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Importance of the Monkey Garden in The House on Mango Street
Life as a kid is effortless, where the only motive is to have fun. Some people never want to have responsibility and complexity that comes with being an adult as they realize they must take accountability sometime. Likewise in "The House on Mango Street" by Sandra Cisneros, Esperanza tries her best to avoid is renegade against the normal expectations of women on Mango Street. Esperanza's only way to avoid having to become part of the adult world around her, is by entering The Monkey Garden where she gets to be a kid. Esperanza's depiction of the serene and carefree descriptions of the garden contrast the confused and disturbed attitude Esperanza has towards Sally and the boys' game. As she finally realizes she cannot remain a kid forever, Esperanza feel alienated and alone.
Esperanza's overwhelmed tone reveals her fear and doggedness to adversity when sally's game defiles the garden's innocence/purity, exposing Esperanza to the realization that she cannot remain a kid forever.
Esperanza's syntax reveals that innocence is irrevocable. Reminiscing of the Monkey Garden Esperanza "suppose[s], the reason why [they] went there" was because it was "Far away from where [their] mothers could find [them]"Cisneros (95). In the garden the kids were able to play without any adults around. The garden became a place of rejuvenation for Esperanza, where only kids were allowed and the horrors of the adult world remain unnoticed. Esperanza observes, "Things had a way of disappearing in the garden, as if the garden itself ate them, or, as if with its old-man memory, it put them away and forgot them."(95). This shows that the garden was a place where things easily went unnoticed and it was not uncommon to loose things. For Esperanza, this represents the place where she is forced into her loss of childhood, and comparing this to a forgetful old man makes sense since when people mature they loose their innocence and childlike attributes. When the boys stole Sally's keys "they were all laughing" and "[Sally] was too" however, "It was a joke [Esperanza] didn't get"(96). The boys take advantage of Sally by stealing her keys so Sally seizes the opportunity to be able to flirt back with them.
Sally is the prettiest girl at Esperanza's school, and one of Esperanza's friends. She has pretty black suede shoes that Esperanza envies. What Esperanza really envies is Sally sexual maturity, which is why she wants the suede shoes. Her next story with Sally, “The Monkey Garden” continues to emphasize this symbol. Sally and Esperanza are at the neighborhood garden when Sally starts talking to some boys. They take her keys and tells Sally she has to kiss them to get them back. Sally agrees and Esperanza runs to an adult, who doesn't seem to care. Esperanza then grabs some large sticks and a brick to fight. “But when I got there Sally said go home. Those boys said leave us alone. I felt stupid with my brick. They all looked at me as if I was the one that was crazy”(pg 97). Esperanza doesn't understand what is going on, and runs to the other side of the garden. She cries herself to sleep under a tree. When she wakes up she ends the chapter saying “I looked at my feet in their white socks and ugly round shoes. They seemed far away. They didn't seem to be my feet anymore. And the garden that had been such a good place to play didn't seem mine either”(pg 98). Esperanza doesn't recognize her feet because those are the feet of a child, the child she used to be. This event is when Esperanza realizes that she can't play in the garden anymore, or be a child. She needs to grow up, mentally and
She dreams about a young boy named Sire, a neighborhood boy who she always catches looking at her, and she starts to develop a small crush on him. Esperanza is told by her parents that he’s a punk and to not talk to him. “I want to sit out bad at night, a boy around my neck and the wind under my skirt. Not this way, every evening talking to the trees, leaning out my window, imagining what I can’t see” (Cisneros 73). All Esperanza wants to do is leave her little red house with boarded up windows, and move into the house of her dreams. Not only is leaving her house a desire of hers, but also growing up and finding some place better, no matter where it is. Esperanza’s desires of getting older are stronger, but she’s also becoming more independent. She’s beginning her transition into young womanhood. Her fall of innocence occurs in the chapter called ‘Red Clowns’. In this chapter, she experiences something she’s never thought of going through before. This experience teaches Esperanza that she shouldn’t believe everything she hears, and the world is nothing like it is said to be in the books and magazines. I would say Esperanza, so you emphasize what she learned. She also learns that the world is not a perfect place either, but is full of many bitter things and
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.
Literary devices are used by Sandra Cisneros throughout the vignette “The Monkey Garden”, to highlight the mood of the piece. For instance, Cisneros uses personification to encompass feelings of mysticality when she says things disappeared in the Garden, “as if the garden itself ate them.”(95) Personification was used by Cisneros to plant Esperanza’s humanlike description of the garden, while creating a sense of mystery and enchantment in the reader. Similarly, Cisneros describes how the tree Esperanza was near “wouldn’t mind if she lay down” (97). In this section, the tree is personified as a friend Esperanza can lay with. The fictional and humanlike style that the situation is described in further accentuates the mystical mood Cisneros is
In Song of Solomon, through many different types of love, Ruth's incestuous love, Milkman and Hagar's romantic love, and Guitar's love for his race, Toni Morrison demonstrates not only the readiness with which love will turn into a devastating and destructive force, but also the immediacy with which it will do so. Morrison tackles the amorphous and resilient human emotion of love not to glorify the joyous feelings it can effect but to warn readers of love's volatile nature. Simultaneously, however, she gives the reader a clear sense of what love is not. Morrison explicitly states that true love is not destructive. In essence, she illustrates that if "love" is destructive, it is most likely, a mutation of love, something impure, because love is all that is pure and true.
“Someday, I will have a best friend all my own. One I can tell my secrets to. One who will understand my jokes without me having to explain them” (9). These are the longing words spoken by Esperanza. In the novel The House on Mango Street, Esperanza is young girl experiencing adolescence not only longing for a place to fit in but also wanting to be beautiful. This becomes complicated as Esperanza becomes more sexually aware. Throughout the novel, Cisneros argues the importance of beauty and how Esperanza deals with beauty as a part of her identity. When Esperanza meets Sally a new friend, Esperanza’s whole world is turned upside down. Esperanza’s views on beauty change from a positive outlook to a negative one by watching how beauty has damaged Sally’s life.
Although Esperanza is constantly reaffirming that she wants to move away from Mango Street, we know by the end novel that she will one day return to help those who will not have the opportunities Esperanza has had in her life. Indeed, in the closing pages Esperanza admits that she cannot escape Mango Street. She can never again call it home, but it has influenced her dreams, formed her personality, and she has learned valuable life lessons from its inhabitants. That is why, explains Esperanza, she tells stories about the house on Mango Street, revealing the beauty amidst dirty streets and unveiling her true inner self, the peace of knowing that her “home is where her heart is.”
... They didn’t seem to be my feet anymore. And the garden that had been such a good place to play didn’t seem mine either” (Cisneros 98). The play place that was once so innocent and is now a junkyard that reciprocates Esperanza’s innocence that slowly turns into reality. She is growing up. Additionally, she gains enough confidence and maturity to make her own life decisions. This is shown when she makes the important decision of where she wants her life to take her. “I have decided not to grow up tame like the others who lay their necks on the threshold waiting for the ball and chain” (Cisneros 88). This shows Esperanza’s maturity to make her own life choices by herself. She is finally confident and independent enough to know where she wants her life to take her. Esperanza finally completes her evolution from young and immature to adult-like and confident.
Poe creates seven rooms with each having their own unique color. According to the text, “...the room in which it was held...were seven-an imperial suite” (Poe 4). Poe chooses seven rooms because it symbolizes the seven deadly sins: gluttony,
In Toni Morrison’s Beloved, love proves to be a dangerous and destructive force. Upon learning that Sethe killed her daughter, Beloved, Paul D warns Sethe “Your love is too thick” (193). Morrison proved this statement to be true, as Sethe’s intense passion for her children lead to the loss of her grasp on reality. Each word Morrison chose is deliberate, and each sentence is structured with meaning, which is especially evident in Paul D’s warning to Sethe. Morrison’s use of the phrase “too thick”, along with her short yet powerful sentence structure make this sentence the most prevalent and important in her novel. This sentence supports Paul D’s side on the bitter debate between Sethe and he regarding the theme of love. While Sethe asserts that the only way to love is to do so passionately, Paul D cites the danger in slaves loving too much. Morrison uses a metaphor comparing Paul D’s capacity to love to a tobacco tin rusted shut. This metaphor demonstrates how Paul D views love in a descriptive manner, its imagery allowing the reader to visualize and thus understand Paul D’s point of view. In this debate, Paul D proves to be right in that Sethe’s strong love eventually hurts her, yet Paul D ends up unable to survive alone. Thus, Morrison argues that love is necessary to the human condition, yet it is destructive and consuming in nature. She does so through the powerful diction and short syntax in Paul D’s warning, her use of the theme love, and a metaphor for Paul D’s heart.
Toni Morrison’s Beloved follows the history of Sethe and her family from their enslavement at Sweet Home to their life post slavery. Despite their newfound freedom, tragic experiences haunt Sethe and the members of her family. These experiences limit Sethe’s ability to move forward in her life Within the novel, Morrison marks each pivotal moment, or especially graphic moment, in Sethe’s life with an underlying theme of biblical symbolism. Morrison seems to intentionally make these connections to imply that the characters have subliminally let these stories attach to their memories. This connection helps to minimize the characters’ sense of isolation; their trauma takes places within the greater context of stories of suffering familiar to them.
“The Masque of the Red Death” was written by Edgar Allen Poe in the 19th century. This story was written during the Gothic era. The stories that are written in the Gothic era is usually has to do with death, and lots of people were fascinated by the stories. There are many symbols in “The Masque of the Red Death”, yet I chose three, the first is all the colors of the room, second is the ebony clock and the last is the inside and outside of the abbey.
Poe sets the scene by detailing the horrendous plague that is ravishing the unnamed country. After the disease has killed half of the population of the country, Prince Prospero decides to invite 1,000 of his friends, who are healthy, into seclusion with him in a castle. The location of the abbey is not named either. The absence of the location of the country or abbey makes the reader feel that the story could happen anywhere and makes it more personal. The name of the main character, Prince Prospero, also helps with the setting. Prospero, obviously, implies wealth, prosperity, and a fortunate place in the hierarchy of the system. While most of the country is dying, the Prince wants to lock up himself and his friends and forget the chaos occurring in the outside world. This is the foolish idea of a wealthy person who thinks his status in life and his money can save him from the plague. The s...
The Monkey Garden by Sandra Cisneros tells the story of a young girl’s loss of childhood innocence. The story is narrated by a mature woman remembering her initiation into adolescence through the images and events that occurred in an unused neighborhood lot. She is not ready to mature into adolescence and uses her imagination to transform the lot into a fantasy garden--a place where she can hide from the adult world.