The House on Mango Street recounts the life and chronicles of Esperanza, a bold and daring Chicana (Mexican-American girl) and her adventures in a crowded Latino neighborhood in Chicago. Throughout the series of vignettes, Esperanza recounts her vivid memories and experiences through a series of short chapters or ‘lazy stories.’ Ranging from minute brief observations to fully narrated scenes, the novel extrapolates the naivety of a twelve-year-old girls’ short attention span giving the novel its unique structure. As a loose collection of memories, the thread that connects them together is Esperanza’s developing maturity and quest to find her identity, grappling with both the Mexican and American cultures. Throughout the book several characters are mentioned briefly, closely according with the geography of the barrio itself. Cisneros, the iconic …show more content…
Latina-American ‘coming of age’ author, seeks to critique her culture without directly condemning it. Although some may presume that there are few apparent themes in the novel, these romantic critics are often too dogmatic in their provincial ideologies. Throughout the novel’s progression and Esperanza’s metamorphosis, the power of language and the thirst for self-definition and identity are salient themes that defines the novel in its pervading thirst for optimism. The power of language is pivotal in this novel as it plays a large part in Esperanza’s journey in her identity and society as a whole. Throughout the novel, powerlessness can be seen in the language barrier, but to Esperanza the ability to manipulate language is what she hopes will give her power. As a twelve year old, Esperanza hopes to change her name in hopes of her having the reigns to her destiny. As she mentions, “ I would like to baptize myself under a new name, a name more like the real me, the one nobody sees…something like Zeze the X will do” (Cisneros 11). In the latter part of the novel, Aunt Lupe mentions to Esperanza to keep on writing and that it would make Esperanza feel ‘free’ (Cisneros 61). At that time Esperanza didn’t make sense of her aunt’s advice however throughout the latter parts of the novel Esperanza realizes that the power of writing keeps her spiritually free, giving her power over her written experiences. To Esperanza language was everything. The specific characterization of Esperanza helps to unfold the prevalent theme on the power of language. It is evident that throughout the entire novel, Esperanza realizes that those who are not able to communicate efficiently comprise the bottom parts of society the most. Mamacita became imprisoned in her apartment and rarely came out due to her inability to speak English. As Esperanza recounts, “I believe she does not come out because she is afraid to speak English, and maybe this is so since she only knows eight words” (Cisneros 77). Mamacita later feels distraught as her son is starting to speak English, leaving her behind. Imagery is used effectively to describe Mamacita’s reaction, “Ay! Mamacita, who does not belong, every once in a while lets out a cry, hysterical high, as if he had torn the only skinny thread that kept her alive” (Cisneros 78). Language is a very important theme that is exemplified through several characterizations and imagery throughout the novel. Self-definition is also another major theme regarding Esperanza’s metamorphosis throughout the entire novel. Esperanza struggles to define herself and this truly underscores her every encounter and action.
Throughout the novel, Esperanza’s overall perception towards her identity shifts with time. In the beginning of the novel, Esperanza hopes to part away from her culture, heritage, and family by changing her name so that she can define herself on her own thoughts and terms. She wishes to start her own life and depart from a name that embraces her authentic family heritage. As time passes and as Esperanza becomes more mature and sexually aware, she hopes to define herself as someone who is “beautiful and cruel…the one who drives the men crazy and laughs them all the way” (Cisneros 89). As she matures, Esperanza turns to writing as a means of defining herself. In the final parts of the novel Esperanza forces herself to stop setting herself apart from her family, heritage and most importantly her roots. As a writer she finally finds the identity she sought for by interacting with the world and observing it in a different way. Time allows Esperanza to realize her self-identity as she matures. As Esperanza states, “They will not know I have gone away to come back” (Cisneros
110). The short vignettes, allows the reader to see the gradual metamorphosis of Esperanza, not only in her thoughts but in her maturity as well. The short burst of Esperanza’s memory depicts a twelve-year-old’s adventures in her journey to finding her identity and learning about herself and her community. The innocence and naivety changes to realization and self-acceptance. As a Chicana, Esperanza felt confused and lost in the world around her but throughout time used writing to celebrate her voice and sense of being different in America and especially on Mango Street. Her vivid descriptions to short observations make the novel unique holistically. Self-definition and the power of language were salient themes that were developed as the novel progressed in accordance with time. Esperanza, at the end, most importantly was a changed girl.
The House on Mango Street is a novel by Sandra Cisneros. It is set in a poor, Latino neighborhood around 1960. The main character, Esperanza, is expected to get married in order to support herself. However, Esperanza strives for independence, and seeks to end the cycle of abusive patriarchy that holds Mango Street in thrall. Through the use of syntax and figurative language, Cisneros establishes that a sense of not belonging can fuel an individual’s desire for a better future.
In the book, Esperanza doesn’t want to follow the norms of the life around her; she wants to be independent. Esperanza states her independence by stating, “Not a man’s house. Not a daddy’s. A house all my own,” (Cisneros 108.) The syntax of these sentences stick out and are not complete thoughts, yet they convey much meaning and establish Esperanza’s feeling of not belonging. Esperanza’s feeling of not belonging is also emphasized when her sisters tell her that the events of her life have made her who she is and that is something she can not get rid of. Her sisters explain that the things she has experienced made her who she is by saying, “You will always be esperanza. You will always be mango street. You can’t erase what you know” (105.) What her sisters are trying to tell her is that the past has changed her but it doesn’t have to be a negative thing; it can be used to make her a better person who is stronger and more independent. Esperanza realizes that the things around her don’t really add up to what she believes is right, which also conveys the sense of not
Esperanza, the main character of The House on Mango Street, a novella written by Sandra Cisneros in 1984, has always felt like she didn’t belong. Esperanza sought a different life than the ones that people around her were living. She wanted to be in control of her life, and not be taken away by men as so many others around her had. Esperanza wanted to move away from Mango Street and find the house, and life she had always looked for. Through the use of repetition, Sandra Cisneros conveys a sense of not belonging, that can make a person strong enough to aspire to a better life.
but in the end she knew that if it weren’t for those small gifts she
Esperanza is a young girl who struggles with feelings of loneliness and feeling that she doesn’t fit in because she is poor. She always wanted to fit in with the other kids and feel like she was one of them. She loves to write because it helps her feel better about herself writing about her life and her community. Writing helps her with
“The House on Mango Street” emphasizes on this issue, even broadens to explain other controversial matters such as abuse, misogynistic views, and stereotypes. The protagonist, Esperanza Cordero moves to Mango Street where she must witness the abuse affecting her friends, neighbors, and family. Either Sally a close friend, Mamacita a neighbor, or her own mother handling 4 children. Over the course of the novel Esperanza changes physically and mentally. Through the use of imagery as well as complex, descriptive vignettes Cisneros epitomizes the misogynistic views within Esperanza’s
Esperanza begins her journal by stating where she has been and where she has temporarily ended at. When she finally moved with her family, Esperanza immediately realizes that her place in the world was not going to be in the “small and red”
Women are seen as failure and can’t strive without men in the Mexican-American community. In this novel you can see a cultural approach which examines a particular aspect of a culture and a gender studies approach which examines how literature either perpetuates or challenges gender stereotypes. Over and over, Esperanza battled with how people perceived her and how she wished to be perceived. In the beginning of the book, Esperanza speaks of all the times her family has moved from one place to another. “Before that we lived on Loomis on the third floor, and before that we lived on Keeler.
The author of The House on Mango Street and the producer of The Color Purple are able to integrate numerous important thematic ideas. Many of these ideas still apply to our current world, teaching various important lessons to many adolescents and adults. The House on Mango Street is a collection of vignettes written by Sandra Cisneros, a Mexican-American writer. The novel depicts many aspects of Sandra Cisneros’ life including racism, and sexism that she and the main character face. The novel revolves around Esperanza Cordero, a young Latina girl, who is growing up in Chicago as she faces the various struggles of living in America. The various vignettes reveal many experiences Esperanza has with reality and her navie responses to such harsh
In The House on Mango Street, Cisneroz agitates the theme of diversity through her use of characters and setting. Cisneroz paints a multitude of events that follow a young girl named Esperanza growing up in the diverse section of Chicago. She is dealing with searching for a release from the low expectations that the Latino communities often put women whether young or old are put against. Cisneroz often draws from her life growing up that she was able to base Esperanza's life experiences on and portray an accurate view on Latino societies today. Cisneroz used the chapter “Boys and Girls” and “Beautiful and cruel” to portray Esperanzas growth from a young curious girl to a wise woman. She came into her own personal awareness and her actions that she has to now be held accountable for.
Characteristics are what define us as human beings. When comparing and contrasting one person to another, characteristics is used to do so. Characteristics such as physical appearance or emotional perceptions help define how a person is perceived, and how we do, or do not compare in such ways. Authors use descriptions of physical characteristics to help us paint a picture in our mind of characters’ appearance from their books while, characteristics of a character’s mentality help develop a personality for us to relate to. It is important for authors to develop personality so readers can relate or understand the differences from themselves and the characters of their stories. The house on mango street is a book written by Sandra Cisneros which, is about main character Esperanza coming to age. Esperanza speaks frequently about having a house she can be proud to call her own. The house in this story represents both physical and intangible wants and needs of the main character. I cannot compare myself physically due to the difference in sex but, Esperanza and I do have similarities
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
“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.
At first, Esperanza is young, insecure, and immature. Her immaturity is apparent when she talks about her mom holding her, saying it is, “sweet to put your nose into when she is holding you and you feel safe” (Cisneros 6-7). This shows Esperanza’s insecurity because her mom is still a big comfort source to her. She feels a false sense of comfort because her mom is there and will protect her. In addition, Esperanza’s immaturity is shown through her dislike for outsiders of the neighborhood when she says, “They are stupid people who are lost and got here by mistake” (Cisneros 28). This indicates how defensive and protective Esperanza is towards her barrio by calling outsiders stupid for reacting the way they do, even though she dislikes Mango Street....
Sandra Cisneros' strong cultural values greatly influence The House on Mango Street. Esperanza's life is the medium that Cisneros uses to bring the Latin community to her audience. The novel deals with the Catholic Church and its position in the Latin community. The deep family connection within the barrio also plays an important role in the novel. Esperanza's struggle to become a part of the world outside of Mango Street represents the desire many Chicanos have to grow beyond their neighborhoods.