By Sandra Cisneros
From the writer of The apartment on Mango Street, a richly illustrated compilation of actual tales and nonfiction items that, taken jointly, shape a jigsaw autobiography—an intimate album of a cherished literary legend.
From the Chicago neighborhoods the place she grew up and set her groundbreaking The residence on Mango Street to her homestead in Mexico in a quarter the place “my ancestors lived for centuries,” the locations Sandra Cisneros has lived have supplied idea for her now-classic works of fiction and poetry. yet a home of her personal, the place she may well actually take root, has eluded her. With this collection—spanning 3 many years, and together with never-before-published work—Cisneros has come domestic ultimately.
Ranging from the non-public (her parents’ loving and tempestuous marriage) to the political (a rallying cry for one woman’s liberty in Sarajevo) to the literary (a tribute to Marguerite Duras), and written along with her trademark lyricism, those signature items bear in mind transformative stories in addition to display her defining inventive and highbrow impacts. Poignant, sincere, deeply relocating, this can be an exuberant social gathering of a existence in writing lived to the fullest.
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Extra info for A House of My Own: Stories from My Life
His love interest Maria (from a genteel, wealthy family) cannot understand his commitment to realistic narrative: “[W]hy do you persist,” she wonders, “in writing such things when you know they won’t sell? . Surely it will offend your readers, and surely that is why the editors are justified in refusing your work” (ch. 33). Predictably, Maria breaks off her relationship with Martin out of frustration with his unpragmatic approach to career-building. Later, once Eden’s hard-won success is established, London’s novel illustrates how celebrity authorship changes interpersonal commodities and celebrities 11 relationships, as Maria tries to reaffiliate with Martin, now desirable because of his monetary success and his fame.
The impact of these periodical-based constructions of authors’ public identities could be so intense as to make writers feel they had little control over the process, as Anzia Yezierska would show in a satirical scene in her literary memoir, Red Ribbon on a White Horse (1950). Recalling a lunch she shared with one critic at the famed Algonquin dining room in New York, Yezierska described a series of critics claiming to have originated her characterization as a Cinderella of the tenements—and pulling out their own press releases to prove it.
As Blake has noted, “The butterfly descends to us today as a testament to Whitman’s remarkable merger of poetry and publicity” (3). For Whitman, photographs may have been more productive of reputation-shaping than money-making, but his concerted efforts to manage these images signal an astute awareness of authorship’s potential link to celebrity identity. Among America’s novelists, no author better understood the power of the photographic portrait than Mark Twain, whose cultivation of celebrity cut across virtually every strategy for self-promotion available throughout his career.