places refers not only to the geographical location of the novel, but also to the position held by the character in their social context. Chicanas often occupy places dominated by Anglo and dominated by men in which they are subject to various oppressive and prejudicial behaviors; one of the very interesting places for Cisneros is the house. As literary critic Deborah L. Madsen and RamÃÆ'³n SaldÃÆ'var have described, the house could be an oppressive place for the Chicanas where they are subjugated to the will of male heads of households, or in the case of their own homes, it could be empowering the place where they can act independently and express themselves creatively. At The House on Mango Street , the young protagonist, Esperanza, wants to own his own house: "Not an apartment, not an apartment at the back, not a man's house, not a father's house, my own house. , my beautiful purple petunas My books and my stories My two shoes are waiting by the bed No one is shivering a stick No trash can follow. "An aspiring writer, Esperanza craves" the space for myself to go, clean like paper in front of the poem. " She was dissatisfied and trapped in her family's home, and watched other women in the same position. According to SaldÃÆ'var, Cisneros communicates through this character that a woman needs her own place to realize her full potential - a home that is not a place of patriarchal violence, but rather "a poetic creation site." One source of conflict and sadness for the Chicana Cisneros character is that the male-dominated society in which they live denied 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 the famous Virginia Woolf essay "A Room of One's Own", that "a woman must have money and her own room if she has to write fiction , "or in other words," economic security "and personal freedom are required for" artistic production. "
Cisneros explores the issue of place in relation not only to gender but also to class. As SaldÃÆ'var has noted, "In addition to the personal requirements of women's gender space, Esperanza recognizes the collective requirements of working poor and homeless people as well." He refers to Esperanza's determination not to forget his working roots once he gets his dream home, and opens the door for the less fortunate. Esperanza said, "The homeless will ask, can I go in? I'll offer them the attic, ask them to stay, because I know what it feels like without home." According to SaldÃÆ'var, this Esperanza statement alludes to the "need for a decent living space" that is fundamental to everyone, regardless of the oppression they face.
Women's feminine construction and sexuality
As Madsen explained, Cisneros's attempt to negotiate cross-cultural identity was complicated by the need to challenge the deeply rooted patriarchal values ​​of Mexican and American culture. "The lives of all female characters of Cisneros are influenced by how femininity and female sexuality are defined in this patriarchal value system and they must strive to cultivate this definition.As Cisneros says:" There is always this balancing act, we must define what we think is good for ourselves our own rather than what our culture says. "
Cisneros shows how the Chicanas, like women of many other ethnicities, internalize these norms from a young age, through informal education by family members and popular culture. On The House on Mango Street , for example, a group of female characters speculate about what a woman's hip function is: "They're good for holding a baby while you're cooking, Rachel says... you need them to dance," said Lucy. You must know how to walk with your hips, practice, you know. "The roles of traditional women, such as raising children, cooking, and attracting male attention, are understood by the character of Cisneros as their biological destiny. However, when they reach their teens and women, they have to reconcile their expectations about love and sex with their own experiences of disappointment, confusion and sadness. Esperanza described "sexual initiation" - an attack by a group of Anglo-American children while waiting for her friend Sally in the fair. He felt attacked and helpless 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 myth of love and sex". Cisneros illustrates how this romantic mythology, fueled by popular culture, often goes against reality at Woman Hollering Creek and Other Stories, where many references to the romantic telenovela obsessively viewed by female characters are juxtaposed with abuse. and the poverty they face in their own lives.
When Cisneros discusses the issue of female sexuality, she often describes negative scenarios in which men exercise control over women through control over their sexuality, and explores the gap she feels between women's real sexual experiences and their ideal representation in popular culture. However, Cisneros also describes female sexuality in very positive terms, especially in his poetry. This is true, for example, from the volume of his 1987 poem My Wicked, Wicked Ways . According to Madsen, Cisneros calls himself a "bad man" for "taking over, controlling, his own sexuality and his articulation - a force that is forbidden for women under patriarchy". Through these poems he aims to represent "the reality of female sexuality" so that women readers will recognize the "divisive effect" of the stereotypes they expect to adapt, and "discover the potential for joy in their bodies that reject them." ".
Cisneros crossed the line between what is socially acceptable way for women to act and speak and what does not, using language and images that have "boisterous humor" and "extrovert energy" and sometimes even "surprisingly deliberate". Not all readers appreciate the "surprising" qualities of some of these Cisneros works. Both female and male readers criticized Cisneros for the ways he celebrated his sexuality, such as his self-suggestive photos on the cover of My Wicked, Wicked Ways (3rd Woman Press, 1987). Cisneros says this photo: "The cover is a woman who takes advantage of her own sexuality.In some ways, that's also why it's evil: the scene goes over that limit by saying 'I'm against you.I'll tell my own story.'" Some readers " failed to understand the transgressive meaning of the movement, "thinking that he was just being obscene for the value of surprise, and questioning his legitimacy as a feminist." Cisneros's initial response to this was disappointment, but then he reported thinking "Wait a minute, where is your sense of humor? And why can not feminists be sexy? "
Construction of Chicana identity
The challenges faced by the Cisneros character because of their gender can not be understood separately from their culture, because the norms dictate how women and men should think and behave culturally determined and thus differ for different cultural groups. Through his works, Cisneros conveys Chicanas experiences that confront the "deeply patriarchal values" of Mexican culture through interaction not only with Mexican fathers, but the wider community that puts pressure on them to conform to the narrow definition of femininity and submission position. for men.
The recurrent theme in Cisneros's work is the triad of authors and theoreticians Gloria AnzaldÃÆ'ºa called "Our Mother": Virgen de Guadalupe, La Malinche, and La Llorona. These symbolic figures are very important for popular political and cultural identity in Mexico and the southwestern United States, and have been used, says the theorist Norma AlarcÃÆ'³n, as reference points "to control, interpret, or visualize women" in Mexican-American culture.
Many theorists, including Jacqueline Doyle, Jean Wyatt, Emma Perez, and Cordelia Candelaria, argue that the gender identity of Mexican women and Chicana is built in complex terms with reference to these three numbers. La Virgen de Guadalupe, the Catholic icon of the manifestation of the Virgin Mary in America, is honored in Mexico as "mother and child care and inspiration". La Malinche, the native mistress and conquering mediator HernÃÆ'¡n CortÃÆ'Â © s, has according to Wyatt "being representative of both female and passive sexuality," can be raped, "and always guilty of treason". Cisneros describes the troubled dichotomy of virgins and prostitutes presented by these two figures: "We grew up in a Mexican culture that has two role models: La Malinche and la Virgen de Guadalupe and you know it is a difficult route to go through, one or one others, nothing else. "Madsen has noted that these 'good' and 'bad' archetypes are further complicated by perceptions, held by many Chicana feminists, that they will be guilty of betraying their people, such as La Malinche, if they trying to define their feminine more. The term Anglo. Through his work, Cisneros criticizes the pressures Chicanas face in suppressing their sexuality or channeling it into socially acceptable form so as not to be labeled "Malinchista [...] marred by the grunting influence that threatens [split] people".
The third figure, La Llorona, originating from centuries-old Mexican/Southwest folklore, is "a proud young girl who marries over her position and is very angry when her husband takes the savings of her own class so that she drowns them. children in the river ". He died of grief on the banks of the river after he could not take his children and claimed that he could be heard lamenting them in the sound of wind and water. These entities, from the gentle and pure Virgen de Guadalupe, to the malignant and dangerous Mal Malino, to the ever-mournful Llorona create the "fragmentary subjectivity" often experienced by the Chicanas, and their need to make peace with them, renegotiate them on their own terms, or refuse them altogether.
The three "Mothers" came out most clearly at Woman Hollering Creek and Other Stories. In the story "Never Marry a Mexican" and "Woman Hollering Creek", female protagonists grapple with "this iconic icon of sexuality and Mexican mother, internalized, seems to impose on them a limited and even negative definition of their own identity as women." The protagonist in "Never Marry a Mexican" is haunted by the myth of la Malinche, regarded as a prostitute and a traitor, and opposes La Malinche's passive sexuality with his aggressive sex. In "Woman Hollering Creek" the protagonist rediscovers the myth of la Llorona when he decides to take over his own future, and his children, and finds that the myth, which is the Spanish word for the sound made by la Llorona, can be interpreted as "happy holler" than the mourning lament. This is the border, which is a symbolic middle ground between two cultures, which "offers a space where such negotiations with gender ideals remain the most unlikely".
Borderland
Although Cisneros did not explicitly find stories and novels in Mexico-US. border, Sadowski-Smith identifies the concept as perhaps the most prominent theme of Cisneros because of constant border crossings, both real and metaphorical, characters in all of his works. House on Mango Street takes place in Chicago where the narrator lives, and in Mexico City where he visits a large family. Caramelo mainly takes place in that setting too, but part of this book explains the narrator's experience as a teenager in San Antonio, TX. Various characters within Woman Hollering Creek and Other Stories are also traveling to Mexico to reunite with family members. However, to cite literary criticism of JesÃÆ'ºs Benito and Ana MarÃÆ'a Manzanas, "the image of the border has become entirely meaningful not only when we regard it as a physical line but when we reject it and free it from the idea of ​​space to include the notions of sex, class, sex, ethnicity , identity, and community. "Cisneros often divorces the border from its strict geographical meaning, using it metaphorically to explore how Chicana's identity is an amalgamation of Mexican and Anglo-American cultures. Borders represent the daily experience of people who are not entirely from one place or another; sometimes the border is fluid and two cultures can coexist harmoniously in one person, but at other times it is stiff and there is acute tension between them. Katherine Payant's literary critic has analyzed the border metaphor at Woman Hollering Creek and Other Stories , which manifests in reference to the Mexican root of Chicana/o characters' and (im) the migration between the two countries, the recurrence of pre-Columbian overlap , mestizo and Southwest Chicano myths, and depictions of Chicanas/os as "straddling two or three cultures." Payant uses the concept of life "on the border" of Gloria AnzaldÃÆ'ºa to describe the experience of the Chicana Cisneros character who, in addition to their struggle to overcome the construction of their gender patriarchy and sexual identity, must negotiate linguistic and cultural boundaries.
Awards
At the ceremony in September 2016 was awarded the National Art Medal 2015.
Sandra Cisneros received a scholarship from the National Endowment for the Arts in 1981 and 1988, and in 1985 was presented with the American Book Award by the Foundation Before Columbus to The House on Mango Street . Subsequently, he received the Frank Dobie Scholarship Fellie, and came first and second at Segundo Concurso Nacional del Cuento Chicano, sponsored by the University of Arizona.
He subsequently received the New Student Book Vote Book Award, Anisfield-Wolf Book Award, PEN Center West Award for Best Fiction, and the Lannan Foundation Literary Award for Woman Hollering Creek and Other Stories . This book was selected as an important book of the year by both The New York Times and The American Journal Journal, and an erotic poetry anthology Loose Woman , won Mountain & amp; Lumbung Buku Awards.
Cisneros was recognized by the State University of New York, receiving honorary doctorates from Purchase in 1993 and the MacArthur fellowship in 1995. In 2003, Caramelo was highly respected by several journals including The New York Times , Los Angeles Times , San Francisco Chronicle , Chicago Tribune , and The Seattle Times , causing it Premio Napoli Award in 2005; The novel was also selected for the International ImpAC Dublin award, and was nominated for an Orange Prize in the UK. In 2003, Cisneros became part of a second group of recipients of Texas Medical Trust's newly formed Texas Cultural Trust. In 2016, the University of North Carolina at Chapel Hill gave the honorable Cisneros Doctor of Letters.
Source of the article : Wikipedia
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