Women Authors From Mexico

"He venido, feliz como los ríos,/cantando bajo un cielo de sauces y de álamos/hasta este mar de amor hermoso y grande./Yo ya no espero, vivo."

"El idioma salía de sus labios, como debe salir de todo labio humano, enrojecido de vergüenza. Y Rominka, al arrancarse la costra de sus pecados, lloraba. Porque duele quedar desnudo."

"El viento de las alturas huía graznando lúgubremente. Un sol desteñido, frío, asaeteaba aquella colina estéril."

"La seguridad de su vida era tan frágil que había bastado la cara de un chamula, vista al través de un cristal, para hacerla añicos."

"la visión turbia como si sus entrañas estuvieran latiendo en medio de las cejas."

"don Agustín, que no tenía afición por la copa ni por el tabaco, que había guardado rigurosamente la continencia, era esclavo de un vicio: la conversación. Furtivo, acechaba los diálogos en los portales, en el mercado, en la misma catedral. Don Agustín era el primero en enterarse de los chismes, en adivinar los escándalos y se desvivía por recibir confidencias, por ser depositario de secretos y servir intrigas."

"Su silencio le producía vergüenza, como si callar fuera burlarse de los otros. Y como un castigo inmediato crecía, junto a la vergüenza, una sensación de soledad. Teodoro era un hombre aparte, amordazado por un secreto."

"(who would you suggest we should be reading more among the women poets, especially in Latin America?) Well, she died already, but in Mexico, there was a poet called Rosario Castellanos. She was very good."

"Your verses were leafy trees, uncertain roads where the healers nested in the century plant."

"we see the surprising similarities between the renowned Mexican poet Rosario Castellanos and the young Peruvian poet Giovanna Pollarolo. The lyrical voices in this section subvert and rebel against routine; they speak about it as if it were a prison. The poets rebel through language which casts a light on and makes of their everyday lives a battlefield where objects become the signifiers of disorder and of liberty."

"Castellanos is one of the most brilliant writers of the last century, but when the Latin American boom in literature resounded in the United States, it was only the male voices that were heard."

"the Life/Death/Life forces are part of our own nature, an inner authority that knows the steps, knows the dance of Life and Death. It is composed of the parts of ourselves who know when something can, should, and must be born and when it must die. It is a deep teacher if we can only learn its tempo. Rosario Castellanos, the Mexican mystic and ecstatic poet, writes about surrender to the forces that govern life and death: “... dadme la muerte que me falta .../give me the death I need . . .” Poets understand that there is nothing of value without death."

"The brilliant Mexican Rosario Castellanos combines a philosophical outlook with a well-grounded historical perspective in both novels and poems, in which she employs complex striking imagery, as in "Daily Round of the Spinster," another treatment of the theme of the childless woman. A profound student of women's lives, she suggests, as in "Meditation at the Threshold," that the solution, not yet found, requires "Another way to be human and free./ Another way to be." Her powerful utterance opened the way to a new generation of women poets born after 1937, in different countries, but all with a clear apprehension of the contemporary woman's situation..."

"here’s a very short list of Latin women novelists I think should have been considered part of the Boom…Mexico: Elena Garro, Rosario Castellanos..."

"The word "love" is used far too frequently and far too imprecisely. It moves heaven and earth, it illuminates the purest of pages, but oh, with what ease it is pressed into service to mask the most infamous of passions, the vilest selfishness, and even crime!"

"A young man needs friends to serve as guides and counselors, confidantes and role-models. The mature man is capable of meaningful undertakings only when his actions are undergirded by the support of others. And the elderly seek strength in their time of weakness and, ultimately, in their struggle for survival, in companionship and affection. Even if there is love at first sight, there is no friendship that does not demand time and space to reach its perfection. The ancient proverb states, and rightly so, that two friends cannot truly know each other without having first shared a bag of salt."

"Friends dislike being apart. Separation, says Emily Dickinson, is all the Hell we need. Each shared moment is precious. And the only ones who can remember the hour of loneliness are those who survive it."

"He who has a friend lavishes benevolent actions on those around him."

"Veneration of our parents is seen in this light, not as an obligation difficult to fulfill, but rather as an easy inclination of our affection. We gratefully remember what we owe them: our existence, thanks to the love they expressed to one another, the care with which they watched our growth; and the gentleness and skill with which they guided us toward independence, responsibility, and the ability to make wise choices."

"Children, because of their helplessness, evoke our tenderness. But we must give them more than that: a vigilant sense of responsibility, an exquisite equilibrium between the extremes of exercising our authority and respecting their freedom. There is no greater satisfaction than a child who, when grown and at the age of accountability, is able to forgive us."

"Outside the family circle, friendship evolves into good will. In the workplace this allows us to manage without despotism, and to follow orders without resentment. In society we will learn to intervene without violence, but also without servility. And we will be able to look beyond the geographical borders of our own country, our customs, our race, our religious beliefs, and our political ideology to see that humanity is an attribute of all mankind."

"You may not be interested in hearing it, but I want to talk about it. To talk about them, rather: the forty-five years (exactly the number I have lived) as of today. I don't want to hide anything or misrepresent the date, like one covers up a gray hair or a wrinkle. No, each day has been worth what it has cost, and much more."

"Possibilities were available to me, doors were opened to me, all because of one government official's concept of justice and the consistency of his desire to see the law equally applied. I refer to Lázaro Cárdenas."

"Diners seek in each bite, the flavor that takes them back to their childhood and the dishes that, with the passage of time, they stopped consuming."

"Tradition is an element that enters into play with destiny, because you are born into a particular family -- Jewish or Islamic or Christian or Mexican -- and your family determines to some extent what you are expected to become. And society is always there attempting to determine the role we will play within it. And these expectations are not always in good relationship with our personal desires. I am always interested in that relationship between outer reality and inner desire, and I think it is important to pay attention to the inner voice, because it is the only way to discover your mission in life, and the only way to develop the strength to break with whatever familial or cultural norms are preventing you from fulfilling your destiny."

"I grew up in a modern home, but my grandmother lived across the street in an old house that was built when churches were illegal in Mexico…She had a chapel in the home, right between the kitchen and dining room. The smell of nuts and chilies and garlic got all mixed up with the smells from the chapel, my grandmother's carnations, the liniments and healing herbs."

"The only way to find peace is when you are not separated, when you are not fighting, when you part of the whole."

"As a teacher I realize that what one learns in school doesn't serve for very much at all, that the only thing one can really learn is self understanding and this is something that can't be taught. The law of love is what one really should be learning in school, and what I want to communicate to people is that they should disobey the social rules that do not pertain to them, they should rebel against what is not personally true."

"As a very young girl, I understood that the interior activities of the home are as significant as the exterior activities of society."

"I question whether feminism can be defined without saying that it harbors an idealist political philosophy that calls for a thorough transformation of our society, that seeks to deconstruct and reconstruct the world so that it is habitable for girls, women, and our queer futurity."

"My first collection: Una puertorriqueña en Penna came out of those years and the racism I experienced while being a graduate student at Bryn Mawr College. Some of the poems are also a defense of my Puerto Rican culture and language. It is sad to say that the poems were not accepted by a Latino publishing house at the time because I did not write "like a woman." In other words, I was supposed to write about flowers, gardening and domestic chores. This first anthology was amplified to be the final book, En el país de las maravillas, which my dearest Chicana sister, Norma Alarcón, agreed to publish as the first book from her established press: Third Woman. Third Woman Press gave me a platform from which to publish without pressure from the establishment on thematics. They also published my next two books: ...Y otras desgracias and The Margarita Poems"

"If autobiographical fictions by women in general have been seen to disrupt the lifelines of male Bildungsromane in the European tradition, these Chicana stories do double duty, contesting both traditional European models and male Chicano models of lifetelling. Taken as a whole, their narratives contest unified or essentialist concepts of Chicana identity as they construct what Norma Alarcón calls "subjects-in-process" through the textual narrative (1996, 135). Their individual stories delineate a complex map of an ever-changing imagined community, no less real in fiction, that is differentiated by gender, generation, sexual preference, class, race, and regional distinctions."

"as Norma Alarcón has argued in another context, in uncritically accepting the terms of the film's logic, critics like Limón continue "to recodify a family romance, an oedipal drama in which the woman of color of the Americas has no 'designated' place" (1995, 42)."

"Poet and critic Norma Aiarcón tells us that "poetry has been the single most important genre employed by Chicanas in order to grasp and give shape to their experience and desire.""

"The (Chicano) movement to me is now like a mosaic with all these little pieces. The little pieces are the ones that are now being activated so that a poet like Lorna Dee Cervantes is her own little miniature movement. Francisco Alarcón, Norma Alarcón, José Limón, all the people who are writing are carrying out the struggle against domination and subordination in the kinds of things they focus on-language, folklore, just anything."

"To Freud's confusion on what do women want, I would say we want to dismantle a racist and misogynist heteronormative patriarchy that sucks the life out of women."

"My feminist idealism will not yield to pragmatism because it feels like giving up on the future we want to have and in which we want to live."

"No se avergüenzan los Sabios de mirarse convencidos; porque saben, como Sabios, que su saber es finito."

"¡Qué bien se ve que eran Sabios en confesarse rendidos, que es triunfo el obedecer de la razón el dominio!"

"¿Cuál mayor culpa ha tenido En una pasión errada: La que cae de rogada, O el que ruega de caído? ¿O cuál es más de culpar, Aunque cualquiera mal haga: La que peca por la paga, O el que paga por pecar?"

"Hombres necios que acusáis A la mujer, sin razón, Sin ver que sois la ocasión De lo mismo que culpáis: Si con ansia sin igual Solicitáis su desdén ¿Por qué queréis que obren bien, Si las incitáis al mal?"

"Yo no estimo tesoros ni riquezas; y así, siempre me causa más contento poner riquezas en mi pensamiento que no mi pensamiento en las riquezas."

"Some of the greatest Latin American poets have been women. Sor Juana Inés de la Cruz, Gabriela Mistral, María Sabina, and Violeta Parra are among them, but their true place in the history of poetry has yet to be fully acknowledged...Sor Juana, who was the principal poet of the Americas in the seventeenth century, fought for the right of women to write and paid with her life."

"Like other pioneer women in American history, Sor Juana Inès paved the road to education and intellectuality for women. To America, she left a vision of the woman of the future, a legacy that continues in the mind and spirit of future generations. Today, women learn and nurture the child of the true Humanity that exists within all of us. To Mexico, Sor Juana's legacy stands as the patria with a clearer vision of itself and its people; an identity that set the stage for independence. In her universal thinking, Sor Juana challenged the control and exploitation of Mexico by Spain's most archconservative institution, the Church."

"Although Sor Juana abandoned her writing, the calibre of the body of work she left Mexico remains unparalleled. Sor Juana Inés de la Cruz soared as the most enlightened daughter of the new world. She challenged the foundation of the European Christian institution in her natural law perspective and understanding of the universe. Fearless, Sor Juana left the continent a mandate regarding the rights of women to think."

"Sor Juana defended her case for learned women and stated that women should be able to study if they wish. She cites learned Jewish and pagan women, as well as Christian; St. Catherine of Egypt, Ste. Gertrude, Ste. Paula, Ste. Theresa of Avila, among others. She also quotes part of the Bible in favor women's learning. She dared to argue and questioned St. Paul's meaning of 'Mulieres in ecclesia taceant, (let women be quiet in church.) Sor Juana spoke as to the wisdom of learning adding that unqualified men would be better off not studying since a little bit of learning can be dangerous in the hands of madmen. As an example, she cited the Heresiarchs, founders and leaders of a heretical sect."

"Sor Juana Inés de la Cruz became a model for my rebellion."

"The story of feminist Latinas spreads across centuries and is rich in heroines who demolish the stereotype of the "passive Latin woman." The landmarks are numerous in Mexico, from the openly feminist seventeenth-century intellectual Sor Juana Inés de La Cruz, a nun, to the first feminist congress of 1911 and the suffrage movement of the 1930s."

"Sor Juana Inés de la Cruz left behind many writings and, above all, inspiration for all women, for all time."

"¿En perseguirme, mundo, qué interesas? ¿En qué te ofendo, cuando sólo intento poner bellezas en mi entendimiento y no mi entendimiento en las bellezas?"