What a daunting task for a writer - a novel dealing with the life and work of Sor Juana Inés de la Cruz. Sor Juana is considered by many to be the finest poet that Latin America ever produced - she is also a hero to many, and for good reason. In her day - the 17th century - women were looked upon pretty much as chattel. They were expected to make a home for their husband and children, to sew, to cook - and little else. They were certainly not expected to seek an education - indeed, they were not deemed capable of benefiting from one. Juana, from the time she was a child, knew better - she sought out ways to feed her hungry intellect from the time when she was three, tagging along with her older sister to school and insisting to be taught to read.

As she grew older, fame of her learning spread, and she moved to Mexico City, where she became a favorite at the court of the Viceroy and Vicereine - the attention she received there fanned the flames both of her intellect and her emotions. She joined a religious order and took her vows believing that it was the only way to further her in her quest of knowledge, and in her pursuit of literary expression. She didn't count on the incredibly, rabid opposition that she met - not only from the Church hierarchy, but from within her order, from other nuns who were jealous of the attention she received, and terrified of her intelligence. She was a threat to too many people who held power. Change frightens people - especially those who see it as a threat to their own position and influence. There's an old saying that 'absolute power corrupts absolutely'. I think in the case of Sor Juana's persecution by the Church, one could observe that 'absolute power breeds absolute paranoia'. If she had not, finally, succumbed - at least in part - to the will of the Inquisition, she would no doubt have been martyred. Some might say - and it's a valid observation - that, without her books, her writing materials, and her scientific and musical instruments, without any contact with the outside world, she died a martyr without being subjected to the gibbet or other tortures. The intellectual torture of repressed expression, imposed on one who had so much to express, was a death sentence in itself.

Sor Juana's sexuality has been discussed in many forums - it is, after all, a valid and vital part of anyone's personality and life. The film concerning her life - I, THE WORST OF ALL - is based on SOR JUANA, or THE TRAPS OF FAITH, by notable Mexican poet and author Octavio Paz (he being another treasure of Latin American literature), and approaches the subject of her sexuality very obliquely (I'm amazed that the film bears an 'R' rating). SOR JUANA'S SECOND DREAM, on the other hand, tackles the subject head-on, in a very open - but tasteful - manner. The author discusses her viewpoint briefly in her afterward, with a couple of references to Paz and others - she sees their attitudes as 'homophobic', that they distort truth of Sor Juana's life and work by turning a blind eye to her sensuality. She makes it very clear that she respects Paz and his work - but that she disagrees with his assessment of Sor Juana, as well as that of some other scholars.

What emerges from the author's viewpoint is a very readable, engrossing work. The sections of the novel that deal with Sor Juana's sexual orientation - her relationships with other women, her views of men in general, and the lifelong, ongoing struggles within herself - make this a very LIVING work, bringing to life the subject in a very human way. Given the prejudice that still exists in matters of sexual orientation, one can only imagine how much this was magnified in 17th century Mexico. Sor Juana's story is a testament to her achievements in literature and science, as well as to her own courage - courage in facing not only her accusers and enemies, but in her own psychological and emotional self-examinations. She was an amazing woman - an amazing human being, an amazing scholar - and she would be thus in any day.

The book is a long one - at over 400 pages - and goes a long way in bringing to life the everyday routine of the convent, as well as the atmosphere and intrigues in the court and Church. The characterizations are well drawn and patiently, carefully created - none of them come across as flat or stereotyped, which is a great relief in a novel of this length and scope. I found it to be both entertaining and enlightening - and I would recommend it to anyone interested in a story of a heroic, intelligent woman - or, for that matter, anyone in search of a good read.

In "Sor Juana's Second Dream," Alicia Gaspar de Alba unveils the "other -- sensual, human side" of an extremely intelligent and profoundly passionate monja/mujer -- who suffers from "unnatural, unnameable, pleasurable aches" until she comes to believe, in the depths of a hurting heart, that "love, our very soul, has no gender and is never a sin" -- and into another's orbit lets herself go!

Sadly -- however, Juana's comet soon loses its glow -- a victim of envious others and timely circumstance, she is forced to spend her short life struggling with/against the temptations of: the tender touch of an hermana's hand, the (al)lure of a soulful "cell-mate's" lips, and the unforgettable "chiaroscuro of an unspeakable love."

It has taken Gaspar de Alba's courage, creativity, imagination and interpretation to "kick the habit" off this "patron saint of rebellious women" and offer her well-rewarded readers a fresh, new look at a mujer who poured passion onto her written pages, using a quill that drew both ink/blood and inspiration from a heart's well of loneliness and love!

Juana's "re-creator" (Gaspar de Alba) gives us with her: calla lilies, comets, a meaningful medal and a long lost letter of professed and requited love -- significant symbols of very beautiful sentiments -- in juxtaposition to a hauntingly powerful and disturbing storybook tale of a young Juana's innocence/childhood lost.

I cannot find the words to sing the author's praises loudly enough! After my third reading of these pages, the passages still move me! --- perhaps that, in itself, says it all.

Sor Juana's Second dream, by Alicia Gaspar de Alba, is a must-read text by anyone who is interested in the major figure from Colonial Latin America, Sor (Sister) Juana Inés de la Cruz. I have taught for many years about the life and work of this Mexican nun, and never before has a work of historical fiction captured what I believe renders a true portrait of Sor Juana. Most works of the past, even academic ones, have avoided addressing Sor Juana's personal life; in Sor Juana's Second Dream, we see, as we should, an anguished personal experience that appears in many of Sor Juana's most famous texts. Bravo! Well done!

The sonnet form was introduced to Spain from Sicily in the fifteenth century through the writing of El Marqués de Santillana (1398-1458), a poet who wrote Petrarchan sonnets in Spanish. During the Renaissance, the Italian sonnet made its way to most of the countries of Western Europe. In England, Edmund Spenser changed the Petrarchan rhyming form of 'abba abba cdecde' to 'abab bcbc cdcd ee,' and William Shakespeare wrote 154 sonnets with the form 'abab cdcd efef gg.' As Willis Barnstone says in the introduction to his book, 'Six Masters of the Spanish Sonnet,' 'the Spanish sonnet, a literary vagabond in courtly dress, began in the court of the Sicilian Frederic II, went up to England, and finally, seven centuries after its Italian birth, with its picaresque wits and form intact, dropped down just above the Antarctic Circle to appear in the poems of the Argentine Anglophile [his maternal grandmother was English] Borges.' Professor Barnstone goes on to present a thorough history of the evolution of the Spanish sonnet and a colorful biography of six Spanish language poets who used the form. His writing is informed by his long friendship with Jorge Luis Borges. Barnstone offers here a sampling of 112 Spanish sonnets by these six masters, placed side by side along with his own magnificent translations.

Francisco de Quevedo (1580-1645) is described as a 'monstruo de la naturaleza' [monster of nature] because of his prodigious outpouring of writing. 'Like Swift, Dostoyevski, and Kafka, he is one of the most tormented spirits and visionaries of world literature ['El Buscón' (The Swindler), 1626, is his masterpiece] and also one of the funniest writers ever to pick up a sharp, merciless pen.' Though Quevedo's sonnets are at times scatological and darkly satirical, they are also humorous and hopeful.

Sor Juana Inés de la Cruz (1648/51-1695) was a Mexican discalced Carmelite nun who is considered by some religious scholars to be the first female theologian of the Americas. Although I was familiar with her love poems and her articulate defense of a woman's right to write in 'Response to Sor Filotea,' I had not read her sonnets in translation before. As he does with all six sonneteers, Barnstone faithfully maintains Sor Juana's rhyming, meter, and cadence in his translations of her sonnets. His analysis encompasses her writing and her life, including some critique of Octavio Paz's definitive biography, 'Sor Juana, or The Traps of Faith.'

Antonio Machada (1875-1939) recalls the landscape of his native Sevilla in his sonnets. In, 'El amor y la sierra' (Love and the Sierra), he writes, 'Calabaga por agria serranía / una tarde, entre roca cenicienta. (He was galloping over harsh sierra ground, / one afternoon, amid the ashen rock).' Barnstone calls Machado 'the Wang Wei of Spain' because 'he uses the condition of external nature to express his passion.' As Petrarch had his Laura, Machado had his Guiomar (Pilar de Valderrama). In 'Dream Below the Sun,' he writes, 'Your poet / thinks of you. Distance / is of lemon and violet, / the fields still green. / Come with me, Guiomar. / The sierra will absorb us. / The day is wearing out / from oak to oak.'

Federico García Lorca (1898-1936) was a Spanish poet and playwright who was affected by Luis de Góngorra and gongorismo. His 'Gypsy Ballads' was 'the most popular book of poetry in the Spanish language in his time.' Barnstone states that 'his closest attachment, his passion, was the painter Salvador Dalí,' with whom he carried on a six year love affair. Luis Buñuel castigated him for his Andalusianism; indeed, Lorca felt that Buñuel's satiric and surrealist film 'Un chien andalu' mocked him. After traveling to New York and Havana, Lorca became 'the playwright of Spain' with his brilliant 'Bodas de Sangre' (Blood Wedding). His 'Sonnets of Dark Love,' unpublished during his lifetime, were probably written to Rafael Rodríguez Rapún, an engineering student. Barnstone believes that 'dark love' is an allusion to San Juan de la Cruz's 'dark night of the soul.'

Jorge Luis Borges (1899-1986) of Argentina considered himself a poet, though he was a master at prose. According to Barnstone, because of the blindness that afflicted Borges in midlife, 'he could compose and polish a sonnet while waiting for a bus or walking down the street' and then later dictate it from memory. 'Borges's speech authenticated his writing, his writing authenticated his speech. To have heard him was to read him. To have read him was to have heard him.' In 'Un ciego' (A Blindman), he says, 'No sé cuál es la cara que me mira / Cuando miro la cara del espejo; / No sé qué anciano acecha en su reflejo / Con silenciosa y ya cansada ira. (I do not know what face looks back at me / When I look at the mirrored face, nor know / What aged man conspires in the glow / Of the glass, silent and with tired fury.)'

Miguel Hernández (1910-1942), a poor goatherd and pastor from the province of Alicante in Spain, wrote his best poetry while imprisoned during the Spanish Civil War. 'In the prisons, Hernández became,' in Barnstone's opinion, 'the consummate poet of light, darkness, soul, time, and death.' One of his poems, 'Llegó con tres heridas' (He came with three wounds), is a popular song, recorded by Joan Baez on her 'Gracias a La Vida' album.

'Six Masters of the Spanish Sonnet' is recommended to all who love this poetic form and want to know more about the lives of these remarkable poets. A good index and list of references are included for further study.

For those who already know the various authors of this book individually, words will be in excess to describe the treasures contained therein. The five Spanish already classical authors and Jorge Luis Borges closing the group with honors are a guarantee of high quality and deep touching entertainment. Tasting the fluent and sincere social verb of Quevedo, or absorbing in silence the sweet and perfect mysticism of Juana Inés would be sufficient to recommend this book. But we find much more, Machado, García Lorca and Miguel Hernández, marked by the horrors of the Spanish Civil War, found in their sensibility, the way to transform hate and blood into the purest and most powerful poetry. About Borges, well, what can one say about a man of his talents, his well known depth is something you will find easily linked to his enormous sensibility and human solidarity. Definitively, this multiple anthology is a treasure to keep forever.

My brother John and I performed in the second version of House of Trials, directed by the translator and performed at the International "Siglo de Oro" theatre festival in El Paso, Tx. Not only is the poetry beautiful and elegant, but it manages also to be clever and engaging. The translation is near perfection; it captures the rhythm of the words and transposes them seamlessly into English. A great piece to use for any study of Spanish Golden Age Drama!

When I was a freshman in high school, I was asked to recite a poem in front of my class. I hadn't ever read poetry before and wandered the rows of poetry in my school's library aimlessly. I came upon a tiny book titled I Became Alone and picked it up. Its title immediately caught my attention. I saw it was a collection of 5 women poets I hadn't ever heard of. I chose it, following my instincts. That evening, I sat down and read the entire book. It was so good and full of excellent poems. Now, five years later, I have finally found it again here at amazon.com. I cannot wait to read it again; hopefully, they can find it for me. I highly recommend purchasing this book. You will never own a more satisfying work of poetry.

This is the first published study on Sor Juana's Loas, a theatrical form neclected by sor Juana's critics. Courtly theater that shows the best playwriting on Mexican colonial times. A fine study obliged to read to sor Juana followers.

The translation is marvelous: I read them all before in Spanish. And the Selection? Amazingly good ! Congratulations to the translator! It`s not an easy feat to translate Garcìa Lorca or Sor Juana Inès de la Cruz...eoither The Master: Quevedo...or Machado ( the name is ANTONIO, NOT ANTONIA ) The person who selected the poems is really knowing... If you want to read and enjoy the very best of Spanish written sonets...This Book is a Poetic "Bible " Don`t miss it !

Octavio Paz, Nobel laureate, poet and one of the best writers of essays in the Spanish language, can give people seriously interested in learning about Sor Juana invaluable information in this beautifully researched book. Everything that is really known about her biography (not anachronistic twentieth-century storytelling and fantasy) is here; and, very importantly, authoritative background information on Colonial Mexican history and culture, social organization, religious practices and norms, and reading materials and habits. Sor Juana is a complex woman, a great reader and thinker that has to be understood in context. This book provides this, and also a sensitive and informed reading of her work. It is also a very good read. Modern-day fictional accounts are deceptive and will short-change you. Don't fall for them. This book is the real thing.

After writing my thesis on Sor Juana Ines de la Cruz, entitled "La Evolucion del Feminismo en Mexico a traves la poesia de Sor Juana Ines de la Cruz," I think that I have a good grasp on what information is most relevant to her life and literary works. I have never read a book that examines the author so closely written in English! In addition, Pamela Kirk's perspective as both a literary critic and theologian provide many perspectives that I had never considered. Don't hesitate to buy this book!

This book by the Nobel Prize winner Octavio Paz is a great account of the life of one of the best writers of Hispanic literature. Sor Juana created astonishing poems about life, love, and people. It is a pity that only little is known about the facts of her life. As with Shakespeare, must of what we know about her comes from her literary legacy. Octavio Paz is able to solve some of the mystery that surrounds Sor Juana Ines de la Cruz.

I found Sor Juana dull the first time I read her 'Responce' and even more dull when I reread it. She is very good at being subtle though, and alot of the time its what shes not saying that makes you think, I don't know if it was the translators fault, or what, but I just didn't enjoy it. But her poetry was beautifully translated in this edition.

Sor Juana Ines de la Cruz is one of those remarkable literary figures whose extraordinary body of work forces one to either reevaluate or refine one's ideas about the complex interrelationships between religion, gender, national identity, and ethnicity. A nun who lived in seventeenth century Mexico, she distinguished herself as a poet, playwright, and prose writer.

"Poems, Protest, and a Dream" is an excellent introduction to the life and work of this fascinating woman. This selection of her works includes her famous prose piece addressed to "Sor Filotea de la Cruz," a hearty helping of her poetry, and two selections from her dramatic corpus. The bilingual format of the text, with Sor Juana's Spanish original on each even-numbered page and Margaret Sayers Peden's elegant English translation on each odd-numbered page, allows one to easily compare the two versions.

The distinguished scholar Ilan Stavans has written an extensive 32 page introduction. Stavans describes in detail the historical and cultural context from which Sor Juana wrote; his sensitive and intelligent portrait of the woman and her age made me appreciate and enjoy her writings even more.

Sor Juana takes on themes that are still relevant (and often hotly debated) more than three centuries after she wrote these works. The response to Sor Filotea is a defense of female intellectual aspiration in a male-dominated culture; in the defense Sor Juana critically responds to those who use the Judeo-Christian Bible as a tool for intimidating and marginalizing women. With certain factions of the "religious right" still using the Bible as a weapon for demonizing certain individuals and social agendas, Sor Juana's words continue to ring fresh and clear.

Equally extraordinary is Sor Juana's loa (a dramatic scene which prefaces a longer play) to "The Divine Narcissus." The loa is an allegory depicting the early contact between Christianity and the religion of the Aztecs; in this piece I detect a subtle satirical thrust which adds to the complexity of Sor Juana's vision.

Sor Juana was a masterful stylist in multiple literary genres, and her depth of psychological and moral insight adds to her stature as a literary giant. Nobody should consider herself or himself literate in the fields of women's studies or Latin American studies without having read the works of Sor Juana Ines de la Cruz. "Poems, Protest, and a Dream" is an excellent resource for both independent reading and classroom use. Enjoy Sor Juana's artistry, and reflect on her ideas.

A great intellectual is not commonly thought of to be a woman, especially in 17th century New Spain. In the midst of the highly structured Baroque literary period, an illegitimate child was baptized as Juana Ramírez de Asbaje, spent her adolescence at court, and left to become a nun where she could continue her studies in peace, rather than marrying. Although she was almost entirely self-educated, the word quickly spread of her intelligence. This caused envy and animosity towards her that she tried to avoid her entire adult life. Four years before she died, the church forced her to give up her writings and worldly studies. In her letter of response to this request, (included in the book) she became the first woman in Latin America to defend her gender's right to study and write as men could. Much of her work was commissioned, but more is being discovered of her autobiographical writings. This book includes one of the few known poems (Primero Sueño) that was not commissioned. The book is in Spanish and English on opposing pages. This is very advantageous if you are bilingual, and even if you aren't, I can't say enough about Margaret Sayers Peden's translations. Not only does she give you as close to word for word; she also preserves the original structure, themes, and rhyme schemes that are so essential in Baroque literature. Even if you go no further than this book, you will not be disappointed. It has a very complete collection of her most famous works. Unfortunately, so few people in the English-speaking U.S. has even heard of Sor Juana Inés de la Cruz. I was first introduced to her wonderful poetry in a Mexican History / English dyad in college. Since that first poem I read, I have been searching for books of her works, and about her life. I highly recommend the addiction.