Nicholasa Mohr - Works

Works

  • Nilda: a novel. Arte Publico Press. 1986. ISBN 978-0-934770-61-3. (First published 1974.)
  • Bronx Remembered: A Novella and Stories. San Val, Incorporated. 1993. ISBN 978-0-613-18443-4.
  • El Bronx remembered: a novella and stories. Harper & Row. 1975.
  • In Nueva York. Arte Publico Press. 1988. ISBN 978-0-934770-78-1.
  • Felita. Illustrator Ray Cruz. Bantam. 1990. ISBN 978-0-553-15792-5.
  • Going home. Dial Books for Young Readers. 1986. ISBN 978-0-8037-0269-1.
  • Rituals of survival: a woman's portfolio. Arte Publico Press. 1985. ISBN 978-0-934770-39-2.
  • Growing up inside the sanctuary of my imagination. J. Messner. 1994. ISBN 978-0-671-74171-6.
  • A Matter of pride and other stories. Arte Público Press. 1997. ISBN 978-1-55885-177-1.
  • The song of el coquí and other tales of Puerto Rico. Illustrator Antonio Martorell. Viking. 1995. ISBN 978-0-670-85837-8.
  • La canción del coquí y otros cuentos de Puerto Rico. Viking. 1995. ISBN 978-0-670-86296-2.
  • The magic shell. Illustrator Rudy Gutierrez. Scholastic. 1995. ISBN 978-0-590-47110-7.
  • El regalo mágico. Translator Osvaldo Blanco; Illustrator Rudy Gutierrez. Scholastic. 1996. ISBN 978-0-590-50210-8.
  • Old Letivia and the Mountain of Sorrows. Illustrator Rudy Gutierrez. Viking. 1996. ISBN 978-0-670-84419-7.
  • La vieja Letivia y el Monte de los Pesares. Illustrator Rudy Gutierrez. Penguin Ediciones/Viking. 1996. ISBN 978-0-670-86324-2.
  • I NEVER EVEN SEEN MY FATHER (play)

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    “Every man is in a state of conflict, owing to his attempt to reconcile himself and his relationship with life to his conception of harmony. This conflict makes his soul a battlefield, where the forces that wish this reconciliation fight those that do not and reject the alternative solutions they offer. Works of art are attempts to fight out this conflict in the imaginative world.”
    —Rebecca West (1892–1983)

    “The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
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    “Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
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