Re leyendo a Rosario Castellanos/ Las mañaneras de AMLO (¿?) y Twitts de...
Posts
Victima de mis ideas
Dice Damcho, monja budista que la emociones no son irracionales, tienen su propia lógica, claro, justificadamente vamos por el mundo, iracundas por esto o aquello. El vacío que siento al no haber sido madre, navega a los cuatro mares hasta acomodar el objeto fuera, lo que me llenará, tienen forma humana, pequeña, lo llamamos embrión, luego feto, luego bebé al nacer. No seré feliz si no soy madre, cuanto dolor en la frase, cuánto sufrimiento me evitaría al desapegarme de la identidad.
Escritura Crítica Or a Crítica Orgánica P gánica Para Deconstruir La Opr a Deconstruir La Opresión Femenina: Propuesta Nepantlera A Redefinir La Pedagogía De La Creación Literaria
Hilda Y. Sotelo University of Texas at El Paso Follow this and additional works at: https://scholarworks.utep.edu/open_etd Part of the Creative Writing Commons, Education Commons, Inequality and Stratification Commons, Other Sociology Commons, and the Sociology of Culture Commons Recommended Citation Sotelo, Hilda Y., "Escritura Crítica Orgánica Para Deconstruir La Opresión Femenina: Propuesta Nepantlera A Redefinir La Pedagogía De La Creación Literaria" (2019). Open Access Theses & Dissertations. 2902. https://scholarworks.utep.edu/open_etd/2902 This is brought to you for free and open access by ScholarWorks@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of ScholarWorks@UTEP. For more information, please contact lweber@utep.edu.
What is next? "Three books and a dissertation"
"Three books and a dissertation" ECO: Pride, Self-Love, friends, did you hear some voices in this forest? (Scene III) The Divine Narcissus - Sor Juana Inés de la Cruz. I: I started writing on October 31, 2009, following the last visit of Carlos Fuentes to El Paso, TX. And as I have an unrestrained imagination, I had to enroll in a PhD in TLC (Teaching Learning and Culture) to delve into theory and reason. In my texts (Apple Dust, Cosmic Women, San York Kluni), the patriarchal exile of creative writing and language is evident. I don't tell stories, I discount them. Blow after blow, the laughter of my generation shatters the threads to avoid being understood amid the war against women in Ciudad Juárez. I stopped taking my gender role seriously and serially. I sized the tragedy as it is, tragedy. And from there, another concern arose, how to generate texts without genders, without grooming? I should erase the eloquent and well-formed lines, the tones and timbres, the sequenc
