Guadalupe Dueñas
Guadalupe Dueñas (Guadalajara, Jalisco, 19 October 1910 – México, DF, 13 January 2002) was a 20th-century Mexican short story writer and essayist. Biography. Dueñas was the first-born daughter from the marriage between Miguel Dueñas Padilla (Spanish descent) and Guadalupe de la Madrid García, first cousin to former president of Mexico Miguel de la Madrid Hurtado and Enrique O. De la Madrid's granddaughter. Her father was a student at the Catholic Seminary. On a trip to Colima, he met the fourteen-year-old teenager of Lebanese origin, Guadalupe de la Madrid, and left the seminary. He had  her placed in a school, since she was still too young to marry. When she was of age, they married and moved to Guadalajara. The couple formed a large family—fourteen children—eight of which reached adulthood: Guadalupe, Miguel (who died in an accident at age twenty-three), Carmelita, Gloria, Lourdes, Luz María, Manuel and María de los Ángeles. Apart from these small family signs, little is known about the first years of Dueñas' life except for the information repeated by different sources: she completed her primary education at the Teresian Schools in Mexico City and Morelia; she took private  literature classes with Emma Godoy and studied Hispanic Literature at the National Autonomous University of Mexico (UNAM). Childhood. While there is scant a bibliography for the second years of Dueñas' life, the archive of the National Coordination of Literature houses a photocopy of an interview published just after the author's death, but which took place in 1993 at Dueñas' house on avenida Universidad, in front of the Viveros de Coyoacán. Leonardo Martínez Carrizales, the interview's author, had had the goal of obtaining enough material to elaborate a biography similar to the manner in which Víctor Díaz Arciniega written  on Alejandro Gómez Arias, the director of the strike for university autonomy. Carrizales' wishes were frustrated: after Easter, Dueñas did not see him again because she had to prepare, she said, silently for her death.However, before the silence, the words collected in that interview managed to give an intimate profile of the writer. For example, a father who: From one confinement to the next, between identities with which she did not feel identified ("neither on one side nor the other"), is where Guadalupe Dueñas began to write: The first person who read this notebook, and the poems it contained , was her uncle, the priest and humanist Alfonso Méndez Plancarte, her father's cousin on the maternal line of the surname Padilla. The importance of this first critic is crucial, since his advice largely defined Dueñas's prose: "quantity is going to serve you! [Alfonso Méndez said when reading her poems] as a basis for your writing. But never publish a verse. You are not for poetry, you belong to prose, which you write quite poetically already." Career. Dueñas never published a poem or verse, but she continued to write, wherever; "notebooks and notebooks of nonsense" It was not until  she returned to Mexico City from the United States, "with a different heart, with a totally different mind" that she wrote her first short stories. The story of Dueñas' literary beginning is anything but glamorous and, yes, full of humor, like her own stories. At a book fair, the manager of the Fondo de Cultura Económica's shelf allowed her to put her self-published work on sale, that is, a few "little stories" lined "with very beautiful paintings, all crooked, the cows standing in line, a success—not what she wrote, but what she painted, was the funniest thing ." She remembers that milestone event in her literary life with these words:Probably this fact would not have had greater significance, if it were not for the fact that among those attending the fair were impressive buyers: don Alfonso Reyes, Octavio Paz, Julio Torri. This book-story was so funny, so expensive (10 pesos), that they bought it. It gave them a sense of tenderness, she says, they thought it was probably the work of an old lady with enough self-esteem to place her stories on sale. However, Emmanuel Carballo, who at that time was collaborating with the supplement  'México en la cultura,' saw in the story of 'Mariquita', something more than just a curious event, and he telephoned the writer to discuss the possibility of publishing her stories: Carballo was the first to print Dueñas' work, followed by Alfonso and Gabriel Méndez Plancarte brothers in their magazine, "Ábside", revista de cultura mexicana. Janua The stories "Las ratas", "El Correo", "Los lojos" and "Mi chimpancé" were included in the July–September 1954 issue and later distributed as a separate plaquette. Dueñas was a regular contributor after these first published texts, including "El moribundo", "Digo yo como vaca" and "Diplodocus  Sapiens" in 1955, "La hora desteñida" in 1956, "Autopresentación" in 1966 and "Carta a un aprendiz de cuentos" in 1960. In addition, she also published essays such as "La locura de Emma" in 1970 and a text giving homage to Emma Godoy in January 1974. Between 1958 and 1991, Guadalupe Dueñas published 69 short stories that were included in three books.