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cover of episode The Novelist Esmeralda Santiago on Learning to Write After a Stroke

The Novelist Esmeralda Santiago on Learning to Write After a Stroke

2023/8/15
logo of podcast The New Yorker Radio Hour

The New Yorker Radio Hour

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David Remnick
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Esmeralda Santiago
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Esmeralda Santiago: 我在本书中刻画了五位女性在波多黎各飓风玛丽亚期间的经历,她们在困境中重新审视自我,并加深了彼此的了解。我的写作深受我个人经历的影响,例如我童年学习英语的经历以及中风后重新学习英语的经历,这些都与小说中Luz的经历产生共鸣。我作品中的人物命名也暗藏玄机,例如Marisol Rios Fuentes,名字本身就包含了海洋、阳光和河流等意象,体现了波多黎各的自然风貌和文化底蕴。此外,我还特意为西班牙语读者设置了一些隐含信息,使作品在不同语言环境下产生不同的解读效果。我个人经历中,将我的名字‘Esmeralda’英语化,以适应在美国的生活,也反映了文化融合的复杂性。波多黎各的历史和文化认同问题,以及生活在美国的波多黎各人可能缺乏对自身历史和文化认同的完整认知,也是我作品中反复探讨的主题。我试图在小说和回忆录中平衡波多黎各和美国文化之间的关系,展现人物在两种文化之间不断努力寻求平衡和融合的历程。 Vincent Cunningham: Santiago的作品深刻地展现了成长、身份认同和文化融合的主题,尤其是在她早期回忆录中,对从波多黎各农村到纽约繁华都市生活的描写,令人印象深刻。她作品中女性角色之间的关系和互动,也反映了女性群体中的紧密联系和文化传承,仿佛让我听到了我母亲和她朋友们谈话的声音。 David Remnick: Santiago的作品是描写成长经历和身份认同的杰出范例,她对语言的运用和对文化细节的把握,都体现了她作为作家的高超技巧。她作品中对波多黎各民族主义和融入美国社会这两种不同观点的呈现,也展现了她对波多黎各社会复杂性的深刻理解。

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Esmeralda Santiago discusses her stroke and how it affected her ability to understand written words, similar to her character Luz in 'Las Madres'. She had to reteach herself English, much like she did when she first moved to the United States.

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The author Esmeralda Santiago has been writing about Puerto Rico and questions of immigration and identity since the early nineties. But, in 2008, she suffered a stroke that left her unable to decipher words on a page. In the months that followed, she relied on some of the same strategies she’d used to teach herself English after moving to the United States as a young teen-ager—checking out children’s books from the library, for example, to learn basic vocabulary. Santiago’s latest book, “Las Madres,” includes a character named Luz who goes through a similar experience after a traumatic brain injury. “That sense stayed with me long after I was over that situation—that feeling between knowledge and ignorance,” she tells the staff writer Vinson Cunningham). “For me, Luz is almost representative of Puerto Rico itself. We have this very long history that we don’t necessarily have access to. . . . Those of us who live outside of the island, we live the history but we don’t really know it.”