1. Bibliography
Mora, Pat. 2002. A Library for Juana: The World of Sor Juana Inés. New York: Random House. ISBN 0-375-90643-6.
2. Plot summary
Juana Inés loved books. Even before she learned to read she loved to “make a nest with (her grandfather’s books) all around her” and wonder about the words and what they meant. Born outside Mexico City in 1648 when Mexico was still known as Nueva España; Juana was curious about everything; “Why do volcanoes smoke?” and “Mamá, why are leaves green?”. She made up rhymes about everything she encountered, “Luna, cuna. Bella, estrella.” At three years old she followed her sister to school and begged the teacher to let her stay and learn. When she discovered there was a library with thousands of books at the university in Mexico City; she begged her mamá and abuelo to let her go to Mexico City to study. When her mother told her, “only boys can go to the university, Juana Inés,” Juana dressed like a boy. At age ten she moved to Mexico City to live with her aunt and uncle. And although she was not allowed to attend university she was able to use the palace library and read its thousands of books. In order to continue her studies Juana became a nun and changed her name to Sor Juana Inés de la Cruz. She died in 1695, caring for those sick from a plague that spread through Mexico, but not before publishing her own book of poetry; an amazing feat for a woman of the 17th century.
3. Critical analysis
Pat Mora brings to life the story of a remarkable woman; Juana Inés. Her love of books and belief that women were just as capable as men of learning made her far ahead of her time. The English text is intermingled with Spanish words, phrases, and Juana’s poetry. The importance of family to Mexican culture is very prominent in the text and in the excerpts of Juana’s poetry; “Mi mamá es una estrella bella/Mi Mamá es una rosa hermosa.” The vivid illustrations by Argentinean-born artist Beatriz Vidal, using an ancient technique involving a magnifying glass and tiny paint brushes, are done in watercolor and gouache. Many cultural markers of Mexican life are included in the illustrations. The surroundings include houses with tiled floors and large open windows, colorful tapestries, tablecloths, and fans. Many different types of people are pictured in the crowd scenes; pale-skinned women in bright, colorful dresses with bell-shaped skirts and sleeves, brown-skinned women in hoop earrings, their shoulders wrapped in rebozos, a courtyard full of people; some dark brown, some very pale, peasants balancing baskets of bread and vegetables on their heads and aristocrats dressed in the height of European fashion. Cooking and food is also vividly portrayed in the illustrations; Juana’s Mamá cookson a clay oven with baskets of vegetables standing nearby; squash and peppers, onions, and tomatoes, and Juana, helping in the kitchen, carrying a clay platter of tortillas to the dinner table while a huge plate of whole fish sits in the center of the table; waiting for the whole family to arrive and sit together. Children ages 7-10 will enjoy learning about the life of Juana Inés. Spanish speakers will enjoy the interlingual text and non-Spanish speakers will want to check out the glossary in the back of the book for translating from Spanish to English.
4. Review excerpt
Publishers Weekly: “Mora (Tomas and the Library Lady) concisely traces the rise of spirited Juana Ines from inquisitive youngster to a 17th-century Mexican scholar. Insatiably curious Juana, age three, follows her older sister to school and asks to join the class. Mora laces her narrative with lively anecdotes, as when the determined Juana shows up for dinner dressed as a boy after her mother announces that only boys can attend university. At 10, the girl's mother sends her to live with family in Mexico City, and by age 15, Juana takes up residence in the viceroy's palace there, as a lady-in-waiting. Vidal's (Rainbow Crow) meticulously detailed, small-scale watercolor-and-gouache art details the bustling city as well as the finery of the palatial residence, where Juana immerses herself in the library and becomes an accomplished writer of poems, plays and songs. A standout spread shows Juana flanked by 40 scholars assembled by the viceroy at a giant round table; small insets depict the topics of their quiz (a harp, a caduceus, the planets in orbit around the sun). The narrative, unfortunately, appears in an uncommonly small font, but this story of persistence and pioneering will inspire youngsters. Even with the book's rather abrupt ending, the heroine's journey, coupled with Vidal's depiction of expressive faces and lovely renderings of flowers that spill from the borders of the pictures make for a memorable volume. Ages 5-8.” School Library Journal: “Grade 2-4-Sor Juana Ines de la Cruz died in 1695 in a convent in Mexico. Despite the passage of more than 300 years, she is still considered one of Mexico's most brilliant scholars. An internationally known bibliophile and poet whose works are studied in university Spanish literature courses, she was a Renaissance woman in the most complete sense of the word. Mora's beautifully crafted text does credit to its subject, following her from birth to death. Sor Juana Ines comes across as intelligent, headstrong, humorous, and kind, and her retreat to the convent as a place of learning seems natural. The use of one of her riddle poems, both in Spanish and in a witty English translation, gives young readers a taste of this eminent poet. The text is perfectly complemented by Vidal's brilliant, detailed illustrations that have the look and exactitude of Renaissance miniatures. This is an exceptional introduction to an exceptional woman, and would enhance any collection.”
5. Connections
Reader’s advisory read-alike suggestions:
Dona Flor: A Tall Tale About a Giant Woman by Pat Mora
Mora, Pat. 2002. A Library for Juana: The World of Sor Juana Inés. New York: Random House. ISBN 0-375-90643-6.
2. Plot summary
Juana Inés loved books. Even before she learned to read she loved to “make a nest with (her grandfather’s books) all around her” and wonder about the words and what they meant. Born outside Mexico City in 1648 when Mexico was still known as Nueva España; Juana was curious about everything; “Why do volcanoes smoke?” and “Mamá, why are leaves green?”. She made up rhymes about everything she encountered, “Luna, cuna. Bella, estrella.” At three years old she followed her sister to school and begged the teacher to let her stay and learn. When she discovered there was a library with thousands of books at the university in Mexico City; she begged her mamá and abuelo to let her go to Mexico City to study. When her mother told her, “only boys can go to the university, Juana Inés,” Juana dressed like a boy. At age ten she moved to Mexico City to live with her aunt and uncle. And although she was not allowed to attend university she was able to use the palace library and read its thousands of books. In order to continue her studies Juana became a nun and changed her name to Sor Juana Inés de la Cruz. She died in 1695, caring for those sick from a plague that spread through Mexico, but not before publishing her own book of poetry; an amazing feat for a woman of the 17th century.
3. Critical analysis
Pat Mora brings to life the story of a remarkable woman; Juana Inés. Her love of books and belief that women were just as capable as men of learning made her far ahead of her time. The English text is intermingled with Spanish words, phrases, and Juana’s poetry. The importance of family to Mexican culture is very prominent in the text and in the excerpts of Juana’s poetry; “Mi mamá es una estrella bella/Mi Mamá es una rosa hermosa.” The vivid illustrations by Argentinean-born artist Beatriz Vidal, using an ancient technique involving a magnifying glass and tiny paint brushes, are done in watercolor and gouache. Many cultural markers of Mexican life are included in the illustrations. The surroundings include houses with tiled floors and large open windows, colorful tapestries, tablecloths, and fans. Many different types of people are pictured in the crowd scenes; pale-skinned women in bright, colorful dresses with bell-shaped skirts and sleeves, brown-skinned women in hoop earrings, their shoulders wrapped in rebozos, a courtyard full of people; some dark brown, some very pale, peasants balancing baskets of bread and vegetables on their heads and aristocrats dressed in the height of European fashion. Cooking and food is also vividly portrayed in the illustrations; Juana’s Mamá cookson a clay oven with baskets of vegetables standing nearby; squash and peppers, onions, and tomatoes, and Juana, helping in the kitchen, carrying a clay platter of tortillas to the dinner table while a huge plate of whole fish sits in the center of the table; waiting for the whole family to arrive and sit together. Children ages 7-10 will enjoy learning about the life of Juana Inés. Spanish speakers will enjoy the interlingual text and non-Spanish speakers will want to check out the glossary in the back of the book for translating from Spanish to English.
4. Review excerpt
Publishers Weekly: “Mora (Tomas and the Library Lady) concisely traces the rise of spirited Juana Ines from inquisitive youngster to a 17th-century Mexican scholar. Insatiably curious Juana, age three, follows her older sister to school and asks to join the class. Mora laces her narrative with lively anecdotes, as when the determined Juana shows up for dinner dressed as a boy after her mother announces that only boys can attend university. At 10, the girl's mother sends her to live with family in Mexico City, and by age 15, Juana takes up residence in the viceroy's palace there, as a lady-in-waiting. Vidal's (Rainbow Crow) meticulously detailed, small-scale watercolor-and-gouache art details the bustling city as well as the finery of the palatial residence, where Juana immerses herself in the library and becomes an accomplished writer of poems, plays and songs. A standout spread shows Juana flanked by 40 scholars assembled by the viceroy at a giant round table; small insets depict the topics of their quiz (a harp, a caduceus, the planets in orbit around the sun). The narrative, unfortunately, appears in an uncommonly small font, but this story of persistence and pioneering will inspire youngsters. Even with the book's rather abrupt ending, the heroine's journey, coupled with Vidal's depiction of expressive faces and lovely renderings of flowers that spill from the borders of the pictures make for a memorable volume. Ages 5-8.” School Library Journal: “Grade 2-4-Sor Juana Ines de la Cruz died in 1695 in a convent in Mexico. Despite the passage of more than 300 years, she is still considered one of Mexico's most brilliant scholars. An internationally known bibliophile and poet whose works are studied in university Spanish literature courses, she was a Renaissance woman in the most complete sense of the word. Mora's beautifully crafted text does credit to its subject, following her from birth to death. Sor Juana Ines comes across as intelligent, headstrong, humorous, and kind, and her retreat to the convent as a place of learning seems natural. The use of one of her riddle poems, both in Spanish and in a witty English translation, gives young readers a taste of this eminent poet. The text is perfectly complemented by Vidal's brilliant, detailed illustrations that have the look and exactitude of Renaissance miniatures. This is an exceptional introduction to an exceptional woman, and would enhance any collection.”
5. Connections
Reader’s advisory read-alike suggestions:
Dona Flor: A Tall Tale About a Giant Woman by Pat Mora
Isabel Allende: Recuerdos para un cuento / Isabel Allende: Memories for a Story by Raquel Benatar
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