Before Cleófilas got married, to Juan Pedro and moved across the border, she was more of a free woman. There are times where Cleófilas would remember her past, back when she lived in Mexico with her family. As she describes her life there we can see a difference in her setting in Cleófilas hometown, where she grew up we can see how happy and comfortable she was here. Mexico is a place that she knew well, she had people to talk, and there were things for her to do, she as well has her family there for. Cleófilas had the warmth of her family, even with not having a mother, she still grown up with her father and six brothers; these were the men she had in her life before her husband. Even if, Cleófilas had never ending chores, putting up with her father’s complaining and her brothers, she still had them they were family. Her father took over the mothering role of Cleófilas 's deceased mother, he was a kind-hearted person who cared for his daughter, treats her like a princess, "I am your father, I will never abandon you," (Cisneros, 246) his promise to Cleófilas. Back in Mexico Cleófilas had many women around her, from her aunts, godmothers, and girlfriends; they …show more content…
Cleófilas’ father wanted her to marry Juan Pedro Martinez Sanchez, so what if she did not get married to her husband and moved to Seguin, Texas. Cleófilas would not be in a position of being a person’s possession and suffered the abuse of her husband. She would not be in an isolated world away from her family, or any real support that can help her through all the things she has to go through. Cleófilas explains that she did not “cry out” when her husband hits her for the first time, but she has always imagined she would after watching episodes of her favorite telenovelas. This was also the first time in the story that Cleofilas’ view of their happy marriage was
On one hand we can see that she pushes back and challenges her tradition on the other hand it is difficult to not see emotion expressed by herself when she is alone. One scene that does do this is when she is buying condoms for the first time but does not know what to purchase. This small but significant scene revels that although she is strong and ready she also needs guidance through her path of adulthood. She is able to ask a pharmacist for advice but not her own mother. This lack of connection to be open up to mothers is emphasized enough to create awareness that young Mexican American women need someone to talk to and it should preferably be their
Throughout history, there have been countless women who have seized the opportunities afforded to them by fate to their advantage. Despite the oppression of patriarchal societies, these pioneers carved a place for themselves on the walls of the past. Clodia Metelli, who was a Roman aristocrat born in 95 BC, was one of most enigmatic female figures to emerge from ancient Rome. Clodia was a descendant of a powerful line of politicians, so she was soon swept into a world of wealth. Because she was connected to potent people, Clodia seized the opportunity to expand her influence over the political climate in ancient Rome. By utilizing the authority of those around her to gain her own, Clodia Metelli effectively
Juan Rubio was not feeling the same about his wife anymore, Richard and his sisters had to deal with the separation of his parents, and Consuelo no longer wanted to be submissive to her husband. After the move, Consuelo was exposed to a different lifestyle for women and how they handled certain situations in America. Her American friends often questioned her level of importance. Once she married Juan Rubio, Consuelo knew she would become “the anchor” of her husband and the house. Because of this, she is stuck in an internal battle with herself. She wants to be the support system her husband demands while living up to Mexican values, but desires to have the new freedoms American women have. Juan’s infidelity and the downfall of their marriage was the push that helped change Consuelo. Although she did not want to lose the affection of her husband and children, she did not want to fall victim of the stereotypical housewife. Consuelo was not finding joy in merely serving her family but wanted recognition for who she is as a woman. “But all such scenes did not end with laughter, for Richard’s mother was a different person altogether now, and constantly interfered when her husband was in the act of disciplining a child, and these interferences grew until they flared into violent quarrels” (Villarreal 134). At this point, Counselo shows us she has developed a voice of her own. She was acting and saying
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
It all began with a young hidalgo (a member of the minor nobility in Spain) falling in love with a beautiful but lowly girl, María. Some years ago, the young hidalgo fell in love with María. María had a casita--a little house--where the young hidalgo would visit and bring his friends. In almost every way, they shared a happy life together. Eventually, María bore him two or three children. Everything was well except that their marriage was not blessed by the church, as his parents knew nothing about the arrangement. When his parents found out about María, they would not allow him to marry her and would not accept her as his wife nor her children as their grandchildren. They went on and urged him to marry a more suitable lady to give them grandchildren; this "suitable lady" was also a member of the minor nobility in Spain, also very beautiful. At some point in time, he ga...
Cleofilas grew up in a male dominant household of six brother and father, and without a mother, she no woman figure to guide her, give advice on life, or how to love a man. Cleofilas turned to telenovelas for a woman’s guidance on love and appearance, and she began to imagine her ideal life through the television series. Once Cleofilas was married she moved away into a home with her husband, were she pictured everything to be like the couples on the telenovelas, but she soon starts to realize life isn 't exactly like how they view it in the telenovelas. In the story Sandra make the statement ‘From what see can tell, from the times during her first year when still a newlywed she is invited and accompanies her husband, sits mute besides their conversations, waits and sips a beer until it grows warm, twists a paper napkin into a knot, then another into a fan, one into a rose, nods her head, smiles, yawns, politely grins, laughs at the appropriate moments, leans against her husband’s sleeve, tugs at his elbow, and finally becomes good at predicting where the talk will lead, from this Cleofilas
Sandra Cisneros portraits Clemencia in various ways in “Never Marry a Mexican”. Clemencia is stuck in an interracial world, she wants to fit in, not only fit in but become better, become more powerful and loved. Clemencia is a very resentful woman, she is full of hatred, not only for others but also within her own self. Clemencia is a mistress of several men, but one in particular who she happens to find herself in love with, Drew. Clemencia becomes extremely obsessed with her relationship with Drew. “You think I went hobbling along with my life, whimpering and whining like some twangy country-and-western when you went back to her. But I’ve been waiting. Making the world look at you from my eyes.” (pg. 59) Clemencia’s resentment against Megan, Drew’s white wife, goes beyond the necessity of having Drew, but also involves the belief that she will never be like that “ redheaded Barbie Doll in fur coat” (pg. 64) referring to Megan due to the racial inequality she has grown to experience throughout her life.
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Intertwined in allusions to women of Mexican history and folklore, making it clear that women across the centuries have suffered the same alienation and victimization, Cisneros presents a woman who struggles to prevail over romantic notions of domestic bliss by leaving her husband. In the story Woman Hollering Creek, Sandra Cisneros discusses the issues of living life as a married woman through a character named Cleófilas; a character who is married to a man who abuses her physically and mentally. Cisneros reveals the way the culture puts a difference between a male and a female, men above women. In Woman Hollering Creek, we see a young Mexican woman, who suddenly moves across the border and gets married. The protagonist, Cleófilas’ character is based on a family of a six brothers and a dad and without a mom, and the story reveals around her inner feelings and secrets.
Cleofilas, must endure the hard labor of her husband’s temper and if she doesn’t take on both gender roles for example: housework, caring for her children, and the outside duties of the home, she suffers the consequences of her husband and the beatings. Juan Pedro, Cleofilas husband is just like society in this situation, he doesn’t think twice about laying a hand on his wife. Whereas, in Cleofilas situation, society doesn’t want to get involved and will place the incident “under the rug” they don’t want to be asked questions, by the husband or the
Cleofilas is a young lady excited to marry Juan Pedro. Cisneros uses Cleofilas to symbolize someone who can not separate reality from real life. She comes from a family with six siblings and no mother. Leaving her father as the head of the house hold. She uses the television shows to teach herself feminine responsibilities and life lessons. Cleofilas envisions her perfect life though the eyes of the television shows she watches conscientiously. The television shows are used to show Cleofilas how life could be, but she takes it to be her own .
“Intense love does not measure, it just gives. “ (Mother Teresa) This sentence perfectly describes the character Clarisa in the short story, “Clarisa” written by Isabel Allende because of her giving nature and devotion to helping other people. In this short story, Clarisa is the model of gentility and compassion by giving absolutely every thing she had, and even spends “…the last cent of her dowry and inheritance,” (434) and, “In her own poverty, she never turned her back on the poverty of others” (434). For these reasons, they people that know Clarisa hold her in high esteem, and continually portray her as saint like. Allende helps the reader understand the admiration others have for Clarisa through the use of imagery, similes, and diction.
In Latin America, women are treated differently from men and children. They do lots of work for unexplainable reasons. Others for religious reasons and family orders and others because of the men involved. Women are like objects to men and have to obey their orders to either be rich or to live. Some have sex to get the men’s approval, others marry a rich man that they don’t even know very well, and become slaves. An important book called Chronicles of a Death Foretold is an example of how these women are treated. Purisima del Carmen, Angela Vicario's mother, has raised Angela and her sisters to be good wives. The girls do not marry until late in life, rarely socializing beyond the outsides of their own home. They spend their time sewing, weaving, washing and ironing. Other occupations include arranging flowers, cleaning up the house, and writing engagement letters to other men. They also keep the old traditions alive, such as helping the sick, comforting the dying, and covering the dead. While their mother believes they are perfect, men view them as too tied to their women's traditions. The men are afraid that the women would pay more attention to their job more than the men. Throughout the book, the women receive the respect they deserve from the men and others around them.
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen
In the Book women are looked upon as objects by men whether they are boyfriends, friends fathers or husbands. The girls in the novel grow up with the mentality that looks and appearance are the most important things to a woman. Cisneros also shows how Latino women are expected to be loyal to their husbands, and that a husband should have complete control of the relationship. Yet on the other hand, Cisneros describes the character Esperanza as being different. Even though she is born and raised in the same culture as the women around her, she is not happy with it, and knows that someday she will break free from its ties, because she is mentally strong and has a talent for telling stories. She comes back through her stories by showing the women that they can be independent and live their own lives. In a way this is Cinceros' way of coming back and giving back to the women in her community.