Rosario Castellanos: En los labios del viento he de llamarme árbol de muchos pájaros

by Elena Poniatowska

107 pages, Kindle Edition

Published July 20, 2026

About the author

Hélène Elizabeth Louise Amélie Paula Dolores Poniatowska Amor was born on May 19, 1933, in Paris, France. Her father was French of Polish ancestry and her mother a Mexican who was raised in France. When she was nine Poniatowska's family moved to México City. She grew up speaking French and learned English in a private British school. However, her knowledge of Spanish came from talking with the maids, so her written Spanish was largely colloquial. Poniatowska developed ties with the Mexican lower class in her youth and thus gained a sense of belonging to and an understanding of the Mexican culture. She felt and thought of herself as completely Mexican and of Spanish as her native language. Her works include characters who belong to the underprivileged classes, and she often gave voice to the powerless of her country.

She started writing as a journalist in 1954 and interviewed many famous Mexican and international writers. Many of these interviews can be found in her Palabras Cruzadas (1961; Crossed Words) and later in her Todo México (1990; All of Mexico). Besides her famous interviews, she also wrote several novels, short stories, chronicles, plays, and poems.

Among her novels are Hasta no verte, Jesús mío (1969; Until I see You, My Jesus), which earned her the Mazatlan Prize; Querido Diego, te abraza Quiela (1978; Dear Diego, love Quiela); La "Flor de Lis" (1988; The "Flower of the Lily"); and Tinísima (1992; Tinisima). Other narratives include Lilus Kikus (1954; Lilus Kikus; later an expanded edition appeared as Los cuentos [The Accounts] de Lilus Kikus in 1967); De noche vienes (1979; You Come at Night); Ay vida no me mereces (1985; Life, You Don't Deserve Me); Domingo 7 (1982; Seventh Sunday); Gaby Brimmer (1979; Gaby Brimmer); Todo empezó el domingo (1963; Everything Started on Sunday); and El último guajolote (1982; The Last Turkey).

Her chronicle La noche de Tlatelolco (1971; Massacre in Mexico) earned her the Javier Villarrutia Prize. She refused to accept it because she did not want to identify herself with then-President Echeverría's political establishment. Other chronicles include Fuerte es el silencio (1980; Silence Is Strong), and Nada, nadie: las voces del temblor (1988; Nothing, Nobody: The Voices of the Earthquake).

In theater, her play Melés y Teleo (1956; Melés and Teleo) uses a word game in the title, meaning "you read to me and I read to you." Finally, her poetry can be found in the Spanish publications Rojo de vida y negro de muerte, Estaciones, and Abside.

Ponistowska's skill as a novelist was her ability to combine fact with fiction. She lent her voice to the voiceless, but at the same time she took a step back and let the victims come forward to express their needs and pain, letting the Mexican people speak through her. Her settings were mostly in Mexico, and her characters were either Mexicans or people such as Angelina Beloff (Querido Diego, te abraza Quiela) or Tina Modotti (Tinísima) who lived important passages of their lives in Mexico. Many of her female characters are at the mercy of men. Their lives are ruled by a world made up of double standards. They try to do the right thing, but in the end they lose the men they loved and for whom they sacrificed. It is clear then that these women are never really appreciated.

Poniatowska had a great affinity with women and liked to write about them. But she also was interested in the poor, the weak, the street children, and the powerless. Interviewing the common people of Mexico became her trademark. After her first publication (Lilus Kikus, 1954), her writings became more and more political. For example, in Querido Diego (1978) Quiela's story is completely personal. It focuses upon her and her lover, the famous painter Diego Rivera. By comparison, in Tinísima (1992) Poniatowska reveals not just Modotti's emotional life but also her professional and political life as a communist.

However, Poniatowska's style often made it difficult fo

Reviews

[Lisa Pérez]

de solo leerlo me dieron ganas de abrazar a rosario castellanos y decirle que no está sola. me tenía con la piel de gallina todo el tiempo con su dolor.

[Diego Julian]

Este ensayo se siente como una de esas conversaciones que uno desearía que nunca terminen. Poniatowska nos relata a grandes rasgos la vida e impacto que tuvo Rosario castellanos durante las distintas etapas y vivencia que atravesó desde su infancia, como escritora hasta su muerte. Es un libro muy llevadero y que te acerca a una imagen más personal de esta ilustre mexicana.

[Liss]

Mi lectura favorita del año, muy agradecida tanto con Elena por esta obra como con la suerte de haberme encontrado este ejemplar en el momento en el que más resuena en mí la lucha del encontrar mi lugar en el mundo y de entenderme a mí misma.

[Carolina Ríos]

Me gustó como Elena desmitifica a Rosario y la ve como es, como la mujer que fue, con todas sus aristas. La respeta y la abraza.
Me conmueve mucho la vida de Rosario, que sin duda fue marcada desde temprano por un abandono y rechazo😔 que su obra reflejaba sin reparo. Su obra, su forma de ser, sus contradicciones, sus inseguridades y sus luchas son las que me conectan con ella. Gracias Elenita por este libro y por ser tan justa con Rosario. 💕

[Cristian García]

Es como si tu comadre escribiera sobre ti, sobre todo lo que quisiera que trascienda y que la gente merece escuchar.
Lo bueno; lo malo, el retrato completo.
Que linda visión tiene Poniatowska hacia su amiga, y que ganas me dieron de llenarme de la obra de Castellanos ahora que siento que la conozco un poco más.

[Aleja]

Chayito me hubiera encantado conocerte, es un ensayo precioso, y lleno de ternura como Rosario 🥰