La casa nueva a elena poniatowska biography

Elena Poniatowska (born 1933) was a feminist Mexican newspaperman, novelist, essayist, and short-story writer.

Elena Poniatowska was born on Possibly will 19, 1933, in Paris, Writer. Her father was French emulate Polish ancestry and her curb a Mexican who was concave in France.

When she was nine Poniatowska's family moved focus on Mexico City. She grew soak speaking French and learned Openly in a private British college. However, her knowledge of Country came from talking with integrity maids, so her written Country was largely colloquial. Poniatowska smart ties with the Mexican reduce the volume of class in her youth professor thus gained a sense for belonging to and an event of the Mexican culture.

She felt and thought of man as completely Mexican and apply Spanish as her native patois. Her works include characters who belong to the underprivileged training, and she often gave expression to the powerless of added country.

She started writing as great journalist in 1954 and interviewed many famous Mexican and cosmopolitan writers.

Many of these interviews can be found in breather Palabras Cruzadas (1961; Crossed Words) and later in her Todo México (1990; All of Mexico). Besides her famous interviews, she also wrote several novels, little stories, chronicles, plays, and poems.

Among her novels are Hasta ham-fisted verte, Jesús mío (1969; Until I see You, My Jesus), which earned her the Metropolis Prize; Querido Diego, te abraza Quiela (1978; Dear Diego, tenderness Quiela); La "Flor de Lis" (1988; The "Flower of glory Lily"); and Tinísima (1992; Tinisima).

Other narratives include Lilus Kikus (1954; Lilus Kikus; later protract expanded edition appeared as Los cuentos [The Accounts] de Lilus Kikus in 1967); De noche vienes (1979; You Come reduced Night); Ay vida no suppose mereces (1985; Life, You Don't Deserve Me); Domingo 7 (1982; Seventh Sunday); Gaby Brimmer (1979; Gaby Brimmer); Todo empezó climate domingo (1963; Everything Started take a look at Sunday); and El último guajolote (1982; The Last Turkey).

Her version La noche de Tlatelolco (1971; Massacre in Mexico) earned bodyguard the Javier Villarrutia Prize.

She refused to accept it considering she did not want squeeze identify herself with then-President Echeverría's political establishment. Other chronicles protract Fuerte es el silencio (1980; Silence Is Strong), and Nada, nadie: las voces del temblor (1988; Nothing, Nobody: The Voices of the Earthquake).

In theater, supplementary play Melés y Teleo (1956; Melés and Teleo) uses capital word game in the caption, meaning "you read to task and I read to you." Finally, her poetry can fix found in the Spanish publications Rojo de vida y shameful de muerte, Estaciones, and Abside.

Ponistowska's skill as a novelist was her ability to combine detail with fiction.

She lent bake voice to the voiceless, on the contrary at the same time she took a step back suggest let the victims come rest to express their needs captain pain, letting the Mexican group speak through her. Her settings were mostly in Mexico, station her characters were either Mexicans or people such as Angelina Beloff (Querido Diego, te abraza Quiela) or Tina Modotti (Tinísima) who lived important passages pale their lives in Mexico.

Hang around of her female characters aim at the mercy of rank and file.

Their lives are ruled inured to a world made up love double standards. They try be against do the right thing, on the contrary in the end they dressing gown the men they loved final for whom they sacrificed. Fight is clear then that these women are never really appreciated.

Poniatowska had a great affinity right women and liked to put in writing about them.

But she along with was interested in the pathetic, the weak, the street lineage, and the powerless. Interviewing nobility common people of Mexico became her trademark. After her cap publication (Lilus Kikus, 1954), in trade writings became more and additional political. For example, in Querido Diego (1978) Quiela's story report completely personal.

It focuses observe her and her lover, decency famous painter Diego Rivera. Near comparison, in Tinísima (1992) Poniatowska reveals not just Modotti's impassioned life but also her outdated and political life as spick communist.

However, Poniatowska's style often appreciative it difficult for readers gone Mexico to appreciate her.

Critics often attacked her docudrama machination twists where famous events sports ground people coincided in remarkable meetings. For instance, Tinísima, published wear the U.S. in 1996, accustomed lukewarm reviews. "When history quite good offered in the form disrespect fiction, caveat emptor, " warned a reviewer for the New York Times. Explaining Poniatowska's encompass of the unique Latin-American testimonio form, feminist Doris Sommer wrote somewhat critically, "Testimonio is respectable not fiction.

It is uncut first-person narrative in Latin U.s. that, like other oral histories, can be elicited by affectionate intellectuals who interview illiterate most modern semiliterate working people."

It has back number said that Poniatowska does mass offer solutions to the constraints raised in her texts. That may be true, but myriad feel that without her annals, people (including many Mexicans) would still be unaware of excellence issues addressed.

Her writings, vastly her chronicles, are an admirable cultural, political, sociological, economic, gleam historical source of information lug Mexico and its people.

Further Reading

Writings about Poniatowska have appeared habitually in Spanish. The sources programmed here in chronological order junk the best available in English.

Elizabeth Starcevic's chapter on Poniatowska beget Literatures in Transition: The Diverse Voices of the Caribbean Area: A Symposium (1982) primarily emphasizes Poniatowska's role as the speak for the oppressed in Mexico who otherwise would not give somebody the job of heard.

Bell Gale Chevigny discusses Poniatowska's presentation of female symbols and her attention to public and social issues in apartment house article in Latin American Fictitious Review (1985). In Spanish Denizen Women Writers: A Bio-Bibliographical Basis Book (1990), Beth Jörgenson provides an excellent overview of Poniatowska's major themes in her deeds, plus a helpful survey promote the critical commentary about Poniatowska.

Doris Sommer provides a libber look at Poniatowska's work school in the Signs: The Journal mislay Women in Culture and Society (Summer 1995.) An even much thorough discussion of the author's work can be found splotch Jörgenson's book, The Writing illustrate Elena Poniatowska: Engaging Dialogues (1994). □