The Real Maria

Dame Julie Andrews (b. 1935) is famous for her portrayal of Maria von Trapp in the Rodgers and Hammerstein musical film The Sound of Music (1965). The musical is based on The Story of the Trapp Family Singers, written by the real Maria von Trapp in 1945. Maria Augusta von Trapp was the stepmother of the Trapp Family Singers, who inspired the singing children in the famous show.

Maria was born on 26th January 1905 while her parents, Augusta and Karl Kutschera, were travelling on a train from the Austrian Tyrol to Vienna. Sadly, Augusta died from pneumonia when Maria was only two-years-old, and the young child was sent to live with her father’s cousin. She rarely saw her father because he spent much of his time travelling. After Karl died when Maria was nine, her foster mother’s son became her legal guardian.

Uncle Franz, Maria’s guardian, unknowingly suffered from mental illness and treated Maria poorly. He often punished her for things she did not do, which affected how Maria behaved at school. She stopped trying to be good because she figured she would only get in trouble anyway. Maria finally escaped from Uncle Franz by running away at the age of 15 to stay with a friend. She had plans to become a tutor, but no one would hire her because she looked too young. Eventually, she got a job umpiring tennis, a game she had never played.

Eventually, Maria earned a scholarship to study at the State Teachers College for Progressive Education in Vienna. She graduated in 1923 at the age of 18. The following year, Maria became a postulant at Nonnberg Abbey, a Benedictine monastery in Salzburg. Maria intended to become a nun; meanwhile, she worked in the Abbey school.

Those familiar with the storyline of The Sound of Music know Maria did not become a nun. Instead, in 1926, the Abbey sent her to teach one of the seven children of a widowed naval commander. Georg von Trapp (1880-1947) had recently lost his wife, Agathe, to scarlet fever. One of his daughters, Maria Franziska (1914-2014), also caught the illness, leaving her too weak to walk to school. In the musical, Maria was employed to teach all the children. In reality, Von Trapp only needed her to teach Maria Franziska. 

After teaching Maria Franziska, Von Trapp decided to have all his children homeschooled. Maria was responsible for the education of all seven children: Rupert (1911-92), Agathe (1913-2010), Maria Franziska, Werner (1915-2010), Hedwig (1917-1972), Johanna (1919-1994) and Martina (1921-1951). In the musical, They were renamed Friedrich, Liesl, Louisa, Kurt, Brigitta, Marta and Gretl respectively. The producers also made Liesl the eldest rather than Friedrich.

Georg von Trapp was an Austro-Hungarian naval officer. He served as a submarine commander during the First World War, earning him several medals. Von Trapp inherited the title Ritter from his father, which is the rough equivalent of a Baronet in English nobility. As a father, Georg was not the detached, cold-blooded man who disapproved of music, as portrayed in The Sound of Music. His children described him as a gentle, warmhearted parent; it was Maria who had a temper and would erupt in angry outbursts.

Maria loved the seven children in her charge, which did not go unnoticed by Von Trapp, who asked Maria to marry him. Frightened, Maria fled back to Nonnberg Abbey to seek advice from the mother abbess. Maria did not love Georg and wanted to become a nun, but the mother abbess persuaded her that it was God’s will that she marry. Reluctantly, Maria returned to the family and married Von Trapp on 26th November 1927.

“I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way, I really married the children. I learned to love him more than I have ever loved before or after.” – Maria von Trapp in her biography (1953)

The musical implies that the Von Trapp family fled Austria shortly after the wedding, but this was not the case. Before the outbreak of World War Two, Maria gave birth to three children, Rosemarie (b. 1929-2022), Eleonore (1931-2021) and Johannes (b. 1939), although the family had emigrated to the United States before Johannes’ birth.

In 1935, the Von Trapp family were still feeling the impact of the Wall Street Crash of 1929 and faced financial ruin. To survive, Georg von Trapp discharged most of his servants and rented out rooms in the house. One boarder was the Roman Catholic priest Father Franz Wasner (1905-92), who discovered the family enjoyed singing. Wasner encouraged them to sing together to entertain guests, thus starting their career as the Trapp Family Singers. In The Sound of Music, Wasner was replaced by the fictional Max Detweiler.

In August 1936, the German soprano Lotte Lehmann rented a nearby villa in Salzburg. Overhearing the Von Trapp children practising their singing, she told Georg and Maria they had “gold in their throats” and should perform at the Salzburg Festival. Initially, Georg insisted he did not want his family performing in public, but Lehmann soon persuaded him to participate.

Shortly after their performance, the Austrian Chancellor Kurt Schuschnigg (1897-1977) heard the family singing on the radio and invited them to perform in Vienna. Following this, they became a touring act, singing in locations all over Austria. Unfortunately, this became difficult after the annexation of Austria by Nazi Germany in March 1938.

Whilst the children were not targeted directly, they received second-hand hostility when their Jewish school friends were attacked. The Nazis encouraged all children to report on their parents if they said anything against the Nazi party or Adolf Hitler (1889-1945). Maria and Georg feared saying something out of turn, particularly because they did not agree with the Nazi regime and refused to fly the Nazi flag in their windows.

When performing in Munich in the summer of 1938, the Von Trapps came face to face with Hitler. Soon after, Georg was draughted into the German Navy, and the family decided to escape by travelling to Italy. Georg was born in Zadar, which became part of Italy in 1920, making him an Italian citizen. In the musical, the storyline claims the family climbed over the mountains into Switzerland. Not only is this impossible from Salzburg, which borders Germany, the family actually went by train.

From Italy, the Von Trapps travelled to England from where they sailed to the United States. By the time they reached American soil, Heinrich Himmler (1900-45), the leader of the Schutzstaffel (SS), had taken over their abandoned home as his headquarters.

The Von Trapps began singing in public as soon as they were settled in the United States. After a performance at the Town Hall in New York City on 10th December 1938, The New York Times wrote, “There was something unusually lovable and appealing about the modest, serious singers of this little family aggregation as they formed a close semicircle about their self-effacing director for their initial offering, the handsome Mme. von Trapp in simple black, and the youthful sisters garbed in black and white Austrian folk costumes enlivened with red ribbons. It was only natural to expect work of exceeding refinement from them, and one was not disappointed in this.”

Frederick Christian Schang (1893-1990), an American talent agent, officially established the family as the Trapp Family Singers and Americanised their repertoire. With all ten children singing, the group were ready to start performing all over the world once World War Two ended. They also founded the Trapp Family Austrian Relief fund, which provided food and clothing to help Austrian people who had lost everything in the war. At their concerts, Georg pleaded, “The country that gave to the world Haydn, Schubert, Mozart, and Silent Night will perish if we do not help them. Everybody knows about the situation the greater European countries are in. But few people can imagine what is happening in Austria, whose citizens are about to lose courage and hope.”

When not performing, the family ran a music camp at their home in Stowe, Vermont. All members of the family became US citizens during the 1940s, except for Georg, who passed away from lung cancer in 1947.

The Trapp Family Singers continued performing together until 1953 when they agreed to go their separate ways. Maria and two of the children became missionaries in Papua New Guinea, although Maria returned to Vermont in 1965.

For the rest of her life, Maria managed the Trapp Family Lodge, which she expanded into a 27-room ski lodge. Sadly, the building was destroyed by fire in 1980, resulting in the death of one guest. In 1983, Maria opened a larger Austrian-style lodge, which contained 97 bedrooms. It is still open to the public today and is owned by Sam von Trapp, Maria’s grandson.

On 28th March 1987, Maria von Trapp passed away from heart failure three days after undergoing an operation. She is buried in the grounds of the Trapp Family Lodge, alongside her husband. Maria’s memory lives on through her autobiography, The Story of the Trapp Family Singers, which was adapted into The Sound of Music during the 1950s. Maria and her daughter, Rosemarie, made a cameo appearance in the 1965 film version, along with Barbara, the daughter of Werner. Eagle-eyed viewers will spot them walking past an archway during the song I Have Confidence.

Maria did not mind the slight changes to the storyline in The Sound of Music, but she did not approve of the portrayal of her husband. The children all had mixed reactions and could not recognise their father in the stage and film version. Johannes von Trapp complained, “The Sound of Music simplifies everything. I think perhaps reality is at the same time less glamorous but more interesting than the myth.”

In 1973, Maria appeared on The Julie Andrews Hour, where she sang Rodger and Hammerstein’s Edelweiss with Julie Andrews. It was not a song the family sang as the Trapp Family Singers, but it will forever be associated with the family and Austria due to the musical.

During her lifetime, Maria von Trapp won many awards, beginning with the Benemerenti Medal in recognition of the benefits of the Trapp Family Austrian Relief for needy Austrians in 1949. The medal was awarded by Pope Pius XII, who later made Maria a Dame of the Order of the Holy Sepulchre in 1952. At the end of the 1950s, Maria received the Decoration of Honour in Gold for Services to the Republic of Austria, and was given the Siena Medal in 1962 for being “an outstanding woman”, recognising her “endurance and great accomplishment.”

When the Trapp Family Singers went their separate ways, the eldest, Rupert, married and kept out of the limelight. Hedwig moved to Hawaii to teach singing, handicrafts and cooking. Agathe chose to start a kindergarten with her friend Mary Louise Kane, plus worked on paintings and illustrations for cookbooks of family recipes. One of her paintings hangs in the Austrian Embassy in Washington, D.C. Johanna also enjoyed painting. She married Ernst Florian Winter (1923-2014), the first director of the Diplomatic Academy of Vienna after World War II.

Maria Franziska and Rosemarie went to Papua New Guinea to become missionaries, whilst the remaining sisters, Martina and Eleonore, focused on starting their own families. Sadly, Martina gave birth to a stillborn daughter in 1951 and died from complications soon after. Werner left his singing days behind to become a dairy farmer, leaving Johannes to take over the family lodge following his mother’s death.

Whilst they no longer sang publically, many of the Von Trapps were heard singing in their houses, often while completing chores. They passed their love of music to their children and grandchildren, and several of the latter formed The von Trapps, a small singing group that toured the United States between 2001 and 2016. The group, comprised of Sofia, Melanie, Amanda, and August, started their singing career by performing in a stage version of The Sound of Music in 1997. As a group, they released five studio albums and won the Special Award for Outstanding Young Family Singing Group at the 27th annual Young Artist Awards in 2006.

The Von Trapp family will always be remembered through the musical, The Sound of Music, particularly the film version starring Julie Andrews and Christopher Plummer. The film won five Academy Awards, two Golden Globes, and continues to rate in the top 100 of the American Film Institute’s musicals and movies. Whilst the musical will remain a firm favourite for many years to come, it is important to remember the real family who experienced the annexation of Austria and left their homeland in search of safety abroad.


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The Phoenix of America

Sor Juana Inés de la Cruz by Miguel Cabrera

All she wanted was to read, learn and write in peace without being dictated to by the misogynistic Mexican society. Juana Inés de la Cruz lived during Mexico’s colonial period when women were not allowed to attend university. Despite this, Juana educated herself through books and began writing her thoughts about love, feminism and religion. Yet, Juana could not avoid the advances of men who believed she should settle down and marry. She sought the safety of a nunnery, which allowed her to continue writing until her opinions upset (male) members of the clergy. This is the story of the first feminist in the Americas, the “Phoenix of America”, who rose from the ashes of “religious authoritarianism”.

Juana Inés de Asbaje y Ramírez de Santillana was born on 12th November 1648 in the village of San Miguel Nepantla near Mexico City. Although she had older sisters, Juana was an illegitimate child because her parents never married. Her father, a Spanish captain called Pedro Manuel de Asbaje, abandoned the family shortly after Juana’s birth. Her mother was a Criolla woman called Isabel Ramírez. The Corillo people were Latin Americans with Spanish ancestors, which gave them more authority in Colonial Mexico, which belonged to the Spanish Empire. Juana’s father was Spanish, and her maternal grandparents were Spanish, thus making her a Criolla.

Hacienda Panoaya in Amecameca, Mexico is where Sor Juana lived between 1651 and 1656

Despite the lack of care from her biological father, Juana grew up in relative comfort on her maternal grandfather’s Hacienda, the Spanish equivalent of an estate. Her favourite place was the Hacienda chapel, where Juana hid with books stolen from her grandfather’s library. Girls were forbidden to read for leisure, but this did not prevent Juana from learning to read and write. At the age of three, Juana followed her sister to school and quickly learned how to read Latin. Allegedly, by the age of 5, Juana understood enough mathematics to write accounts, and at 8, wrote her first poem.

By her teens, Juana knew enough to teach other children Latin and could also understand Nahuatl, an Aztec language spoken in central Mexico since the seventh century. It was unusual for those of Spanish descent to speak the native languages. The Spanish aimed to replace the Mexicano tongue with their Latin alphabet, so it was almost with defiance that Juana went out of her way to not only learn Nahuatl but compose poems in the language too.

Juana finished school at 16 but wished to continue her studies at university. Unfortunately, only men could receive higher education. Juana spoke to her mother about her aspirations, suggesting she could disguise herself as a man to attend the university in Mexico City. Despite her pleading, Juana’s mother refused to allow her daughter to attempt such a risky plan. Instead, Isabel sent Juana to the colonial viceroy’s court to work as a lady-in-waiting.

Antonio Sebastián Álvarez de Toledo

Under the guardianship of the viceroy’s wife, Leonor de Carreto (1616-73), Juana continued her studies in private. Yet, she could not keep her ambitions secret from her mistress, who informed the viceroy of Juana’s intelligence. Rather than reprimanding her, the viceroy Antonio Sebastián Álvarez de Toledo (1622-1715) took an interest in Juana’s education. Wishing to test Juana’s intellect, the viceroy arranged a meeting of several theologians, philosophers, and poets and invited them to question the young girl. The men quizzed Juana on many topics, including science and literature, and she managed to impress them with her answers. They also admired how Juana conducted herself, and she remained unphased by the difficult questions they threw at her.

News of the meeting spread throughout the viceregal court. No longer needing to hide her writing skills, Juana produced many poems and other writings that impressed all those who read them. Her literary accomplishments spread across the Kingdom of New Spain, which covered much of North America, northern parts of South America and several islands in the Pacific Ocean. Yet, female scholars and writers were an anomaly at the time, and rather than attract praise, Juana drew the attention of many suitors. After refusing many proposals of marriage, Juana felt desperate to escape from the domineering men. She wanted “to have no fixed occupation which might curtail [her] freedom to study.” The only safe place she could find where she could continue her work was the Monastery of St. Joseph, so she became a nun.

Universidad del Claustro de Sor Juana

Juana spent over a year with the Discalced Carmelite nuns as a postulant, then moved to the monastery of the Hieronymite nuns in 1669, preferring their more relaxed rules. The San Jerónimo Convent, which became Juana’s home for the rest of her life, was established in 1585 by Isabel de Barrios. Only four nuns lived in the building at first, but they soon grew in number, becoming one of the first convents of nuns of the Saint Jerome order. They based their role in life on the biblical scholar Saint Jerome (342-420), who translated most of the Bible into Latin. Known for his religious teachings, Jerome favoured women and identified how a woman devoted to Jesus should live her life. During his lifetime, Jerome knew many women who had taken a vow of virginity. He advised them on the clothing they should wear, how to conduct themselves in public, and what and how they should eat and drink.

Sor Juana, by Juan de Miranda (circa 1680)

Despite taking on the title “Sor”, the Spanish equivalent of sister, Sor Juana’s main aim was to focus on her literary pursuits. Whilst she followed the ways of the Hieronymite nuns, she spent all her spare time writing. Juana’s previous employers, the Viceroy and Vicereine of New Spain became her patrons, helping her publish her work in colonial Mexico and Spain. Sor Juana also received support from the intellectual Don Carlos de Sigüenza y Góngora (1645-1700), who shared her religious beliefs as well as her passion for literature. Sigüenza, who claimed, “There is no pen that can rise to the eminence … of Sor Juana Inés de la Cruz,” also encouraged Juana to explore scientific topics.

Sor Juana dedicated some of her works, particularly her poems, to her patrons. Those written for Vicereine Leonor de Carreto often featured the name Laura, a codename assigned by Juana. Another patron, Marchioness Maria Luisa Manrique de Lara y Gonzaga (1649-1721) was “Lysi”. Juana also wrote a comic play called Los empeños de una casa (House of Desires) for Doña Maria Luisa and her husband in celebration of the birthday of their first child, José.

The first performance of Los empeños de una casa took place on 4th October 1683 and contains three songs in praise of Doña María Luisa Manrique: “Divine Lysi, Let Pass“, “Beautiful María” and “Tender Beautiful Flower Bud”. The protagonist, Doña Ana of Arellano, resembles the marchioness, who Sor Juana held in high regard. The play features two couples who are in love but cannot be together. Mistaken identities cause the characters much distress and the audience much hilarity. By the end of the final scene, everyone pairs up with the right partner, except one man who remains single as a punishment for causing the initial deception. In terms of theme and drama, Los empeños de una casa is a prime example of Mexican baroque theatre.

Another play by Sor Juana premiered on 11th February 1689 to mark the inauguration of the viceroyalty Gaspar de la Cerda y Mendoza (1653-97). Sor Juana based Love is but a Labyrinth on the Greek mythological story of Theseus and the Minotaur. Theseus, the king and founder of Athens, fights against the half-bull, half-human Minotaur to save the Cretan princess Ariadne. Although Theseus resembled the archetypal baroque hero, Sor Juana portrayed him as a humble man rather than proud.

Sor Juana also demonstrated Baroque literature in her poetry. Often full of philosophical ideas, Juana explored themes of the deceptiveness of appearances and female intelligence. In Hombres necios (Foolish Men), for example, the nun reveals the illogical behaviour of men towards women, treating them as objects of passion rather than human beings. In other poems, Juana wrote about the disillusionment of love and the pain it caused.

The first part of Sor Juana’s complete works, Madrid, 1689

Arguably, Sor Juana’s best poem is Primero sueño (First Dream), 975-lines about the torturous quest of the soul for knowledge. As night falls and the body sleeps, the soul separates from the body and dreams. The soul contemplates the world and the existence of everything from flowers to human life, taking into account all the details and mysteries of each object. Yet, it fails to grasp the overwhelming abundance of the universe, and the sun rises once more, forcing the soul back into the body.

Critics interpreted Primero sueño as Sor Juana’s dreams or thoughts, which were highly philosophical compared to the average person. She explored themes of Neoplatonism, the idea that the world is divided into hierarchies, and Scholasticism, which combined Christian theology with classical philosophy, particularly that of Aristotle (384-322 BC). The latter believed every living organism had more than one purpose or cause, which Aristotle split into ten categories: substance; quantity; quality; relatives; somewhere; sometime; being in a position; having; acting; and being acted upon. It is likely Sor Juana came across Aristotle’s Categories during her studies, either in her grandfather’s library or the San Jerónimo Convent.

Sor Juana’s writings, poems and plays covered many of her interests, such as religion, philosophy, mathematics and science. She also enjoyed music and studied the theory of instrumental tuning, on which she wrote a treatise. Sadly, this work is lost, but evidence suggests she wrote some of her poems, intending to set them to music.

The first part of Sor Juana’s complete works, Madrid, 1689

Not all of Sor Juana’s writings were intended for public consumption. In 1690, Manuel Fernández de Santa Cruz (1637-99), the Bishop of Puebla, published Sor Juana’s critique of a sermon by the Jesuit priest Father António Vieira (1608-97). Titled Carta Atenagórica (Athenagorical Letter or a letter “worthy of Athena’s wisdom”), Juana expressed her dislike of the colonial system and her belief that religious doctrines are the product of human interpretation. She criticised Father António Vieira for his dramatic and philosophical representation of theological topics. Most importantly, Juana called the priest out for his anti-feminist attitude.

Alongside Sor Juana’s critique, the Bishop of Puebla published a letter under the pseudonym Sor Filotea de la Cruz, in which he admonished the nun for her opinions. Ironically, the bishop agreed with many of Sor Juana’s thoughts, but he ended the letter by saying Sor Juana should concentrate on religious rather than secular studies. Whilst the critique focused on a religious sermon, Sor Juana included colonialism and politics in her argument, which the bishop felt were inappropriate topics for a woman, let alone a nun.

Carta Atenagórica

“Sor Filotea expresses the admiration she feels for Sor Juana, but at the same time reproaches her for exercising her talent in profane subjects instead of devotional literature. Although Sister Filotea does not declare herself against the education of women, she does express her dissatisfaction with the lack of obedience that some already educated women might demonstrate. Finally, she recommends Sor Juana to follow the example of other mystical writers who dedicated themselves to theological literature, such as Santa Teresa de Ávila or San Gregorio Nacianceno.”

Sor Juana responded to Sor Filotea, the Bishop of Puebla, in which she defended women’s rights to education and further study. Whilst she agreed that women should not neglect their duties, in her case her obedience to the Church and God, Juana pointed out that “One can perfectly well philosophise while cooking supper.” By this, she meant women could balance their education and everyday tasks. She jokingly followed this with the quip, “If Aristotle had cooked, much more would have been written.”

In her response, Sor Juana quoted the Spanish nun St Teresa of Ávila (1515-82) as well as St Jerome and St Paul to back up her argument that “human arts and sciences” are necessary to understand sacred theology. She suggested if women were elected to positions of authority, they could educate other women, thus alleviating a male tutor’s fears of being in intimate settings with female students.

The nun’s controversial response caused a lot of concern amongst high-ranking (male) officials who criticised her “waywardness”. They were angry with Sor Juana for challenging the patriarchal structure of the Catholic Church, and for claiming her writing was as good as historical and biblical texts. As a result, the San Jerónimo Convent forbade Juana from reading and sold her collection of over 4,000 books and scientific instruments for charity. With no one on her side, Sor Juana relented and agreed to renew her vows. The convent also required Juana to undergo penance, but rather than signing the penitential documents with her name, she wrote: “Yo, la Peor de Todas” (I, the worst of all women).

From 1693 onwards, Sor Juana focused solely on her religious orders. Never again did she pick up a pen to write or a book to read. Instead, Juana spent her time either in prayer or tending the sick, which led to fatal consequences. After nursing other nuns stricken during a plague, Sor Juana fell ill and passed away on 17th April 1695.

Before she was silenced, Sor Juana penned over 100 works, the majority of which went unpublished. Unfortunately, many were lost, and only a handful remain. Those that survived were compiled into an anthology. Several writers, including the Mexican poet and diplomat Octavio Paz (1914-98), have studied Juana’s life and writings, focusing on the difficulties women faced while trying to thrive in academic fields. Several scholars argue that Juana’s advocacy of intellectual authority is one of the first recorded instances of feminism. Some liken her to the Mexican painter Frida Kahlo (1907-54), although Juana was ahead of her time – a protofeminist.

Monument of Sor Juana in Chapultepec.

Although Sor Juana Inés de la Cruz is almost an unknown entity in the non-Spanish speaking world, her work and reputation live on in Mexico, where she remains a national icon. Her former cloister is now the University of the Cloister of Sor Juana, which the Mexican government founded in 1979. During the renovations, builders discovered bones believed to belong to the nun. Due to a lack of ancestors, tests cannot be carried out on the bones to confirm the identity, but a medallion similar to the one depicted in portraits of Juana found in the same place is enough evidence for some.

Feminist movements of the past and present have adopted Sor Juana as a symbol, along with Frida Kahlo. Some also link both women to LGBT movements, although Sor Juana never disclosed her sexuality. Evidence suggests Sor Juana became a nun to avoid marriage, but others argue she was an “Indigenous lesbian”. As part of her penance, Juana cut her hair, which some interpret as an attempt to masculinise her appearance, likening it to Kahlo’s Self-Portrait with Cropped Hair (1940).

Statue of Sor Juana Inés in Madrid, Spain.

Sor Juana is also a religious symbol of Mexican identity, both in relation to Catholicism and Aztec beliefs. The latter is due to Juana’s choice to write some of her poems in the indigenous Nahuatl language. She also wrote a play, El Divino Narciso (Loa to Divine Narcissus), which features two Indigenous people named Occident and America, discussing their religious beliefs with two Spaniards, Religion and Zeal. Yet, her devotion to the Virgin Mary is evident in other work by Sor Juana, as is her decision to take her vows at the San Jerónimo Convent.

Juana Ines de la Cruz in art by Mexican artist Mauricio García Vega.

Sor Juana continued to inspire and influence people in Mexico and Spain in the 20th century. She appears as characters in literature, such as Yo-Yo Boing! by Puerto Rican author Giannina Braschi (b.1953), which debates the greatest women poets, including Sor Juana and Emily Dickinson (1830-86). In 1962, Telesistema Mexicano broadcast a mini-series based on Sor Juana’s life; and in 1990, the film Yo, la peor de todas (I, the Worst of All) premiered, based on Octavio Paz’s book about the Mexican nun.

In the 21st century, Sor Juana’s fame finally made its way into English speaking countries. In 2004, Canadian author Paul Anderson published a novel based on Sor Juana’s life called Hunger’s Brides, which won the Alberta Book Award the following year. In 2007, Margaret Atwood (b.1939) published a book of poems, including Sor Juana Works in the Garden. In the music world, American composer John Adams (b.1947) used two of Sor Juana’s poems in the libretto for the oratorio-opera El Niño (2000). In 2015, the Royal Shakespeare Company performed Helen Edmundson’s (b.1964) play The Heresy of Love as part of the Spanish Golden Age season. Finally, in 2017, Google honoured Sor Juana with a Google Doodle to mark her 366th birthday.

Sor Juana Inés de la Cruz has yet to earn her place among the greatest women in the world outside of Spanish speaking countries, but her ideas are gradually making their way into contemporary works. Sometimes referred to as the “The Tenth Muse” and “The Phoenix of America”, Sor Juana is an inspiration to everyone who faces adversity, particularly in terms of human rights and education. Fortunately, life for women has drastically improved since Sor Juana’s time, but the necessary changes only began 100 years ago. Sor Juana was not afraid to point out the inequalities in her society. Yet, with no one to back her up, there was nothing she could do to change things during her lifetime. If Sor Juana could see the world today, she would be pleased with our progress.


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