Authors
Found in 3888 Collections and/or Records:
“The Man Across the Street,” 1 typed page, no corrections, 2006
Cisneros’ nonfiction writings are arranged alphabetically and include speeches, editorials, and essays. Many were eventually published in anthologies or magazines. In cases when the date and location of a speech is known, that information is included in the listing. This series also contains interviews Cisneros conducted with other writers while working at the Guadalupe Cultural Arts Center (box 41).
"The man at Rice is Chuck Henry (Dr. Charles). They have money - almost bought Susan Sontag's archive. I remember Phil [Lanbech] was a commercial director - he could not do scenes over 20 seconds." Handwritten, 1 page plus envelope, June 8, 2004
The Sipper Collection is comprised of over 100 letters from Larry McMurtry to Ralph Sipper ranging from 1982-2018. Arranged chronologically, they document McMurtry’s practice of and thoughts on book selling and buying. Frequent topics include the sale of screenplays, his work in the film business, and mutual acquaintances in the literary world.
“The Mango Street Journal” and Chicago Tribune Article, “Cisneros talks writing and Mexiphobia", 2010
“The Marlboro Man,” 3 holograph pages; 3 print out pages; Spanish translation, corrected
The Mask of Aztlan, 1983 - 1985
"This one got stuck between thinking and feeling. The best stuff (the old men, the feathered airplane, the Mask itself) come from cutting the subconscious loose. Much of the rest of the story is contrivance--that is to say, thought out. The two didn't mix." Bill Wittliff, February 24, 1989
The Mask of Aztlan, January 17, 1985
"This one got stuck between thinking and feeling. The best stuff (the old men, the feathered airplane, the Mask itself) come from cutting the subconscious loose. Much of the rest of the story is contrivance--that is to say, thought out. The two didn't mix." Bill Wittliff, February 24, 1989
“The Metropolitan Café – Hydra, Summer Afternoon,” 1 typed page, corrected
Europe Poems were originally housed together in one folder and date from Cisneros’ time abroad in Greece, 1982-1983. Some were later published in My Wicked Wicked Ways and Loose Woman. The poems are arranged alphabetically, with untitled poems and fragments at the end.
“The Mothers Voice,” Removed from the May, 1971 issue of NOW, 1971
“The Near Coast of Darkness/Thesis”; Annotated manuscripts of “The Near Coast of Darkness”, 1966
“The Nemesis Gets His Walking Papers,” 1 typed page, no corrections; 2 photocopies
Later Poems span 1985-2014 and did not come in any original order. They are arranged alphabetically. Most poems are single drafts, but or insight into Cisneros’ revision process, there are eight progressive drafts of the 1995 poem “Morning After Tango.”
The New Yorker. Includes “Still-life with Potatoes, Pearls, Raw Meat,” Rhinestones,” Lard, and Horse Hooves” (2 copies), May 23, 1994
Arranged chronologically, Publications span 1970-2003 and include magazines and journals that contain contributions by Cisneros. The earliest items are literary magazines Now and Cadence, from Josephinum Academy and Loyola University, respectively. For each publication, the date and title of the Cisneros contribution is included in the container list. Oversized publications are in box 85.
“The News Briefly: a found poem,”1 typed page, no corrections, August 18, 1982
“The Phantom Lover,” 1 typed page, corrected
Europe Poems were originally housed together in one folder and date from Cisneros’ time abroad in Greece, 1982-1983. Some were later published in My Wicked Wicked Ways and Loose Woman. The poems are arranged alphabetically, with untitled poems and fragments at the end.
“The Pico Rivera Anthology", 1999
The Progressive, vol 71, no 7. Includes “Prayer for the New Millennium”, July 2007
Arranged chronologically, Publications span 1970-2003 and include magazines and journals that contain contributions by Cisneros. The earliest items are literary magazines Now and Cadence, from Josephinum Academy and Loyola University, respectively. For each publication, the date and title of the Cisneros contribution is included in the container list. Oversized publications are in box 85.
“The Promise Keepers”; Annotated holograph drafts of poem
“The Public Libraries: Quiet as Snow, a Space for Myself to Go, Clean as Paper Before the Poem,” 3 print out pages, minor corrections; letter from Linda Wallace at the American Library Association, 1993
Cisneros’ nonfiction writings are arranged alphabetically and include speeches, editorials, and essays. Many were eventually published in anthologies or magazines. In cases when the date and location of a speech is known, that information is included in the listing. This series also contains interviews Cisneros conducted with other writers while working at the Guadalupe Cultural Arts Center (box 41).
“The Purple House,” Portrait on porch, Guenther Street house, photograph by Joan Frederick, April 1, 2000
Portraits are formal, posed photographs of Cisneros, and are arranged chronologically. Photographers include her brother, Henry (Kiki) Cisneros, Joan Frederick, Alexandro Galindo, Ruben Guzman, Armando Rascón, Al Rendon, and Diana Solís, among others. Also included are a number of portraits of Cisneros with others, notably with her mother in 1998, and Gertrude Baker, Ruben Guzman, Denise Chavez, Jasna Karaula, and Emma Tenayuca.
“The Rising”; Typescript copies, annotated typescript and holograph drafts of poem
"The road chews up every body. Fortunately James has a regular gig in Austin which he can fall back on when he's exhausted…" Discusses hopes for son James' success. Typed with handwritten addition, 1 page plus envelope, June 18, 2004
The Sipper Collection is comprised of over 100 letters from Larry McMurtry to Ralph Sipper ranging from 1982-2018. Arranged chronologically, they document McMurtry’s practice of and thoughts on book selling and buying. Frequent topics include the sale of screenplays, his work in the film business, and mutual acquaintances in the literary world.