By Kay S. Garcia
Elena Poniatowska, Angeles Mastretta, Silvia Molina, and Brianda Domecq are Mexican writers whose works are starting to allure huge severe realization. thus far, their paintings isn't renowned within the usa nor can readers receive a lot information regarding the writers themselves. by means of combining in-depth interviews with serious essays, Kay Garcia offers a useful provider to people who want to have a greater figuring out of latest Mexican writing. utilizing a feminist literary serious technique, Garcia explores the connections among the writers' lives and their works. either the writers and their protagonists have tried to form realities for themselves that contradict respectable discourses and bounds. in contrast to many writers of fiction at the present time, those ladies provide voice to the marginalized components of Mexican society. The interviews, serious essays, and bibliography of damaged Bars will serve to make their works extra available to readers within the usa.
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Extra info for Broken bars: new perspectives from Mexican women writers
But I do want to be collecting information because I want to include a lot about the pre-Columbian world, of which I know very little. KG: What is the other book that you want to write? EP: It is a novel about a man who decides to be a scientist in a third-world country, and he manages to be a great scientist; he was recognized as an astronomer, and Mexico has contributed a lot to the field of astronomy. So it is the story of a man who decides that he will do science in Mexico at a time when there was no science in Mexico and it didn't matter to anybody.
And then Fuerte es el silencio retrieves again the theme of Massacre in Mexico because it is about the student movement, also. KG: The massacre of 1968 is still having repercussions in present-day Mexico, right? In fact, in Nada, nadie several people remember 1968 because [the earthquake] was so catastrophic, especially in the plaza of Tlatelolco. EP: Yes, I believe that they were both catastrophes, like you say, and what caught my attention was finding the same people 1 This interview is a compilation of conversations that I had with Elena Poniatowska in December of 1989 and in August of 1992.
If you go to the university, the schools that are full are law and medicine. Thanks to who-knows-what, there is finally some development of science. Guillermo Haro, my husband who died five years ago [in 1987], was a scientist. So I want to write the story of a life, but it's not his life. It's not going to be like a biography, but rather like a novel. I want to start everything with a feeling of guilt. He feels guilty, and he does a series of things, because he believes that he killed a woman; he didn't kill her but his whole life he believes that he killed her.