By Marjorie Agosin
Marjorie Agos?n has gathered in A Dream of sunshine and Shadow: pics of Latin American ladies Writers a wealth of very intimate, unique essays at the most eminent girl 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 realm: 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 house in defiance of the boundaries imposed upon her via society and is ready to locate freedom via inventive mind's eye. And regardless of the deep prejudices all of the ladies during this anthology confronted in the course of their lifetimes, each one was once capable of triumph over hindrances and declare a valid position as a author on a cultural level. All of those writers are vitally inquisitive about the issues girls face in Latin the US. they've got participated in crucial methods within the historical past in their respective international locations, within the highbrow background of Latin the United States, and whilst, their maximum contribution has been within the sharing of the personal info of own tales, their very own and others.
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Extra resources for A dream of light & shadow: portraits of Latin American women writers
We read, for example, in Teresa Porzcekanski's article about Marosa Di Giorgio, of the poet's haunting appearance on a Montevideo stage, and of her secret place of honor, the garden of the imagination. Porzcekanski points out the essential elementsthe garden, Di Giorgio's personality, and the kitchen, that feminine realm of magical altars and potionsthat fuse to form the essence of Marosa's poetic stage: "[The] altar appeared made of nothing but Bromelias, kitchens, beds. The country brides carried [snails] in baskets .
She speaks and writes from the point of view of a subordinate. Like Sor Juana, Mistral knew the value of apologetic language, and her request for forgiveness disguised the true tonality of her writing. Winner of the Nobel Prize, consul to various countries, Mistral always claimed that her work lacked importance because it dealt with the concerns of women and children. Again, she used a "mask" in order to confront those in power with issues of marginality, recalling Agustini's strategies that enabled her to talk about sexual love.
Thanks to Doris Meyer's biography of Victoria Ocampo, Contra viento y marea, the editor of Sur is more well known, and perhaps a more controversial figure than Ospina in the United States and Latin America. Nevertheless, Ocampo is still the grande dame of Latin American women's literature, a sort of Sor Juana of the twentieth century, who chooses her own room, not a cell in which to hide, but a place for reflection, travel, and shared knowledge. Her room has a view of not only the Atlantic but also the River Plate.
A dream of light & shadow: portraits of Latin American women writers by Marjorie Agosin