unvielingshamelesspoetics

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In the poem "I Want to Be a Maguey in My Next Life," Sandra Cisneros beautifully captures a deep yearning for a connection with the natural world, specifically the geographies of Mexico. The imagery is vivid, and the intentional use of Spanish adds a layer of cultural richness to the poem.

The speaker's desire to be a maguey, an agave plant native to Mexico, reflects a longing for a more rooted and organic cultural existence. The maguey is portrayed as a symbol of resilience and vitality, facing the sun with determination and bursting offspring into the air like a piñata (Cisneros 77).

The desire to belong to the lands that existed "before the world / Was round" speaks to a profound connection to indigenous landscapes (Cisneros 77). 

Cisneros’ intentional use of Spanish, particularly the word "aguamiel," adds to the poem and serves as a linguistic bridge that connects Cisneros to her cultural roots. 

The theme of life, death, and rebirth is present in the lines "And die from this communion. / Dissolve like ash. / Return to live on earth." This cycle of life, death, and rebirth is further emphasized with the mention of Paricutín, a volcano in Mexico that suddenly erupted in 1943. Cisneros desires to violently detonate from the earth like Paricutín, symbolizing a powerful and transformative force (77). And the final lines, "Die to eternally be," encapsulate the theme of regeneration and the eternal cycle of life (Cisneros 77). 

“I Want to Be a Maguey in My Next Life,” is a celebration of nature, a craving for connection with ancestral homelands, and a reflection of the cycles of life. 

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The poem "This in the News Unmentioned" by Sandra Cisneros sheds light on the untold stories and struggles faced by individuals living in the shadows of Mexican society. The speaker gives the audience a snapshot of various lives along the old road to Querétaro, Mexico, which reveals the hardships faced by ordinary people of Mexico who often go unnoticed in the news.

The aged seamstress is portrayed as someone who finds herself without work despite having honed her skill due to a broken sewing machine and failing eyesight (Cisneros 48). The rose seller from Santa Julia dreams of buying a stove for his mother while reading Neruda, a desire for improvement and pursuing dreams even in the face of adversity (Cisneros 48).

The housekeeper's story introduces the theme of migration, as all her five sons have gone north to the United States (Cisneros 48). The absence of communication from her favorite son and her inability to read or write intensify the emotional toll of separation and highlight the communication barriers faced by those within the Mexican diaspora.

The poem then takes a turn to address larger issues, which Cisneros chooses to be symbolized by the movement of arms south and drugs north. This comparison advances the complex and often harmful dynamics between two nations, with consequences that reverberate through the lives of ordinary people. The mention of avocados traveling north, beyond the financial reach of the seamstress, rose seller, and housekeeper, underscores the economic disparities and challenges faced by those on the margins (Cisneros 48).

The concluding lines, "Business always good / Between the two / Nations," comment on the interconnectedness of economic interests and the indifferent nature of global affairs (Cisneros 49). The poem subtly critiques the disparities and struggles faced by individuals living on the periphery of political and economic discussions, urging readers to consider the human stories often overshadowed by broader narratives.

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The poem, "I Should Like to Fall in Love with a Burro Named Saturnino," by Sandra Cisneros, explores themes of love, nature, and the simplicity of life. The speaker expresses a desire for a unique and unconventional love, symbolized by falling in love with a burro named Saturnino. 

Cisneros goes on to envision a warm and comforting space, invoking the image of a Xoloitzcuintli, a Mexican hairless dog with the color of blue corn, to warm the bed (Cisneros 38). The desire to be reborn as a sunflower “ever/ faithful to the sun” suggests a connection to the natural environment around her (Cisneros 38). 

There is also a sense of admiration for Mexican nature and its creatures, as the speaker expresses a willingness to learn from ants, who peacefully and efficiently evict the speaker from the shower every winter (Cisneros 38). Cisneros presents this as lesson in nonviolent persuasion, suggesting that there is wisdom to be gained from observing and respecting the natural world.

The mention of the sentinel maguey, agave plant, introduces themes of fortitude, resilience, and patience, drawing parallels to the political landscape with a reference to "los santos inocentes de la política" (the innocent saints of politics) (Cisneros 39). 

The poem concludes with a vivid description of the speaker's daily life, emphasizing the routine and repetition, yet highlighting the uniqueness of each moment (Cisneros 39). Cisneros combines elements of nature, love, and humor to create a contemplative piece that allows readers to appreciate the simplicity and beauty in everyday life.

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The poem “El Jardín, End of Day” by Cisneros explores the intersection of race, ethnicity, and beauty standards in different cultural contexts. The speaker observes the perception of individuals based on their racial identities and suggests that these perceptions vary depending on one's cultural background.

The scene of the Mexican boy kissing the white American girl highlights the different perspectives each person brings to the encounter. The Mexican boy sees beauty in the white girl, emphasizing her blond hair, while the white American girl seems to romanticize the Mexican boy as “Aztec beautiful" (Cisneros, Line 20). This portrayal proposes a clash of cultural perceptions and expectations.

Cisneros delves into the impact of cultural conditioning on beauty standards, suggesting that the Mexican boy may not find the white American girl attractive in his native cultural context. Similarly, the white American girl might not be considered unique within her own cultural framework. Cisneros hints at a form of fetishization, where individuals are valued based on exoticized perceptions of their cultural backgrounds rather than their intrinsic qualities. This cultural relativism in beauty standards is a central theme in the poem, highlighting the subjective nature of perceptions related to race and ethnicity.

“El Jardín, End of Day” provides a nuanced exploration of how race, ethnicity, and cultural context intersect with beauty standards. The case of these two lovers prompts readers to reflect on the fluid nature of these perceptions and the impact of cultural conditioning on individual perspectives.

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“It Occurs to Me I Am the Creative/Destructive Goddess Coatlicue” written by Cisneros is a very strong poem that challenges traditional gender roles and societal expectations imposed on women, specifically in a Mexican/Mexican-American context. The poem uses the mythological figure of the Aztec Goddess Coatlicue as a metaphor to convey the speaker’s defiance against these norms. 

Coatlicue, a significant Aztec goddess, represents fertility, motherhood, and the cyclical nature of life and death. By invoking Coatlicue in the title, Cisneros draws upon this myth to establish a parallel between the goddess and herself. The indigenous mythological background adds depth to the poem, as it frames the speaker as a force of nature that embodies creation and destruction, just like the nature of Coatlicue. 

The speaker refuses to conform to traditional gender norms. She declares herself as an “anomaly” who rejects societal norms related to women’s roles (Cisneros, Line 10). The rejection of nurturing, dislike for children, and the absence of typical domestic attributes like a groceries go against the stereotypical image of a woman as a caregiver (Cisneros, Line 10-15). 

The repeated warnings in the poem, such as "you better leave me the hell alone" and "stand back. Warning," emphasize the speaker's determination to assert her individuality (Cisneros, Line 2, 33-34). The urgency in these warnings suggests that the speaker is unapologetic about her non-conformity and demands respect for her autonomy.

Cisneros' reference to "Cordelia cordiality" alludes to traditional feminine virtues associated with politeness and kindness (Cisneros, Line 12). By rejecting these qualities, the speaker disrupts cultural expectations placed on Mexican/Mexican-American women. The poem challenges the idea that women must embody certain traits to be considered acceptable or valuable in society.

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Sandra Cisneros conveys detailed instructions for the organization of her funeral in the event of her death. In her poem “Instructions for My Funeral” incorporates various cultural symbols, including copal (a tree resin used as a ceremonious incense since the time of the Maya/Aztec), her rebozo (a class Mexican women’s garment similar to a shawl), petate as a substitute for a standard coffin (a bedroll made from palm fibers dating back to Aztec times), and mezcal (a Mexican spirit that is drank collectively, a symbol of friendship and community) (Cisneros 3-5, 29). 

In a notable departure from patriarchal Christian traditions, Cisneros explicitly rejects Christian rituals for her funeral, offering an alternative, “Allow no Christian rituals / for this bitch, but, if / you like, you may invite/... a witch woman to spit / orange water and chant / an Otomí prayer”(Cisneros 7-13). This choice reflects her preference for the indigenous practices rooted in the cultural environment of San Miguel de Allende, Guanajuato, Mexico (Cisneros, biography). 

The poem’s significance is perhaps the most pronounced in a stanza in which Cisneros emphatically affirms her connection to her Mexican context: “Send no ashes north…/ I belong here, / under Mexican maguey / beneath a carved mesquite / bench that says Ni Modo” (Cisneros 14, 17-20). Even in death, Cisneros underscores that despite her American birth, her true sense of belonging ties her intimately to Mexico, not the United States.

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Now, on to the poetry.

The first poem that I will be attending to is titled "Creed." A creed, is commonly known in religious communities are a formal declaration of beliefs that a community follows. Therefore, before even reading the poem, the audience can assume that Cisneros will be outline what she considers to be her commandments.

Cisneros writes the following as her Ten Commandments:

"I believe I am God / And you are too" (Cisneros 1-2).

"I believe God is / Love, and love is God" (Cisneros 5-6).

"I believe we are / Capable of atrocities beyond / Imagination and equally / Capable of extraordinary / God-acts as well" (Cisneros 12-16).

"I believe / There is enough misery / In the world, but also / Humanity" (Cisneros 17-20).

"I believe in the power / Of a thought, a word, / To change the world" (Cisneros 22-24).

"I believe there is no greater / sorrow than that of a mother" (Cisneros 25-26).

"I believe in las madres / Las madres de las madres, / Y la santísima madre / La diosa Guadalupe" (Cisneros 28-31).

"I believe this same mothers sometimes / Create monsters" (Cisneros 34-35).

"I believe mothers and grandmothers / Are the solution to violence" (Cisneros 36-37).

"I believe what the generals need now / are the abuelita brigades armed with / Chanclas to shame, swat and spank" (Cisneros 40-42).

As she ends her Creed with the Amen, Cisneros allows us to reflect on her ten tenets. First, each and every one of us, according to the author, is capable of being God. Being God therefore implies that while we are built of love, we are also the ones who can commit the most unimaginable hurts.

In her last four commandments, Cisneros refers back to the ideas of Motherhood and as well as the significance mothers (and grandmothers) in the cultural context of Mexican/Mexican-American families. With a nod to the iconic Our Lady of Guadalupe in the 7th commandment, Cisneros redefines Mexican women not as nurturers who provide and submit to men, but as pillars of strength who have the authority to fix all that has been broken in community.

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Here are some other themes that I feel are common threads throughout Mexican-American literature and in Sandra Cisneros's work.

Language as a Bridge: The use of both English and Spanish in Mexican American poetry reflects the bilingual reality of many individuals in these communities. English may be the language of daily life and societal interaction, while Spanish becomes a means of preserving cultural roots and connecting with familial and ancestral ties (Dumitrescu, 1). The interplay of languages serves as a bridge that spans two worlds, capturing the nuances of the bicultural experience (Dumistrescu, 1).

Belonging and Home: Mexican American poets often grapple with questions of belonging and the search for a sense of home. Cisneros especially explores the tensions and joys of straddling multiple cultural worlds, seeking a balance between Mexican and American identities (Pearce, 206). Poetry, in this case, becomes a means of expressing conflicting yet harmonious aspects belonging to different cultural spaces.

Code-Switching and Bilingualism: Code-switching, or alternating between English and Spanish within a single poem, is a linguistic strategy that mirrors the daily reality of many Mexican-Americans (Dumistrescu, 1). This bilingualism is not just a linguistic choice but a reflection of the intricate cultural dance individuals perform as they navigate between different aspects of their identity. The intentional use of both languages in poetry captures the fluidity and complexity of the bicultural experience (Dumistrescu, 2). Essentially, Mexican American poetry serves as a multifaceted art form that captures the nuances of identity, migration, and belonging (Pearce, 206). The use of language, whether it be English, Spanish, or the harmonious interplay of both, adds depth and authenticity to narratives.

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How can poetry relay the Mexican-American experience? In my opinion, literary media such as short stories or written poetry can be one of the best forms to encapsulate the realities of the diaspora.

But why do I think that? Well first, let's identify some common themes that characterizes Mexican-American poetry.

Cultural Expression and Identity: Mexican-American poets use poetry to express the richness of their cultural identity (Noel 160). Poets can draw on traditions, customs, folklore, and historical events to create a tapestry that reflects heritage (Noel 160). Through vivid imagery and symbolism, poets such as Sandra Cisneros convey the essence of Mexican/Mexican-American culture and its impact on sense of self.

Exploration of Gender: Mexican-American poets like Cisneros explore gender dynamics within the community. Poetry addresses traditional expectations, stereotypes, and the evolving roles of men and women (Mayock 223). Poetry becomes a medium for challenging cultural norms, creating a space for reflection on the complexities of gender identity within the context of both Mexican and American cultures (Mayock 224).

Migration and Displacement: The theme of migration is also central to many Mexican-American poems/poets. Poets like Cisneros can really capture emotions in the journey of leaving one's home, challenges of adapting to a new culture, and nostalgia for the motherland (Pearce 206). Through poetry, Mexican-American poets can share their narratives, which highlight the resilience needed in order to navigate the complexities of migration (Pearce 208).

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a bit about the artist

Sandra. Sandra. Sandra. Direct quote from thepoetryfoundation.org: "As a single woman, she chose to have books instead of children. She earns her living by her pen."

Sandra Cisneros was born on December 20, 1954, in Chicago, Illinois. Cisneros is an American writer, known for her contributions to contemporary literature, especially within the realm of Chicana literature.

Cisneros has become a prominent voice in exploring issues of identity, culture, and gender within the context of the Latina experience in the United States.

One of Cisneros's most celebrated works is "The House on Mango Street," a coming-of-age novel published in 1984. 

The novel is a series of vignettes narrated by a young Latina girl named Esperanza Cordero, offering glimpses into her life and the challenges she faces while growing up in a Hispanic neighborhood in Chicago. "The House on Mango Street" has the ability to capture the complexity of identity and the search for selfhood.

Cisneros's writing often explores the intersectionality of ethnicity, gender, and socioeconomic factors. Her work delves into the experiences of Latina women, shedding light on their struggles, aspirations, and cultural heritage (Pearce 206).

Over the years, Sandra Cisneros has received numerous accolades for her work, including the American Book Award and the MacArthur Fellowship, commonly known as the "genius grant."