Sandra Cisneros, the acclaimed poet and novelist, is best known for her influential book, “The House on Mango Street,” which chronicles a Chicago childhood and has sold over seven million copies since its release over forty years ago. Despite its monumental success, Cisneros considers it not her favorite work, as she constantly seeks to improve with each book she writes.
Cisneros shares, “Every book I write, I try to do something I haven’t done before and get closer to the target, so it’s not my favorite book. I’m interested in trying to write the book I want to be known for, and I don’t think I’ve written it yet.”
However, she has recently rediscovered her affection for “Mango Street” through her collaboration with three-time Grammy-nominated composer Derek Bermel on the libretto for its opera adaptation. The opera, which incorporates a diverse score blending salsa, merengue, rap, ballads, and art song, is set to premiere from July 18 to August 16 at the Glimmerglass Festival in Cooperstown, New York.
“I was able to reenvision it and develop it with maybe things I couldn’t do when I was in my twenties, or couldn’t see,” Cisneros explains enthusiastically while discussing her revival of the beloved story, written in the context of a girl coming of age in Humboldt Park.
Cisneros revealed her excitement about working alongside Bermel, stating, “Derek is so amazing. I love the music!”
During her recent visit to Chicago to promote the opera at an event at Northwestern University, she also took the opportunity to visit her alma mater, Josephinum Academy of the Sacred Heart in Wicker Park. Cisneros is set to return on September 4 to receive the prestigious Harold Washington Literary Award at the fortieth-annual Printers Row Lit Fest, joining the ranks of distinguished past recipients, including Kurt Vonnegut, Susan Sontag, Ralph Ellison, Gwendolyn Brooks, and Studs Terkel.
Born in Chicago as the third of seven children, Cisneros pursued her education at Loyola University Chicago, earning a Bachelor of Arts degree before obtaining her MFA from the Iowa Writer’s Workshop. Throughout her career, she has donned multiple hats, working as a teacher, counselor for high-school dropouts, creative-writing instructor, college recruiter, arts administrator, and visiting writer at various universities. After years spent in San Antonio, Texas, she presently resides in San Miguel de Allende, Mexico, where she continues to produce an array of works, including the novel “Caramelo” and the poetry collection “Woman Without Shame,” released in 2022.
In a recent interview, Cisneros delved into topics ranging from the opera to the censorship of literature, spirituality, and her creative process.
When discussing her work on the musical adaptation of “Mango Street,” Cisneros remarked on the unique collaboration aspect. “It was exciting because I was working with someone. Usually when you write, you know how lonely that is. It was nice to have a copilot. You could write something and say, ‘Is this any good…’ It was good to get instant feedback.”
She highlighted the learning curve encountered while both she and Bermel navigated the unfamiliar territory of opera writing, acknowledging, “We didn’t know what we were doing so we made a lot of mistakes.”
“I am a fan of opera,” Cisneros added, recalling her mother’s influence and early introduction to the genre. As a child, her mother introduced her to opera through records from the Chicago Public Library, which sparked a lifelong appreciation for the art form.
Reflecting on her childhood memories, Cisneros shared, “I remember my mother liked ‘Madame Butterfly’; that’s in ‘House on Mango Street.’ She loved the arts. She was a frustrated artist. She wanted to be anything but a mother.”
Moving from the past to the present, Cisneros mentioned how her roots remain influential in her writing, as she continues to explore themes reflective of her upbringing. She is currently working on a novel titled “Infinito,” which intertwines narratives from Chicago, San Antonio, and San Miguel.
Cisneros also addressed ongoing issues surrounding banned books, disclosing that “Mango Street” has faced censorship on multiple occasions. “It was banned originally in Arizona when the Mexican American studies program was dismantled. And now my book is banned in South Carolina and South Texas, in the Rio Grande Valley.”
She emphasized the irony in such bans, asserting, “I always feel like I’m doing something right if people are frightened of what I’m saying. I’ve already censored myself when I wrote it.”
Cisneros believes that the fear of literary content—especially touching on topics of sexuality and abuse—stems from a need to control discussions about these subjects. She expressed a desire to engage with these challengers, stating, “I hope to go one day to speak to this group because I’m very spiritual myself. I want to ask, ‘What offended you? How is it that something that I wrote with so much love on behalf of my students, this is their lives, and it’s the lives of your students too?”
On the subject of spirituality, Cisneros revealed that while she no longer identifies as Catholic, she is connected to her spiritual roots through her devotion to the Virgin of Guadalupe and Buddhist teachings. “I’m very devoted to the lady of Guadalupe. She’s to me a symbol of love. And who doesn’t want that?”
Describing her living situation in Mexico, she explained how it has facilitated her return to writing. “I visualized a house with a big high wall where I wouldn’t be so available. And that’s where I live now in a house with a big high wall. It’s kind of what I call a convent of one.”
Cisneros acknowledges the challenges inherent in stepping back from responsibilities, especially given her history as a caretaker. “I’m always mothering in some respect… I feel the universe has given me so much that I feel it’s a manda, a command, from the Virgin of Guadalupe or God, whatever you call God, to give back.”
As an advocate for young people and their ability to express themselves, Cisneros noted the loneliness many experience in today’s world, particularly with the rise of digital communication. She referred to Thich Nhat Hanh’s writings on combating fear and developing personal interaction, stating, “I think one of the reasons ‘House’ has been popular is that people look at it and think, ‘Oh, that story’s not long. I can get through this one, knock it out.’”
In conclusion, Sandra Cisneros remains a powerful voice through her writing, exploring the intricacies of identity, community, and spirituality while advocating for the rights of storytellers and the free expression of literature. Her latest opus—a musical reimagining of “The House on Mango Street”—promises to capture and elevate her narrative anew as it reaches broader audiences through the medium of opera.
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