ROSARIO CASTELLANOS: BIOGRAPHY, STYLE, WORKS AND PHRASES - LITERATURE - 2025

Rosario Castellanos Figueroa (1925-1974) was a Mexican writer, poet, storyteller, and diplomat. In the field of poetry, her work has been considered one of the most relevant of the 20th century, which was due, in part, to the themes she developed.

The work of Castellanos was characterized by being framed in political content, and also with the role of the female gender within society. In addition, their emotions and feelings are reflected in their writings, compared to their life experiences.

Bust of Rosario Castellanos, FFyL UNAM. Source: Muñoz LC, via Wikimedia Commons

Two of the most important titles in Rosario Castellanos's work were Balún Canán and Ciudad real. As in most of her literary texts, in these works she focused on the need to find an individual identity, as well as on ethnic and gender differences.

Biography

Birth and family

Rosario was born on May 25, 1925 in Mexico City, into a middle-class family, owners of hacienda. Her parents were César Castellanos and Adriana Figueroa. The writer had a younger brother, who died of appendicitis when he was just seven years old.

Education and training of Castellanos

Rosario Castellanos spent her childhood years in the town of Comitán de Domínguez, located in Chiapas, where her family owned a property. Perhaps there she received her educational training. In 1948, when she was twenty-three years old, her parents passed away and her life got complicated.

UNAM Library, where the writer studied. Source: Library of the National Autonomous University of Mexico. Source: Gonzjo52, via Wikimedia Commons

The fact of being orphaned motivated Rosario to express her feelings, that's how she approached the lyrics. She went to Mexico City and studied philosophy at the National Autonomous University of Mexico where she obtained her degree in 1950. At that time she met poets of the stature of Jaime Sabines and Ernesto Cardenal.

Intensification of your knowledge

Recently graduated, Rosario Castellanos received a scholarship from the Institute of Hispanic Culture to study aesthetics in Madrid for a year, from 1950 to 1951, as a complement to her philosophical career. Later, in 1954, she entered the Centro<tok2>ano de Escritores.

Interest in indigenous

Ernesto Cardenal, known poet of the writer. Source: This photo was taken by Roman Bonnefoy (Romanceor). Feel free to use my pictures, but please credit me as the author (as required by the license). An email or a message would be welcome.More free-licensed pictures on my french Wikipedia account. My website: www.romanceor.net., via Wikimedia Commons

At that time, Castellanos was also part of the National Indigenous Institute, given the concern he had towards the needs of the aborigines of his country. At the same time, he joined the promotional activities of the Chiapaneco Institute of Culture.

Rosario between letters and teaching

In the 1950s, and for a long time, Rosario Castellanos was a frequent writer for the Excelsior newspaper, one of the most important in Mexico. She also entered through a scholarship to the Mexican Center for Writers, where she expanded her knowledge in letters

She also served as secretary at the Pen Club Internacional, an association of poets, novelists, and essayists, created in 1921. In 1961 she taught literature and philosophy at the University of Mexico, and at those of Colorado, Indiana, and Wisconsin, in the United States.

Marriage of Rosario

In 1958 Rosario married Ricardo Guerra Tejada who was a professor of philosophy. After three years of marriage, the couple had a son named Gabriel. However, Castellanos was not happy, because her husband was constantly unfaithful to her.

Work for women

Rosario's marriage experience led her to capture what she felt in her works. At the same time, much of her literary work directed her to the fight for the rights of women in Mexican society, who were silenced by a macho society.

Between 1960 and 1966 Castellanos carried out cultural work; in Chiapas, for example, she carried out promotional activities at the Institute of Sciences and Arts, and was also director of the Guiñol Theater. She was also part of the press office of the National Autonomous University of Mexico.

Last years and death

Her work as a promoter and cultural activist led Rosario to become her country's ambassador to Israel in 1971, the year in which she also divorced her husband Ricardo Guerra Tejada. During her stay in the Israeli capital, Tel Aviv, she worked as a professor at the Hebrew University of Jerusalem.

Tomb of Rosario Castellanos in the Civil Pantheon of the Dolores Cemetery, Mexico. Source: Thelmadatter, via Wikimedia Commons

The end of life came to Castellanos perhaps too soon, when he was barely forty-nine years old. He died on August 7, 1974 in Tel Aviv, as a result of an electric shock inside his home. His remains were moved to Mexico two days later, they rest in the Rotunda of the Illustrious.

Recognitions to Castellanos

- Chiapas Prize in 1958 for the novel Balún Canán.

- Xavier Villaurrutia Award for Writers for Writers in 1960 for the work Ciudad Real.

- The Sor Juana Inés de la Cruz Prize in 1962.

- Carlos Trouyet Prize for Letters in 1967.

- Elías Sourasky Award in 1972.

Style

Hebrew University of Jerusalem, where the writer taught. Source: User: Grauesel at wikivoyage shared, via Wikimedia Commons

The literary work of Rosario Castellanos was characterized by having a clear and direct language, through the use of determining terms due to the topics she dealt with. Also in her writings you can perceive the feelings behind her life experiences, as well as an indescribable honesty.

Poetry

Castellanos developed a poetic work characterized by a simple language full of emotions. Many of his poems were a reflection of his life, in which love, heartbreak, disappointment and nostalgia were present. The woman was a constant theme in his poetry.

Novels

The novels or narrative works of Rosario Castellanos had a social character, framed within the traditional and manners. The main themes were the limitations of women in a society dominated by men, as well as ethnic conflicts, especially between Indians and whites.

Essays and stories

In the case of these two genres of literature, the writer did not abandon the precision and clarity of her language. At the same time, she focused her attention on the awakening of consciousness of society towards its origins. Some personal aspects also appeared, and the love theme was felt.

Plays

Poetry

- Trajectory of the dust (1948).

- Notes for a declaration of faith (1948).

- Of the sterile vigil (1950).

- The rescue of the world (1952).

- Presentation to the temple: poems, Madrid 1951 (1952).

- Poems: 1953-1955 (1957).

- To the letter (1959).

- Salomé and Judith: dramatic poems (1959).

- Livid light (1960).

- Memorable matter (1960).

- Poetry is not you: poetic work, 1948-1971 (1972).

Brief description of the most emblematic poetic work

Poetry is not you: poetic work, 1948-1971

This work by Rosario Castellanos was the total set of his poetic work. In the different verses she reflected her personal life, through the relationship with her husband Ricardo Guerra Tejada, where disappointment, distrust, love and lack of love were material for her poetry.

In some of Castellanos's poems, she also made men feel preeminence over women, a theme that accompanied the author since her childhood years. In her opinion, the man had the power of decision, while the female part was overshadowed.

Constant and persistent search

The character of Rosario Castellanos was reflected in her poetry. Just as there are autobiographical nuances in her verses, the author was also in charge of developing an awareness of appreciation among the female gender, due to the need that she had to be affirmed by the fact of being a woman.

Fragment

"Because if you existed

I should exist too. And that is a lie.

There is nothing more than us: the couple, the sexes reconciled in a son, the two heads together, but not looking at each other…

but looking straight ahead, toward the other.

The other: mediator, judge, balance…

Knot in which what has been broken is tied.

The other, the muteness that asks for a voice

the one with the voice

and claim the ear of the listener.

The other. With the other

humanity, dialogue, poetry begin ”.

Novels

- Balún Canán (1957).

- Office of Darkness (1962).

- Initiation Rite (Posthumous Edition, 1996).

Brief description of the most representative novels

Balún Canán

It was the first novel written by Rosario Castellanos, its title is associated with the pre-Hispanic name that was given to the city of Comitán in Chiapas, Balún Canán, which meant: place of the nine stars. In general terms, it dealt with the problems between indigenous people and landowners.

Structure of the novel

Castellanos structured the novel into three sections, in the first and third a girl tells the facts, there the author reflected her own vision due to the autobiographical nature of the work. While in the second part, a know-it-all narrator completes the events in the past tense.

The writer used the two forms of narration as a way to give the context of the story, that is, the disagreements and hardships experienced by indigenous Mexicans, two different approaches. It is worth remembering that Rosario was the daughter of landowners, and that put her in the forefront of conflicts.

Story plot

Balún Canán's argument was developed in relation to the obligation that the landowner César Argüello had by law to give primary school classes to the children of his workers. So the landowner entrusted the task to his nephew Ernesto, but he did not know the Mayan language called Tzeltal.

The story took a turn when the native who was Argüello's right-hand man is assassinated by a group of aborigines who rebelled against some injustices. The rebels set fire to the land, and when Ernesto went to notify the authorities, they took his life.

The woman in the background

In Balún Canán Rosario Castellanos did not limit herself to exposing some anecdotes from her life. In the argument the death of her brother was also evidenced at an early age, rather than by illness, due to witchcraft; at the same time that it reflected the little value that was given to women.

Fragment

“–What is the baldillito, Uncle David?

–It is the small word to say waste. The work that the Indians have an obligation to do and that the bosses have no obligation to pay.

-Ah!

"Well, now it's over." If the bosses want them to plant their cornfields for them, to herd their cattle, it will cost them their money. And do you know what is going to happen? That they are going to be ruined. That now we are all going to be just as poor.

-And what are we going to do?

-… What the poor do. Beg; go to someone else's house at lunchtime, just in case they admit a guest… ”.

Office of darkness

Rosario Castellanos was always concerned and interested in the problems that indigenous peoples presented, and her literature was a window to ventilate them, and they were not forgotten. In this work she recounted the events in Chiapas with the Chamulans, from 1867 to 1870.

Scenarios

The Mexican writer presented the story of Oficio de tinieblas in two geographical settings, one was the city of San Cristóbal de las Casas, and the other, San Juan Chamula in Chiapas. Interesting stories occurred in both places, with both the whites and the Tzolzil Indians.

Narrative structure

This work by Castellanos, from the point of view of the narrative, was counted in a balanced way, one part by the natives, and the other by the whites or ladinos. Several events immersed in the past were narrated, and those related to injustices towards the aboriginal people.

Main argument

The Mexican writer focused on publicizing the riots caused by the Chamula, which led them to crucify one of their members to have him as a "Christ." That was partly due to their magical beliefs, and the helplessness they suffered in the face of the indifference of the authorities.

Fragment

“A people that ignores the rabbits and the warnings of its parish priest, that abandons the practice of a religion of humility and obedience and that launches itself to unearth images of a savage and bloody past, thus defying the anger of its natural lords and putting in danger the established order.

Where would all this lead? To its logical end: the taking of arms and the violent demand of rights that although the law granted them the Indians did not deserve them ”.

Test

- On female culture (1950).

- The contemporary Mexican novel and its testimonial value (1960).

- Woman who knows Latin (1973).

- The sea and its little fish (Posthumous edition, 1975).

- Statement of faith. Reflections on the situation of women in Mexico (Posthumous edition, 1997).

Stories

- Ciudad Real (1960).

- The guests of August (1964).

- Family album (1971).

Brief description of the three titles

Real city

This work was a set of stories in which Castellanos evidenced the differences that existed between indigenous people and whites, as well as the inequality between men and women. The writings were developed based on the experiential observations of the author herself.

The problem of communication

Rosario located history in the City of San Cristóbal de las Casas, in Chiapas, which was first called Ciudad Real. One of the issues discussed was communication, which made understanding difficult between indigenous people and white people, which led to many conflicts.

However, in one of the stories the author expressed a possible solution to the possibility of whites learning to speak the language of the indigenous people. That was how she narrated the story of Arthur, who knew both languages, and was able to communicate in a pleasant way.

Fragment

“The Bolometic community was made up of families of the same lineage. Their protective spirit, their waigel, was the tiger, whose name they were worthy of showing off for their bravery and daring.

“When the arrival of the whites, of the caxlanes, the bellicose ardor of the Bolometic launched into battle with impetus that - when crashing against the invading iron - came to fall to pieces… The Bolometic were generous for the offerings. And yet their prayers could not be answered. The tiger still had to receive many more wounds… ”.

August Guests

In this title Castellanos continued with the thematic line of the personal and social, developed both in Ciudad Real and in Family Album. Through the precision and coherence of his language, he expressed the loneliness that exists when love ends, and included the indigenous race.

The work consisted of a short novel and three stories. The titles of the stories were: "The ephemeral friendships", "Vals capricho" and "The guests of August", which gave the work its name. While the novel was titled: "El viudo Román".

Arguments of the work

In Las amistades epímeras, Castellanos told the story of two friends, in which one is the narrator, reflected in the wishes and aspirations of the writer, while the other was called Gertrudis. The latter was only focused on her love relationships.

In the case of "Vals capricho", the writer developed the story of the sisters Julia and Natalia, single, who had under their control the education of their niece, to turn her into a society lady. But the task became difficult because the girl was a rebellious indigenous person.

Castellanos narrated in "Los guests de Agosto" the illusion that Emelina, a middle-aged woman, had in finding the love of her life. So she took advantage of the August festivities, which were held in her town, to "hunt" who would be her future husband.

Finally, in “El viudo Román” the author turned to the prejudices of high society families against marriage and widowhood. In this case, she referred to the opportunity that doctor Carlos Román gave herself to start a new love, after having been alone for a while.

Family album

It was also one of the most important works of Rosario Castellanos, this is said for its content. The writing consisted of four stories or stories, in which the author used language loaded with reflection and at the same time sarcasm and humorous.

The stories tried to reveal the limitations and taboos of Mexican society regarding some issues. That is why Castellanos did not hesitate to put sexuality in the public arena, in addition to feminism and the role that women could play in a society where men had power.

The stories were:

- "Cooking lesson".

- "Sunday".

- "White head".

- "Family album".

Excerpt from the story "Cooking lesson"

“I am given the responsibilities and tasks of a maid for everything. I have to keep the house impeccable, the clothes ready…

But I am not paid any salary, I am not granted a day off a week, I cannot change my master… I have to perform effectively a job in which the boss demands and the colleagues conspire and the subordinates hate ”.

Fragment of "White Head"

“… Some runaway families in which each one pulls on their own… husbands who cheat on their wives. And some wives who weren't dumber because they weren't bigger, locked up in their houses, still believing what they were taught when they were little: that the moon was made of cheese ”.

Theater

- Checkerboard, piece in one act (1952).

- The Eternal Feminine: Farce (1975).

Item Collections

- The use of the word (Posthumous edition, 1994).

- Woman of words: rescued articles by Rosario Castellanos (Posthumous edition, 2004).

Epistolary

- Letters to Ricardo (Posthumous edition, 1994).

- The epistolary literature of Rosario Castellanos. Letters to Ricardo (Posthumous Edition, 2018).

Phrases

- "Under your touch I tremble like a bow in throbbing tension of arrows and imminent sharp whistles."

- "Sometimes, as light as a fish in water, I move between things happy and amazed."

- "For love there is no heaven, love, only this day."

- "Happy to be who I am, just a great look: wide eyes and bare hands."

- "He who leaves takes his memory, his way of being a river, of being air, of being goodbye and never."

- "In my aridity, here, I bear the mark of his foot without returning."

- "Here I am sighing like the one who loves and remembers and is far away."

- “Those who fall in love are neither cloud nor flower; are you, heart, sad or happy ”.

- "We were the embrace of love in which heaven and earth were united."

- "… And we cannot escape living because life is one of its masks."

References

1. Tamaro, E. (2019). Rosario Castellanos. (N / a): Biographies and Lives. Recovered from. Biografiasyvidas.com.
2. Rosario Castellanos. (2019). Spain: Wikipedia. Recovered from: es.wikipedia.org.
3. Domínguez, S. (2018). Rosario Castellanos. Poetry is not you. (N / a): Reading Encounters. Recovered from: encountersconletras.blogspot.com.
4. Del Ángel, D. (2018). Rosario Castellanos. Mexico: Encyclopedia of Literature in Mexico. Recovered from: elern.mx.
5. Rosario Castellanos. (2018). Mexico: Unknown Mexico. Recovered from: mexicodesconocido.com.mx.