Mostly an autobiographical account, Mango Street detailed the coming of age of a Mexican American girl in Chicago.
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. 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: So that the relatives and family would allow me the liberty to disappear into myself.
To reinvent myself if I had to. As Latinas, we have to Because writing is like putting your head underwater.
She once confided to other writers at a conference in Santa Fe that she writes down "snippets of dialogue or monologue—records of conversations she hears wherever she goes.Report abuse. Transcript of Woman Hollering Creek.
Woman Hollering Creek Sandra Cisneros - Born in Chicago ~ - The only daughter in her family (her parents - 7 children) - Studied at She wrote the book: > to express the ideology that " woman doesn't need a man to survive ".
Transcript of Sandra Cisneros. "Loose Woman". She also published a children's book titled, "Hair, Pelitos". By Sandra Cisneros From "Woman Hollering Creek and Other Stories" Readings Writing Style Fiction in the form of poems, short stories, and novels. Sandra Cisneros (born December 20, ) is a Mexican-American writer.
She is best known for her first novel The House on Mango Street () and her subsequent short story collection Woman Hollering Creek and Other Stories ().
Her work experiments with literary forms and investigates emerging subject positions, which Cisneros herself attributes to growing up in a context of cultural. "Woman Hollering Creek" by Sandra Cisneros is a story of a wife who lives in a cycle of abuse from her husband.
Cleofilas, a woman with unrealistic views of love, and Juan Pedro, her husband, move from Mexico to Seguin, Tejas, near a little arroyo called La Gritona.
Cleofilas bear. "Woman Hollering Creek" by Sandra Cisneros is a story of a wife who lives in a cycle of abuse from her husband.
Cleofilas, a woman with unrealistic views of love, and Juan Pedro, her husband, move from Mexico to Seguin, Tejas, near a little arroyo called La Gritona.4/5(2). Woman Hollering Creek and Other Stories by Sandra Cisneros Report this Page From the author of the widely acclaimed The House on Mango Street comes a story collection of breathtaking range and authority, whose characters give voice to the vibrant and varied life on both sides of the Mexican border.