Alba [de Leon] Comments”

The largest subseries in Monographs is material relating to the writing and publication of Caramelo. Research, notes, chapter drafts, and book drafts document Cisneros’ writing process. Research files and notes provide evidence of the depth of research that went into the book, loosely based on her own family history. Included among the topics are immigration, Mexico, San Antonio, music, and war. Notes includes story development “road maps,” outlines, and files that Cisneros created on topics such as jealousy, Spanish syntax, and upholstery; the latter of which includes the poem “Martita,” annotated by Cisneros.

There was no discernable original order to the many loose drafts of each chapter, so they have been arranged in order of appearance in the published book. Every chapter is represented in these drafts with the exception of “Body Like a Raisinette,” “Zorro Strikes Again,” and “Becoming Invisible,” for which there were no loose drafts. Some chapters had alternate working titles, and if identified, those are housed with the later versions titled as in publication.

Partial early drafts of the Caramelo begin in box 62, and complete drafts in boxes 63-65. Setting copies, galleys, song lyric copyright clearance files, and promotional materials round out the publication materials for Caramelo.

Cisneros corresponded with and sent chapters drafts to a number of individuals. Her agent, Susan Bergholz’s Caramelo files are extensive and are in boxes 69-72. The files of Cisneros’ editor at Knopf, Robin Desser, include correspondence and drafts with Desser’s edits. And Cisneros’ good friend and personal editor, Dennis Mathis, corresponded extensively with her from 1994-2002, and sent copies of drafts with his suggested edits. Finally, there are several files relating to Liliana Valenzuela’s Spanish translation: correspondence, style sheets, and drafts.