Immigrant Tragedy in The Cariboo Café by Viramontes Helena Maria Viramontes grew up in Los Angeles where relatives used to stay and live with her family when making the transition from Mexico to the United States. This is where she got her first taste of the lives of immigrants in this country within the urban barrios. Viramontes's writing reflects this theme along with expressing her political opinions on the treatments of immigrants, especially Chicanos and Latinos. In her short story "The Cariboo Café," Viramontes brings these ideas to life through three sections narrated by different individuals tied into the story. "The Cariboo Café" is a story of Chicano immigrants and a Central American refugee. Along with these characters is the owner of the Cariboo Café, who comes in contact with the others. The story progresses in three short sections. Each section involves a different scenario and is told from the point of view of a different narrator. The three separate settings do not fully come together until the end of the last section. This approach makes the story initially very complicated to understand and difficult to connect the sections as a coherent stream of events. However, it is possible that this was Viramontes's intent. Perhaps the situations presented in the story were ones that posed this amount of confusion and frustration in real life to those who lived through them. Maybe Viramontes needed to convey in her story that what really happened in the urban barrios of Los Angeles never really made sense to anyone. The opening section of this story is a third person narrative. The narrator immediately introduces a poor Chicano family with two young children. A few initial facts that the reader picks up in the opening paragraph are that both parents have to work, the children often play by themselves in back allies and carry their own keys, and the father has warned the children to always avoid the police. Viramontes sets a disconcerting tone by introducing that it is night time and Sonya, the young girl, has lost her key and cannot let her younger brother, Macky, and herself into their apartment. The first few paragraphs succeed in showing that Sonya is responsible and protective of her brother despite her age as she chases after him to keep him out of the street.
The novel is an exposé of the harsh and vicious reality of the American Dream'. George and Lennie are poor homeless migrant workers doomed to a life of wandering and toil. They will be abused and exploited; they are in fact a model for all the marginalized poor of the world. Injustice has become so much of their world that they rarely mention it. It is part of their psyche. They do not expect to be treated any different no matter where they go.
Martinez’s story is not so much one that pieces together the events of the crash, nor the lives of the three youths, but it is an immigrant’s tale, discovered through the crossings of the various Chavez family members and profiles of Cheranos in Mexico.
The book, “Y no se lo trago la tierra” by Thomas River grasp a point of view of a migrant community, as manifestations of Chicano culture, language, and experience as understood by a first person point of a young male protagonist. The setting of the book takes place of a year during the 1950s and uses a variety of perspectives and voices to follow the boy’s passages into adolescence. As the setting of the book moves from Texas to upper Midwest to the ye...
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
Lily’s idea of home is having loving parent/mother figures who can help guide her in life. Because of this desire, she leaves T. Ray and begins to search for her true identity. This quest for acceptance leads her to meet the Calendar Sisters. This “home” that she finds brightly displays the ideas of identity and feminine society. Though Lily could not find these attributes with T. Ray at the peach house, she eventually learns the truth behind her identity at the pink house, where she discovers the locus of identity that resides within herself and among the feminine community there. Just like in any coming-of-age story, Lily uncovers the true meaning of womanhood and her true self, allowing her to blossom among the feminine influence that surrounds her at the pink house. Lily finds acceptance among the Daughters of Mary, highlighting the larger meaning of acceptance and identity in the novel.
Literary magazines were not remotely interested in publishing Gilb’s stories, which focus primarily on the professional and personal struggles of working-class Mexican Americans. But his unapologetic stories about working-class Mexican Americans have made him a voice of his people (Reid130). Gilb’s short stories are set vividly in cites of the desert Southwest and usually feature a Hispanic protagonist who is good-hearted but often irresponsible and is forever one pink slip or automotive breakdown away from disaster (Reid130).
Caramelo has been quite an interesting novel. It describes a Hispanic family to the tee. Sandra Cisneros chose her title perfectly for this book. Life’s hardships and possibilities are explored throughout this fascinating novel.
In Part I of the novel, Agee quickly establishes the importance of the father-son relationship. Rufus Follet, Jay's six-year-old son, accompanies his father to the silent film theatre against the objection of Rufus's mother, who finds Charlie Chaplin (one of James Agee's heroes) “nasty” and “vulgar.” This disagreement underscores the marital conflict that underlies Rufus's ambivalent feelings toward both his parents. When Jay takes Rufus to a neighborhood tavern after the picture show, despite the father's warmth and love for his son, it is clear that the father's pride is constrained by the fact that the son's proclivities, even at this early age, follow the mother's interests in “culture” rather than the father's more democratic tastes for athletic ability and social pursuits. Tensions between Rufus's parents are apparent as Jay's drinking and “vulgar” habits become a point of contention in the household, with the child Rufus caught between his sometimes bickering parents. For her part, Mary Follet is a character whose extreme subjection to moralistic attitudes suggests...
Carolina told about two boys wandering the streets of the favela who were from shelters in the city. At the shelters, there were innocent children abandoned or orphaned, but also there were young criminals sentenced to stay there. Both groups were thrown together and treated as though they all had prison sentences. Carolina wrote, “I felt that in the State Shelter the children’s morals were lowered. […] What’s lacking? Concern for the unfortunate or money from the State?” (81). Whether it was babies dying in the favela, or children growing into poverty, the families of favelados were destined for misfortune. Carolina’s older children were still in school, but they contributed to the family income, as was common at the time, by going out to beg or to collect paper and scrap with her. Favelas of Brazil bred the destruction of innocence and children grew up quickly, such as when “the son of Joaquim went to school drunk” (130). Intersectionality of race and class was also pertinent. Racism and classism prevented poor, impoverished children from receiving any opportunities to improve their
Cisneros depicts Mango Street as a rough neighborhood, but she also conveys a sense of community. She writes down that “we are safe,” (Cisneros, 28) to indicate that she can find the sense of community. Even if the author does not think she belongs to Mango Street, she does not deny that her community lives there. At the beginning of The House on Mango Street, Cisneros states that “I had to have a house. A real house,” (Cisneros, 5) illustrating that after knowing the American society’s evaluation criteria of success, she wants to follow the upward mobility and be viewed as a successful figure not only because she wants to be appreciated but also because white people will change their stereotypes of Hispanic people if they see that a Hispanic woman can be as successful as other whites. Her ambition triggers her to want to explore the meaning of being a Hispanic girl in the real world. Furthermore, in the “My name” session, the author depicts her great-grandmother’s life. “She looked out the window her whole life… but I don’t want to inherit her place by the window.” (Cisneros, 11) Cisneros wants a marriage formed because of love, like most white people do; her desire indicates that she wants to live like the whites, so that they will respect her and the Hispanic race later. In addition, Cisneros points out that she
This agency creates a complex self-realization that readers find in both of the characters, however both shows different approach that differentiate their character from one another. As a result, both characters manifest a sense of victimization, but somehow in their hope for upward mobility, negate that. The power of this purpose is retrospective to all migrant workers because that is all they have---it’s rather success or failure.
...l Castillo, R. 1994. La Familia: Chicano Families in the Urban Southwest, 1848 to the present. Notre Dame: University of Notre Dame Press.
The Chicana/o identity has developed through the history of Mexican-Americans living in the United States. Chicana/o identity is multi-layered and self-identified. Although, it does not have a set definition, I will highlight examples of different forms of representations that helped claimed this identity. Through various examples of Denise A. Segura and Beatriz M. Pesquera article “Beyond Indifference and Antipathy”, “Chicana Identity Matters” article by Deena J. Gonzalez, “Chicano Teatro” article by Jorge A. Huerta, “Their Dogs Came With Them” novel by Helena María Viramontes, and Murals by Judith Baca and David Alfaro Siqueiros, they will illuminate the historic struggle that creates and defines Chicana/o identity. The Chicana/o term has been very complex throughout time as a form of identity. However, Mexican-Americans were given this long history of misrepresentation as being dumb, lazy, inferior, servile, sexualized and/or criminal. One example of it would be the creation of Olvera Street in Los Angeles. In I will argue that through numerous forms of representations, Chicana/o identity is multi-dimensional and has developed through Mexican-Americans life experiences and the influence from the larger white U.S society. Lastly, I will demonstrate this by including the representations of gender, race, citizenship, and class to expose the self-identified Chicana/o identity.
Immigrants come to America, the revered City upon a Hill, with wide eyes and high hopes, eager to have their every dream and wild reverie fulfilled. Rarely, if ever, is this actually the case. A select few do achieve the stereotypical ‘rags to riches’ transformation – thus perpetuating the myth. The Garcia family from Julia Alvarez’s book How the Garcia Girls Lost Their Accents, fall prey to this fairytale. They start off the tale well enough: the girls are treated like royalty, princesses of their Island home, but remained locked in their tower, also known as the walls of their family compound. The family is forced to flee their Dominican Republic paradise – which they affectionately refer to as simply, the Island – trading it instead for the cold, mean streets of American suburbs. After a brief acclimation period, during which the girls realize how much freedom is now available to them, they enthusiastically try to shed their Island roots and become true “American girls.” They throw themselves into the American lifestyle, but there is one slight snag in their plan: they, as a group, are unable to forget their Island heritage and upbringing, despite how hard they try to do so. The story of the Garcia girls is not a fairytale – not of the Disney variety anyway; it is the story of immigrants who do not make the miraculous transition from rags to riches, but from stifling social conventions to unabridged freedom too quickly, leaving them with nothing but confusion and unresolved questions of identity.
“The Cariboo Café” written by Helena Maria Viramontes is a short story line told in three different time frames. The author introduces these main characters: Sonya, Macky, Café owner, and unknown woman. To add a twist to it, the author creates three first-person perspectives that are shifted in a non-chronological order. The author throws out clues and leads the reader to unravel the story and connect the dots. The first few question that arise when reading the story were, how are these people connected? Is the unknown woman the mother of the children? Did the café owner do the right thing? Did the author create the alias name double zero café for a reason? The main connection among the three storylines is the projected feelings towards the young boy Macky by each of the main characters in each story. The stories also connects the significance for