A Feminist, a Poet, a Dramatist and a Nun: an Editorial Review of "Sor Juana, My Beloved"

Book Blurb:

" A compelling narrative!" (Kirkus Reviews)

"A passionate exploration of Sor Juana's life." (Donovan's Literary Services)

"Mesmerizing read."

These are but a few of the extraordinary reviews of SOR JUANA, MY BELOVED. (Kathryn Henderson, Professor Emerita)

From the author: Sor Juana Ines de la Cruz, the brilliant 17th century Mexican nun, had two passions in life: Poetry and the Viceroy's wife.

Exploring those passions in creating this biography led me on a five-year journey, scouring every book, every mention that I could dig up.

What I discovered was far more than I could have anticipated.

She was a feminist -- yes, before the word was even invented.

She was a poet -- yes. She dreamed in lush poetry that has aged like fine wine.

She was a dramatist -- yes. She enchanted the world with her work, and it is still performed today.

She was a nun -- yes. Her faith guided her every move.

She also possessed a brilliance that defied definition, and a love so deep that it leapt across oceans. It was a woman with violet eyes, eyes the color of passion flowers, who entered her life. It was the new Vicereine, Maria Luisa. As the two most powerful women in Mexico City, the bond between them crossed politics and wound them in pure ecstasy, a romance that neither had anticipated. When Maria Luisa returned to Spain, she took some of Sor Juana's writings with her, and had them published.

As Mexico fell at Juana's feet, an insanely jealous Archbishop screamed, "Shut her up!" He wasn't kidding. He wanted her silenced, by any means.

Finally she stood before the Inquisition. Alone.

There is a great deal that we do not know about this historical poet/dramatist. There is also a lot that whispers to us over the centuries. She lived through a colonial period of Mexican history bursting with creativity, followed by a period of mass massacres and desolation. She knew the Virgin of Guadalupe intimately, and met with gypsies, poor native Aztecs, nuns and a bishop who all touched her heart. Her works are still studied, and justifiably so, especially her poem, "First Dream."

Through it all is a woman who is certain of herself and her destiny, one not afraid to challenge authority, one who will go to any lengths to protect those she loves.

Traveling with Sor Juana on this journey has been a true Gift. I invite you to join me.

Book Buy Link: https://geni.us/SOwy

Author Bio:

O, the tangled paths we follow. For me it was from Peace Corps Volunteer in Somalia, to English teacher, to librarian, to research specialist, to legal assistant, to website coach. And now my feet sit mostly below my computer, with prose and poetry intermingled.

I have a bit of advice for aspiring writers: Start young (if you can) and read. Read lots. Read good stuff and bad -- you will know the difference.

I credit my mother's influence for my penchant for writing, for she was a voracious reader herself. She told me how she hunkered down in the back seat of the old jalopy, her nose in a book, to avoid the jeers of her four brothers. We moved a lot as I was growing up, but no matter where we went, Mom made sure I had two things: ballet shoes and a library card. Those two things have served me well.

My first novel focused on Somalia, a people and country I came to love.

The second was born from a play I saw at the Oregon Shakespeare Festival.

For the next one, I think I hear the sound of ballet slippers.

Editorial Review:

SOR JUANA MY BELOVED, by Author M. Shank, is a richly layered historical narrative that follows Juana (later known as Sor Juana Inés de la Cruz) as she defies 17th-century Nueva España's rigid gender roles, religious dogmas, and social constraints. At its core, the narrative centers on her passionate quest for intellectual and creative freedom, her determination to discover herself, and the cost of pursuing knowledge and art in a repressive world.

Juana's early experiences—her clandestine adventures into her Abuelo's library and her courageous response to the assault at the swimming pond—establish her defiant spirit and desire to subvert societal expectations. Her intellectual awakening in La Ciudad de México, underscored by lessons from her cherished Abuelo and exposure to the complexities of society, lays the groundwork for her scholarly identity. The traumatic assault at the ball forces Juana to confront the brutal reality of both personal and institutional violations, reinforcing her determination to claim autonomy over her body and mind. Against a backdrop of famine and social unrest, Juana's compassionate involvement in easing the suffering of her community exemplifies her struggle against oppressive political and economic forces while maintaining her intellectual integrity.

JUANA ALREADY KNEW how to read before she met the kind teacher, for a year or so before she stole away to school, she had crept into la biblioteca that her grandfather, her Abuelo, had collected. The mysterious volumes sat on oak shelving in a spacious room, a room that reached all along one side of the hacienda. Even with more books than shelves, Abuelo stacked them gracefully, carefully guarding their spines. Abuelo valued his books like nothing else he possessed. She knew without asking that they were treasured, for men came from haciendas many miles around, just to borrow these books and to talk with Abuelo as they drank cool beer on the veranda. Some books were in Spanish, and some in Portuguese, some even in Latin. On special afternoons, Abuelo would take down a book and call to her to join him on the veranda. She curled up in his lap, enchanted with the stories he read to her. She heard stories about turtles and foxes, and even a magical adventure about a knight named Don Quixote. Abuelo often left the hacienda for days at a time.

In the story, Juana battles constant pressures—from her early encounters with gendered norms to later challenges confronting institutional restrictions, demanding that she suppress her intellectual and creative pursuits in favor of traditional roles, but repeated clashes with church authorities (e.g., Fray Miranda's relentless interrogation) highlight the struggle between the oppressive religious hierarchy and Juana's fierce commitment to learning and self-expression.

The narrative is marked by conflicting loyalties—from familial pressures and deceptive alliances to the betrayal by trusted figures, which further complicate her path to self-discovery. Broader societal forces, including famine, governmental neglect, and social injustice, serve as the crucible in which Juana's battles are played out.

“I DO REMEMBER what you told me, Reverencia,” replied Juana meekly. She looked sadly at the wall between Fray Miranda and herself. “You told me I would hate it here, and you were so right. My stubborn nature overpowered my better judgment, and now I am trapped.” “You are not truly trapped, Juana. You can walk out those iron gates any time you want. Even the Carmelites cannot keep you prisoner.” She sat up at attention. Fray Miranda continued. “The issue is, What do you do once you step outside? Do you go back to your madre and padre? They do not want you. To your uncle and aunt? They pushed you out too. To el Palacio de Virrey? Hasn’t la Vicereine Leonor done enough for you? Even if they took you in, do you think any of them will take care of you forever? Would you want to be a burden to any of them?

However, some suggestions for improvement would not go amiss. Ways to improve the plot, story structure, and pacing would enhance the build‑up to and aftermath of the confrontation with Don Roderigo. A more gradual development and reflective aftermath could deepen the emotional impact and more clearly set the stage for Juana's future choices. Perhaps refining the pacing during Juana's inner turmoil over her need for protection versus her desire for independence would deepen her character and add a new dimension to the story.

There was Don Roderigo, leaning against a pillar, slapping one of his gloves into the palm of his hand. Once. Twice. Three times he slapped the glove into his hand. “Come, my little señorita,” he whispered. “It is time. Remember? You picked my glove tonight.” She knew it was a blatant lie. She had not picked anyone’s glove that evening. She walked faster and tried to rush past Roderigo. “Get out of my way!” she demanded. The hallway was too narrow. He grabbed her around the waist and flung her against the wall, knocking the breath out of her. He pinned her there, his mouth covering hers so she could not scream. One arm held her in place while the other hand expertly ripped open her skirt. He let his arm loose for a moment to pull down his trousers. She took that moment to pull away, and when she could not escape, she pounded him with her fists and rammed her knee into his groin. His face registered pain for an instant then transfigured into revenge as he flung her to the tile floor, banging her head. Then he jammed himself into her … then again…

A more detailed internal monologue could further immerse the reader in her conflict and decision-making process. Additionally, tightening the pacing of the interrogation scenes as Fray Miranda delves into Juana's past, including hints of her true parentage. Focusing on these moments with heightened tension would lend more dramatic weight to these pivotal confrontations. One mystery not satisfactorily settled was that of Juana’s parentage, which was disappointing. It was a thread left loose, and considering the amount of time the author spent on it, the author should have tied that one off.

Overall, at its core, Sor Juana, My Beloved is about a woman’s relentless pursuit for intellectual and creative freedom in an oppressive world. It explores the cost of pursuing knowledge, art, and self-expression when both societal norms and established power structures seek to silence dissent—a timely book.

*****

Sor Juana My Beloved by M. Shank received 4 stars from the Historical Fiction Company.

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