By Marjorie Agosin
Marjorie Agos?n has gathered in A Dream of sunshine and Shadow: snap shots of Latin American girls Writers a wealth of very intimate, unique essays at the most eminent lady figures in Latin American literature from Mexico, Guatemala, Honduras, Costa Rica, Colombia, Ecuador, Uruguay, Argentina, and Brazil. a few of them are recognized to the area: Gabriela Mistral and Violeta Parra for instance. a few haven't but been well-known even in the borders of their very own international locations. What all of those girls have in universal is that each one creates her personal area in defiance of the bounds imposed upon her through society and is ready to locate freedom via artistic mind's eye. And regardless of the deep prejudices the entire girls during this anthology confronted in the course of their lifetimes, every one was once capable of conquer hindrances and declare a valid position as a author on a cultural degree. All of those writers are vitally all for the issues girls face in Latin the US. they've got participated in crucial methods within the historical past in their respective nations, within the highbrow background of Latin the USA, and even as, their maximum contribution has been within the sharing of the personal information of own tales, their very own and others.
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Extra info for A dream of light & shadow: portraits of Latin American women writers
In Suárez's case, art and biography were well integrated. According to Renée Scott, however, Delmira was afflicted with a serious psychological condition that compelled her to create and employ masks in her life and work. Scott presents, on the one hand, a modest Delmira who lived peacefully at home, speaking like a baby, protected and controlled by her mother; on the other hand, there is the Delmira who revolutionizes the language and whose writing is free of all false concealments. As Scott maintains, Delmira's childlike behavior was a mere pretense, a way of living in the world and of protecting herself from the roles assigned to the women of her day.
Elizabeth Horan suggests that we would do well to remember Mistral as a woman who discussed the tragic sense of life with Miguel de Unamuno but also prescribed herbal remedies. This image could be extended as well to Elena Poniatowska, who sits facing her father, the sole descendant of the Polish monarch, yet also speaks with Jesusa Palancares, Kay García, seamstresses, earthquake victims, and the masked students of Tlatelolco. It seems clear that the writers treated in this anthology do not perceive great differences between official worlds and private ones, between what is publishable and how people live.
Each of these women has extended a hand by writing texts of love and pain, and they have done it openly, generously, never begrudgingly, with the hands of extraordinary yet ordinary human beings. This is the spirit of this anthology, which does not establish chronologies or delineate historical periods but celebrates writing in which language is the true homeland without borders. If Virginia Woolf proposed a room of one's own, a space in which to be free, to dream, a seat of honor from which to exercise the privilege of unrestricted time, one must ask at what hour of the day or night, when and how did creative women use this space?
A dream of light & shadow: portraits of Latin American women writers by Marjorie Agosin