Danny Santiago's Famous All Over Town When I was little I remember driving across country, going to Florida, and past neighborhoods that were anything but mine. They had old houses that looked like they were going to fall down any minute, real trashy looking. In Colorado, my house was nice and always kept up. I sat in the car wondering what kind of people lived in those run down places and what they were like. The answers came to me years later when I read the book, Famous All Over Town, by Danny Santiago. The main character, Chato, is a young Hispanic boy living in a neighborhood like the ones I saw when I was little. After reading the book, although I never thought I would have anything in common with people who lived like that, I learned that Chato and I have do have similarities, but we have more differences. There aren't very many similarities between Chato and I, but there is one, and it's a big one. We both have families that love us. Lena, Chato's sister takes care of him after he gets home from the hospital. Then he begins to think about his family and how glad he is to be home. "Lena loved me, my mom loved me, and my father loved me, it seemed" (45). All of Chato's family loves him and he loves being with them. In my house, you would find the same kind of environment and I can relate to some of Chato's family life. However, Chato's family is not always nice to him. His family has many problems, such as everyone keeping secrets from each other and everyone lieing to each other. For example, Chato's father is having an affair and everyone knows about it, but they all keep it from Chato. When he finds out he is very mad at himself and things he is dumb for not knowing, while everyone else does. "She knew, they knew, the whole damn town knew, except only dumb, stupid me" (l46). In my family, however, everyone is honest and you would never see anyone keeping something that important from the others. Another example of how Chato's family is different, is shown when Chato is having a bellyache and his father things that he is faking it. He tells him, "Shut-up, crybaby-coward" (26). His father is not being very nice to him because he is sick.
Harding, D. J. (2010). Living the Drame: Community, Conflict, and Culture Among Inner-City Boys. Chicago, IL: The University Of Chicago Press.
All Over but the Shoutin' by Rick Bragg is an autobiography that starts from Mr. Bragg's impoverished childhood in a family that included an abusive, alcoholic father, an incredibly powerful angel of a mother and his two brothers, and follows him through his Pulitzer Prize-winning journalistic career at the New York Times. The author states at the beginning of the book that readers will laugh and cry reading it. He was right on the money with both of these points.
However, in Los Angeles and throughout the southwest, the Mexican population had shifted from heavily immigrants into United States-born citizens. These new English speaking, young generation no longer thought of themselves as “Mexico de afuera” but, started to embrace the American clean-cut style at the time. Resulting in new Deal youth programs...
Junot Diaz is a Dominican-American writer whose collection of short stories Drown tells the story of immigrant families in the urban community of New Jersey. His short story “Fiesta, 1980” focuses on Yunior, an adolescent boy from Dominican Republic and his relationship with his father. On the other hand, Piri Thomas was a great Latino writer from Puerto-Rico whose memoir Down These Mean Streets tells his life story as an adolescent residing in Harlem and the challenges he faces outside in the neighborhood and at home with his father. Both Diaz and Thomas in different ways explore the dynamics of father-son relationships in their work. Furthermore, both expose masculinity as a social construct.
Slick showed Rios the “hotspots” where life shapes these youth environments. The structure, as well as the constraints, that shape these young boys life in the neighborhood, slick points out a corner where one of his best friends got shot by a drive-by shooting. The lifestyle of these young boys is tragic.
Chavez Ravine was a self-sufficient and tight-knit community, a rare example of small town life within a large urban metropolis, but no matter how much the inhabitants loved thei...
The author of this short story, Sandra Cisneros used this myth to make herself different from other American writers. She used ideas from things and stories she heard growing up as a Mexican-American woman, living in a house full of boys that got all of the attention (Mathias). Cisneros also grew up in the 19...
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.
In the first short story The House on Mango Street, Esperanza is outside her apartment building where she lives with her siblings and parents. They six were Mama, Papa, Carlos, Kiki, Nenny, and Esperanza. She describes the place they were living in by saying that it was on the third floor of an old building and as well said " The water pipes broke and the landlord wouldn't fix them because the house was too old...We were using the washroom next door and carrying water over in empty milk gallons" (Cisneros 4). Esperanza and her family are going through hardships because of the landlord, even when they are paying their rent. She describes the apartment building as old and useless to the owner, this means that the building has to be very torn down for someone who owns it not to care about it. Esperanza begins to experience difficulties at a young age by having to shower with water from the washroom, they did not even use buckets which can indicate that they did not own one. Usually it is minorities who as well recycle the bottles they buy to give them...
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
“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and how we grow through our life experiences. In her personal, Cisneros depicts Esperanza Cordero’s coming-of-age through a series of vignettes about her family, neighborhood, and personalized dreams. Although the novel does not follow a traditional chronological pattern, a story emerges, nevertheless, of Esperanza’s search to discover the meaning of her life and her personal identity. The novel begins when the Cordero family moves into a new house, the first they have ever owned, on Mango Street in the Latino section of Chicago. Esperanza is disappointed by the “small and red” house “with tight steps in front and bricks crumbling in places” (5). It is not at all the dream-house her parents had always talked about, nor is it the house on a hill that Esperanza vows to one day own for herself. Despite its location in a rough neighborhood and difficult lifestyle, Mango Street is the place with which she identifies at this time in her life.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
relaxing activity such as a walk or while taking a shower, our minds envoce our
Creativity should be about the pure enjoyment of having been involved, influencing others and being influenced, combining ideas and preserving those that speak to us, discovering and appreciating all that which is greater than ourselves.
The hood, short for neighborhood, of a predominantly poor, minority area is vastly different from the neighborhood of middle or upper class suburban area. Whereas one is overridden by violence, hopelessness, and a sense of confinement, the other is an exemplification of the American dream, prosperity, and opportunity. The polar differences between the two areas are not coincidental, but, rather, consequential.