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.
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. 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 GuanajuatoMexico, while her father's was much more "admirable". Eventually the instability caused Cisneros's six brothers to pair off in twos, leaving her to define herself as the isolated one.
Her feelings of exclusion from the family were exacerbated by her father, who referred to his "seis hijos y una hija" "six sons and one daughter" rather than his "siete hijos" "seven children".
Ganz notes that Cisneros's childhood loneliness was instrumental in shaping her later passion for writing. Cisneros's one strong female influence was her mother, Elvira, who was a voracious reader and more enlightened and socially conscious than her father.
Her family made a down payment on their own home in Humboldt Parka predominantly Puerto Rican neighborhood on Chicago's West Side when she was eleven years old. 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. 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: It was while attending the Workshop that Cisneros discovered how the particular social position she occupied gave her writing a unique potential.
She recalls being suddenly struck by the differences between her and her classmates: 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 couldn't write about. From then on, she would write of her "neighbors, the people [she] saw, the poverty that the women had gone through.
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.
|Keep Exploring Britannica||As her first novel, the coming-of-age classic The House on Mango Street, celebrates its 25th anniversary, however, the year-old Mexican American writer reflects on a time in her twenties when success was anything but certain.|
|QUOTES BY SANDRA CISNEROS [PAGE - 12] | A-Z Quotes||September 14, at 6: She considers herself deserving of the attention of her male superiors despite the widespread sexism that reigns in her community.|
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Prior to this job, she worked in the Chicano barrio in Chicago, teaching high school dropouts at Latino Youth High School.
Through these jobs, she gained more experience with the problems of young Latino Americans. The 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.
Cisneros has also worked as a college recruiter and an arts administrator. My writing is my child and I don't want anything to come between us. The New Mestiza, Cisneros wrote:On the 25th anniversary of "House on Mango Street," Sandra Cisneros reflects on the successes and struggles of writing.
Jun 07, · This blog provides advice to writers on their literary work.
Cisneros’s writing is wise, funny, sexy, and thought-provoking, often on the same page. It’s time to take Sandra Cisneros out of the marble niche she’s been confined to and recognize her as one of the great living authors of the U.S.A. Sandra Cisneros (born December 20, ) is a Mexican-American writer.
Cisneros's writing is rich not only for its symbolism and imagery, deemed by critic Deborah L Madsen to be "both technically and aesthetically accomplished", but also for its social commentary and power to .
Apr 01, · Sandra Cisneros talks about writing, the authors who inspired her, and the advice she has for aspiring authors. And don't miss the 25th anniversary edition of . —Sandra Cisneros. Sandra Cisneros is a poet, short story writer, novelist and essayist whose work explores the lives of the working-class.
In addition to her writing, Cisneros has fostered the careers of many aspiring and emerging writers through two non-profits she founded: the Macondo Foundation and the Alfredo Cisneros del Moral.
The real Sandra Cisneros isn’t going to be out dancing on tables; she’s going to be at a table, writing. Sandra Cisneros, former recipient of a prestigious MacArthur grant, is the author of a number of books, including the novella The House on Mango Street, the short-story collection Woman Hollering Creek and Other Stories and the poetry.