Sandra Cisneros height - How tall is Sandra Cisneros?

At a ceremony in September 2016 was awarded a 2015 National Medal of Arts. In 2019, PEN America awarded her the PEN/Nabokov Award for Achievement in International Literature.

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 Wicked Wicked ways—and the stories in House on Mango Street. 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.

Cisneros's writing is often influenced by her personal experiences and by observations of many 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 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 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.

Cisneros's fiction comes in various forms—as novels, poems, and short stories—by 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 experimentation with literary voice and her development of a hybrid form that weaves poetry into prose". Published in 1991, Woman Hollering Creek and Other Stories 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 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.

When Cisneros describes the aspirations and struggles of Chicanas, the theme of place often emerges. Place 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 of particular interest to Cisneros is the home. As literary critics Deborah L. Madsen and Ramón Saldívar 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 The House on Mango Street 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. 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 Saldívar, 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 Virginia Woolf's famous essay "A Room of One's Own", that "a woman must have money and a room of her own if she is to write fiction," or put another way, "economic security" and personal liberty are necessary for "artistic production."

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 The House on Mango Street, for example, a group of girl characters speculate about what function a woman's hips have: "They're good for holding a baby when you're 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 Woman Hollering Creek and Other Stories, where multiple references to romantic telenovelas obsessively watched by the female characters are juxtaposed with the abuse and poverty they face in their own lives.

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 mainstream isn't even aware of. And, 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.

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 Gabriel García Márquez's book One Hundred Years of Solitude, "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 Writers 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. Anzaldúa Milagro Award honoring the memory of Anzaldúa, a fellow Chicana writer who died 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."

Cisneros founded the Alfredo Cisneros del Moral Foundation in 1999. Named in 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 honor Cisneros's father's memory by showcasing writers who are as proud of their craft as Alfredo was of his craft as an upholsterer.

Cisneros has held a variety of professional positions, working as a teacher, a counselor, a college recruiter, a poet-in-the-schools, and an arts administrator, and has maintained a strong commitment to community and literary causes. In 1998 she established the Macondo Writers Workshop, which provides socially conscious workshops for writers, and in 2000 she founded the Alfredo Cisneros Del Moral Foundation, which awards talented writers connected to Texas. Cisneros currently resides in Mexico.

Cisneros was recognized by the State University of New York, receiving an honorary doctorate from Purchase in 1993 and a MacArthur fellowship in 1995. In 2003, Caramelo was highly regarded by several journals including The New York Times, the Los Angeles Times, the San Francisco Chronicle, the Chicago Tribune, and The Seattle Times, which led to her Premio Napoli Award in 2005; the novel also was shortlisted for 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. In 2016, the University of North Carolina at Chapel Hill awarded Cisneros an honorary Doctor of Letters.

Literary critic Claudia Sadowski-Smith has called Cisneros "perhaps the most famous Chicana writer", and Cisneros 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, The House on Mango Street, which was originally published by the small Hispanic publishing company Arte Público Press, was reissued in a second edition by Vintage Press; and in 1991 Woman Hollering Creek was published by Random House. 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 National Public Radio on 19 September 1991:

Cisneros currently resides in San Miguel de Allende, a city in central Mexico, but for years she lived and wrote in San Antonio, Texas, in her briefly controversial "Mexican-pink" home with "many creatures little and large." In 1990 when Pilar E. Rodríguez Aranda asked Cisneros in an interview for the Americas Review why she has never married or started a family, Cisneros replied, "I've never seen 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 elaborated elsewhere that she enjoys living alone because it gives her time to think and write. In the introduction to the third edition of Gloria E. Anzaldúa's Borderlands/La Frontera: The New Mestiza, 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."

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 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 My Wicked, Wicked Ways. According to Madsen, Cisneros refers to herself as "wicked" for having "reappropriated, taken control of, her own sexuality and the articulation of it – 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".

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 of Cisneros's 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 My Wicked, Wicked Ways cover (3rd Woman Press, 1987). Cisneros says of this photo: "The cover is of a woman appropriating her own sexuality. In some ways, that's also why it's 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 transgressive meaning of the gesture", thinking that she was merely being lewd for shock value, and questioned her legitimacy as a feminist. Cisneros's initial response to this was dismay, but then she reports thinking "Wait a second, where's your sense of humor? And why can't a feminist be sexy?"

Sandra Cisneros received fellowships from the National Endowment for the Arts in 1981 and 1988, and in 1985 was presented with the American Book Award by the Before Columbus Foundation for The House on Mango Street. Subsequently, she received a Frank Dobie Artists Fellowship, and came first and second in the Segundo Concurso Nacional del Cuento Chicano, sponsored by the University of Arizona.

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 High School in Chicago. The 1984 publication of The House on Mango Street secured her a succession of writer-in-residence posts at universities in the United States, teaching creative writing at institutions such as the University of California, Berkeley and the University of Michigan. She was subsequently a writer-in-residence at Our Lady of the Lake University in San Antonio, Texas. Cisneros has also worked as a college recruiter and an arts administrator.

Cisneros was awarded a bachelor of arts degree from Loyola University Chicago in 1976, and received a master of fine arts degree from the Iowa Writers' Workshop at the University of Iowa in 1978. While attending the Workshop, Cisneros discovered how the particular social position she occupied gave her writing a unique potential, recalling "It wasn't as if I didn't know who I was. I knew I was a 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 could write better than me." She conformed to American literary canons and adopted a writing style that was purposely opposite that of her classmates, 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 [she] saw, the poverty that the women had gone through."

Her family made a down payment on their own home in Humboldt Park, a predominantly Puerto Rican neighborhood on Chicago's West Side when she was eleven years old. This neighborhood and its characters would later become the inspiration for Cisneros's novel The House on Mango Street. For high school, Cisneros attended Josephinum Academy, a small Catholic all-girls school. Here she found an ally in a high-school teacher who helped her to write poems about the Vietnam War. Although Cisneros had written her first poem around the age of ten, with her teacher's encouragement she became known for her writing throughout her high-school years. In high school she wrote poetry and was the literary magazine editor, but, according to herself, she did not really start writing until her first creative writing class in college in 1974. After that it took a while to find her own voice. She explains, "I rejected what was at hand and emulated the voices of the poets I admired in books: big male voices like James Wright and Richard Hugo and Theodore Roethke, all wrong for me."

Sandra Cisneros (born December 20, 1954) is an American writer. She is best known for her first novel The House on Mango Street (1983) and her subsequent short story collection Woman Hollering Creek and Other Stories (1991). Her work experiments with literary forms and investigates emerging subject positions, which Cisneros herself attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards, including a National Endowment for the Arts Fellowship, was awarded one of 25 new Ford Foundation Art of Change fellowships in 2017, and is regarded as a key figure in Chicana literature.

Cisneros was born in Chicago, Illinois on December 20, 1954, the third of seven children. The only surviving daughter, she considered herself the "odd number in a set of men". Cisneros's great-grandfather had played the piano for the Mexican president and was from a wealthy background, but he gambled away his family's fortune. Her paternal grandfather Enrique was a veteran of the Mexican Revolution, and he 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. After getting married, the pair settled in one of Chicago's poorest neighborhoods. 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".