Rosario Castellanos Castellanos, Rosario (Vol. 39)

Start Your Free Trial

Download Rosario Castellanos Study Guide

Subscribe Now

Introduction

(Short Story Criticism)

Rosario Castellanos 1925–-1974

Mexican short story writer, poet, novelist, and essayist.

Castellanos is best known for works that reveal and challenge social hierarchies and systematic discrimination in her native Mexico. Using a tone of ironic humor, with which she mocked social conventions, Castellanos employed historical and religious metaphors to illuminate a cultural tradition of oppression in which women and native people are deprived of individual freedom. Personal concerns with solitude, depression, and mortality also recur throughout Castellanos's works. She is recognized as a forerunner of Mexican feminism and a predecessor to many contemporary feminist literary critics.

Biographical Information

Born in Mexico City, Castellanos was raised on her parents' estate in Comitán, Chiapas, Mexico. Shunned by her parents in favor of her brother, Castellanos witnessed her brother's suicide and became a solitary child who retreated into literature. After her family's estate was appropriated by the Mexican government in the 1941 land reform plan, Castellanos began her studies in the College of Philosophy and Letters at the National University of Mexico in 1944. While at the university, she joined an international group of Hispanic writers known as the Generation of 1950. Following her parents' deaths in 1948, Castellanos published her first long poem, “Trayectoria del polvo,” on the subject of death. In 1950 she received her master's degree in philosophy, writing a thesis entitled “Sobre cultura femenina,” and subsequently serving as the cultural program director of Chiapas. In 1957 she married a university professor and gave birth to their son, Gabriel. Castellanos then worked as the information director of the National University of Mexico from 1960 to 1966. She traveled to the United States in 1967 as a visiting professor of Latin American literature at the universities of Wisconsin, Indiana, and Colorado, and chaired the Comparative Literature Department at the National University of Mexico upon her return home. By then divorced, in 1971 she was named ambassador to Israel by President Luis Echeverría. While in Israel she taught Mexican literature at the Hebrew University in Jerusalem and continued to write poetry, short stories, essays, and a play—all of which dealt with women's issues. Castellanos died accidentally of electrocution in 1974. Her body was returned to Mexico City, where she received a state funeral, and was buried in the Rotunda de los Hombres Illustros—a tomb reserved for Mexico's most respected leaders and heroes.

Major Works of Short Fiction

Castellanos became aware of gross social and political inequities while growing up as a member of Mexico's wealthy, land-owning class. On her parents' sugar and coffee plantation, she witnessed widespread and officially sanctioned discrimination against the native people who lived in and around Chiapas. As a woman in a male-dominated society, Castellanos was also faced with widespread misogyny. Consequently, injustices against women and minorities were the primary focus of her writings, including her three short story collections: Ciudad Real (City of Kings,) Los convidados de agosto (Guests in August,) and Album de familia (Family Album.) A related issue for Castellanos was language and the ways in which it is used to oppress and manipulate those outside the power structure. Many of Castellanos's stories feature characters who are kept outside of the mainstream by their lack of communication skills, or who simply do not speak the language of the dominant group. Critics have noted a distinct evolution in Castellanos's short fiction: the stories in Ciudad Real are set largely in the rural Mexican countryside, those in Los convidados de agosto in provincial towns, and in Album de familia most of the stories take place in an urban Mexican setting. Additionally, critics have commented on Castellanos's increasing use of humor, frequently ironic, in her later stories, with...

(The entire section is 56,296 words.)