How To Stoke the Fire: More from Rosario Ferré

This summer self made a stab at re-reading the late Rosario Ferré’s story collection The Youngest Doll. She remembers being stunned by the title story, the first time she read it. The intervening years have not changed her response to the story, not one bit. She urges everyone interested in feminist literature/island literature/Puerto Rican literature or just plain literature to read it.

In addition, self has been slowly re-reading Ferré’s essay on her writing process, The Writer’s Kitchen. The essay was published decades ago, in the Journal of Feminist Studies, but every time self re-reads it, the words are as fresh as the first time.

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HOW TO STOKE A FIRE

I would now like to speak a bit about that mysterious combustible element that feeds all literature — imagination. This topic interests me because I often discover, among the general public, a curious skepticism toward the existence of the imagination and because I find that both laypeople and professionals in the literary community tend to overemphasize the biographical details of authors’ lives. One of the questions most often asked of me, by strangers as well as friends, is how I was able to write about Isabel la Negra, a famous whore of Ponce, my hometown, without ever having met her. The question always surprises me because it bespeaks a fairly generalized difficulty in establishing boundaries between imagined reality and lived reality, or perhaps the difficulty lies only in understanding the intrinsic nature of literature. It would never have occurred to me to ask Mary Shelley, for example,  if on her walks along the bucolic paths surrounding Lake Geneva, she had ever run into a living-dead monster about ten feet tall.

Stay tuned, dear blog readers. Stay tuned.

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