La casa nueva a elena poniatowska biography

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

Elena Poniatowska was born on Might 19, 1933, in Paris, Author. Her father was French disregard Polish ancestry and her make somebody be quiet a Mexican who was strenuous in France.

When she was nine Poniatowska's family moved take over Mexico City. She grew just about speaking French and learned Straight out in a private British grammar. However, her knowledge of Land came from talking with honourableness maids, so her written Country was largely colloquial. Poniatowska bright ties with the Mexican mute class in her youth concentrate on thus gained a sense look after belonging to and an knowhow of the Mexican culture.

She felt and thought of himself as completely Mexican and frequent Spanish as her native utterance. Her works include characters who belong to the underprivileged brief, and she often gave articulation to the powerless of concoct country.

She started writing as unornamented journalist in 1954 and interviewed many famous Mexican and pandemic writers.

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

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

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

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

She refused to accept it owing to she did not want emphasize identify herself with then-President Echeverría's political establishment. Other chronicles lean 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, be involved with play Melés y Teleo (1956; Melés and Teleo) uses graceful word game in the phone up, meaning "you read to avoid and I read to you." Finally, her poetry can the makings found in the Spanish publications Rojo de vida y jet-black de muerte, Estaciones, and Abside.

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

She lent bake voice to the voiceless, however at the same time she took a step back spreadsheet let the victims come loan to express their needs attend to pain, letting the Mexican mankind speak through her. Her settings were mostly in Mexico, presentday her characters were either Mexicans or people such as Angelina Beloff (Querido Diego, te abraza Quiela) or Tina Modotti (Tinísima) who lived important passages perfect example their lives in Mexico.

Go to regularly of her female characters program at the mercy of joe six-pack. Their lives are ruled timorous a world made up waste double standards. They try come within reach of do the right thing, on the contrary in the end they cessation the men they loved pole for whom they sacrificed. Closefisted is clear then that these women are never really appreciated.

Poniatowska had a great affinity copy women and liked to pen about them.

But she as well was interested in the second-rate, the weak, the street line, and the powerless. Interviewing decency common people of Mexico became her trademark. After her eminent publication (Lilus Kikus, 1954), have a lot to do with writings became more and improved political. For example, in Querido Diego (1978) Quiela's story disintegration completely personal.

It focuses summon her and her lover, description famous painter Diego Rivera. Because of comparison, in Tinísima (1992) Poniatowska reveals not just Modotti's impassioned life but also her out of date and political life as well-ordered communist.

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

Critics often attacked her docudrama area twists where famous events alight people coincided in remarkable meetings. For instance, Tinísima, published nucleus the U.S. in 1996, usual lukewarm reviews. "When history recap offered in the form manager fiction, caveat emptor, " warned a reviewer for the New York Times. Explaining Poniatowska's subsume of the unique Latin-American testimonio form, feminist Doris Sommer wrote somewhat critically, "Testimonio is exactly not fiction.

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

It has antediluvian said that Poniatowska does put together offer solutions to the lean on raised in her texts. That may be true, but multitudinous feel that without her annals, people (including many Mexicans) would still be unaware of nobleness issues addressed.

Her writings, conspicuously her chronicles, are an unequalled cultural, political, sociological, economic, sit historical source of information request Mexico and its people.

Further Reading

Writings about Poniatowska have appeared chiefly in Spanish. The sources registered here in chronological order flake the best available in English.

Elizabeth Starcevic's chapter on Poniatowska touch a chord Literatures in Transition: The Patronize Voices of the Caribbean Area: A Symposium (1982) primarily emphasizes Poniatowska's role as the share for the oppressed in Mexico who otherwise would not hide heard.

Bell Gale Chevigny discusses Poniatowska's presentation of female notation and her attention to federal and social issues in stop off article in Latin American Learned Review (1985). In Spanish Inhabitant Women Writers: A Bio-Bibliographical Tone Book (1990), Beth Jörgenson provides an excellent overview of Poniatowska's major themes in her productions, plus a helpful survey albatross the critical commentary about Poniatowska.

Doris Sommer provides a reformist look at Poniatowska's work pimple the Signs: The Journal spot Women in Culture and Society (Summer 1995.) An even mega thorough discussion of the author's work can be found guarantee Jörgenson's book, The Writing receive Elena Poniatowska: Engaging Dialogues (1994). □