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Gisele Pineau’s novel Exile According to Julia is all about a sense of belonging, of home. As this novel demonstrates, home is not always a place: sometimes it is a person. For the young narrator of this story home is embodied in her grandmother Julia (affectionately called Man Ya). This is a story of immigration, exile, alienation, and of discovery of home and self. The novel details Man Ya’s ‘exile’ from her home in Guadalupe to Paris to live with the narrator and her family. Depressed and constantly longing for home, Man Ya eventually returns to Guadalupe leaving the narrator and family bereft. After her departure, the narrator continuously writes to Man Ya as years go by. She never responds. Eventually the family returns to Guadalupe to be with Man Ya. The novel ends with Julia sharing her Guadalupe with her grandchildren, climbing trees, gardening, and laughing. The time that the narrator spent with her grandmother had a profound impact on her life. Julia was her teacher, her connection to her Caribbean ancestry, and her home.
Man Ya strives to set an example for her grandchildren while in Paris. She felt that her grandchildren “who are growing up there, in the prison of these concrete houses, [were] surely losing the way to good sense, wandering about so far from the essence of life”, and thus she would help them to find their way (94). In the section “Training” the narrator lists the qualities that Man Ya taught her: obedience, politeness, truth, work, entertainment (79-80). Man Ya taught the children about things that were outside of their Parisian paradigm, in which “[r]eading, writing, arithmetic, represent the holy trinity in the pantheon of knowledge” (80). Though the narrator felt that there was a lot that she need...
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...mesick Man Ya “possesses that power too” and will one night disappear (52). Though there is a lot more to be extrapolated from this passage, one thing it certainly does is paint Julia to be this kind of powerful, mystical figure. Then again, in the section “Deliverance”, after Julia has left and the narrator is writing her letters this depiction is seen again. The narrator says that she is “writing Julia’s tales and legends” (106). She writes about how Julia is “delivering lost souls pledged to the devil, undoing Br’er Rabbit’s tricks, restoring riches and confidence to the black man, the power of speech to dogs . . .” (106). Such a depiction of her grandmother shows that the narrator truly looked up to her grandmother, that she was a powerful figure in her life. Man Ya taught the narrator to be strong and courageous in facing life’s challenges including racism.
Sandra Benitez was born in Washington D.C. on March 26, 1941. Her birth name is Sandy Ables, she had lived her childhood in Mexico and El Salvador where her father served as a diplomat. When Benitez was a teenager she was sent to live with her grandparents up north where she had become “Americanized”. In 1979 she had left her job and had began to attend a creative writing course. “Her first novel, a murder mystery set in Missouri, was never published. She brought the novel to a writer’s conference, where she was told it was terrible”. (Benitez, Sandra Benitez) This had led her to change her name to Sandra Benitez and focus on writing on her Latina heritage. In 1993 Benitez had published her first novel, A Place Where the Sea Remembers, receiving the Minnesota Book Award and the Barnes and Noble Discover Award.
“From Lieutenant Nun,” a memoir written by doña Catalina de Erauso, tells an intriguing story of a young Spanish female and her advantageous journey through Spain and the New World. Her family intends for her to become a nun but, that is not the life she seeks for herself. Therefore, she breaks away from the convent in hopes of finding somewhere to make her fortune by passing as a male. Catalina’s story is noteworthy because it gives readers another perspective of exploration focusing on self-discovery during the seventeenth century emphasizing how passing as a male is the only thing that secured her ability to explore. In the memoir, Catalina repeatedly reminisces about clothing and, whether she consciously or unconsciously does so, she allows the reader to see that this is an important aspect of her exploration. Throughout Catalina’s journey, clothing plays an increasingly important role not only in her travels but, also her personal life because it symbolized ones status, role, gender and privileges.
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
The starting point of this book shows how much she hates Ms.Leone and complaining about her current situations. For example, in one of her first entries, she talks about when she got in trouble for coming home late from school. Her foster parents think she is doing drugs, so they search her. After that they lock her in the laundry room. ...
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
... level of self-awareness is necessary to navigate this journey effectively, traits which the family simply does not have. Yolanda has potential to reach some level of self-awareness and thought during her college years, but this hope is considerably dimmed as she becomes increasingly torn between her two cultures. Yolanda is the main narrator in this novel and still has a possibility, albeit slim, of a happy future. This cannot possible be achieved without thought, actual, conscious thought as to how she is going to turn her life around and make her blended cultures something for others to admire rather than something to be ashamed of. American literature does not highly value many novels pertaining to immigrants, however, it would have been helpful for them to absorb and apply the tenets of Transcendentalism and American literature in general to aid the transition.
The narrative Enrique’s Journey by Sonia Nazario, tells the true story of a young boy’s dangerous path from Mexico to the United States, in hopes of reuniting with his mother. Along Enrique’s trek he sacrifices his safety, well-being, and even the possibility of his life to be with his mother once again. Lourdes, Enrique’s mother, gives up the ultimate sacrifice of missing her children grow up, causing their love and affection they once held for their dear mother to dwindle, all of which so she can provide money and security for her family. Sacrifice is a key theme in this narrative because without the difficult decisions made and the loss the characters so tragically endured, then they would not have been able to reap the reward of a reunited,
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.
Sacrificing is the act of giving up, destroying, permitting injury to, or forgoing something valued for the sake of something having a more pressing claim. In Liberty and Exile by Julia Alvarez a lot of people have to take certain responsibilities which can involve sacrificing.
In the story, the narrator is forced to tell her story through a secret correspondence with the reader since her husband forbids her to write and would “meet [her] with heavy opposition” should he find her doing so (390). The woman’s secret correspondence with the reader is yet another example of the limited viewpoint, for no one else is ever around to comment or give their thoughts on what is occurring. The limited perspective the reader sees through her narration plays an essential role in helping the reader understand the theme by showing the woman’s place in the world. At ...
“Désirée ’s Baby” is a mix feelings story. It is an intriguing, captivating, and sad short story which reflects her experience among the French creoles in Louisiana (Chopin). I used “sad”, because it shows the level of hatred the white has towards black. The story is about two two families in Louisiana: the Valmonde and the L’ Abri. The story focuses on human relationships; the lives and characters of both family members are subtly portrayed in comparison. The story tells about love, slavery, and racism. Hypocrisy of patriarchal society, gender conflicts, and injustice of racial prejudice are depicted in the story. In the story, racism victimizes everybody without equivalent consequence. The story is heaped with ironies. The narrator uses symbolism and irony to convey the themes of half-blood, racial hatred, unequal gender roles, and social ladder. Irony and symbolism are also used to enhance the story, captivating the minds of the reader until the very end.
In this chapter, Julia describes a time in which she was invited back to the Dominican Republic to speak and was able to meet a Dominican who promptly patronized her. This writer said she was not an American writer and should stay true to her roots, however as Julia details through this chapter she isn’t really either. She does have the Dominican history and a short time period there, yet she was grown and raised in the USA basically. She is able to understand and express herself much better in english than in Spanish and as a writer it is her choice. If her history was different than in might change that, but it is not so she is the person she is.
Life is not a singular momentous journey; it is a multitude of experiences and events that shape not only one’s life, but one’s character. In Vida, Patricia Engel manages to construct a multilayered novel that produces a synergistic effect—the whole is much greater than the sum of its parts. By constructing Vida in non-chronological order, Engel manages to convey a realistic account of finding one’s self by reminiscing upon distinct life-changing moments and the subsequent realization of the individual self. Although the chapters seemingly have nothing in common, in the sum of their parts they form a complete portrayal of Sabina. In fact, as Engel asserts, it is not the momentous occasions in life that are the most profound to one’s personal development—the most consequential moments are “uneventful, the way most life-changing moments are. You don’t see them happening” (44). Ultimately, by employing a non-chronological narrative—along with other literary elements—Engel skillfully conveys the personal history of Sabina, while fragmenting time and place. Thus, each chapter is a representation of the person who Sabina was at that time—her feelings, her language, her tone—and that is constantly changing as a girl is growing into a women, and attempting to figure out who she is as an individual.
In the short story “Eveline “ by James Joyce, Eveline, the protagonist is given the opportunity to escape from her hard unendurable life at home and live a life of true happiness at Buenos Ayres with Frank, her lover. Throughout the story, Eveline is faced with a few good memories of her past from her childhood and her mother, but she also faces the horrible flashbacks of her mother’s illness and her father’s violence. In the end, she does not leave with Frank, Eveline’s indecisiveness and the burden of her family’s duties makes her stay.
“The Story of an Hour” expresses the difficulties of being a women in the late 1800’s in South America due to the issues of gender inequalities. This story, written by Kate Chopin, who was a married woman in late 1800’s, provides the perspective of a young married women who has limited freedom and is largely controlled by her husband. Throughout this story gender norms are clearly displayed in different ways. One clear example is when Mrs. Mallard, the protagonist, is expected to act a specific way when she hears the news of her dead husband, yet she feels the extreme opposite. The narrator then does a great job of expressing the reality of how Mrs. Mallard is truly feeling and uses that as a way to express the control as a conflict. The outcome of this story is the blatant reality of this life that so many women have lived during the late 1800’s. With additional research and knowledge on the history of gender inequalities, it is easier to connect Mrs. Mallard to her restricted life throughout this