4.8 • 1.2K Ratings
🗓️ 2 October 2022
⏱️ 71 minutes
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Today we’re joined by beloved author Sandra Cisneros! We discuss her first poetry collection in 28 years, Woman Without Shame (4:40), why she chooses to write ‘dangerous’ pieces (6:18), and the significance of her poem, “My Mother and Sex” (8:38). Then, we walk through Sandra’s coming of age between Mexico and Chicago (15:16), the sixth-grade teacher that guided her entry into art (19:39), her epiphanies on class in graduate school (23:49), the “Pilsen Bario” that shaped her seminal novel, The House on Mango Street (29:05), and how Studs Terkel informed her lifelong approach to story (30:17).
On the back-half, we discuss the loves and losses that inspired Sandra’s early sensual poems (36:36), how she documented her power through “Neither Señorita nor Señora” (40:04), a painful period captured in “Year of my Death” (50:30), the day her mother visited her writer’s office in San Antonio (57:56), and why she still has more to say (and write) at age 67 (59:59).
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0:22.5 | To get the context behind events in the news, |
0:25.3 | listen to the New Yorker radio hour, |
0:27.5 | wherever you get your podcast. Pushkin. This is talk easy. I'm Sam by writer and poet Sandra Cisneros. Her debut book, The House on |
1:18.8 | Mango Street, told the story of a 12-year-old Chicana growing up as Sesnarrows did in a Latino neighborhood of Chicago. |
1:27.6 | The book was released in 1984, but since then it sold over 6 million copies and has become required reading in |
1:36.4 | middle schools, high schools, and universities across the country. |
1:41.2 | It also made her a key figure in the Mexican American artist movement |
1:46.1 | which aimed to tell our stories with candor and complexity. Those qualities remain in woman without Shame, her first poetry collection in 28 years. |
1:57.0 | These pieces, some of which you'll hear in this episode, range from tender to combative, as she reflects on the uphill battle on her |
2:06.4 | journey to become an artist, or the loves and losses she experienced as a |
2:11.2 | globetroting young woman. Like the work itself, this conversation plays like |
2:16.4 | her poetry. Stories fragmented, truth dispensed in fits and starts, chronology be damned. |
2:24.0 | We talk about growing up between the two worlds of Chicago and Mexico, |
2:28.2 | the influence of her mother and Studs Turkle, |
... |
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