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Gender roles in house on mango street
Gender roles in house on mango street
Gender roles in house on mango street
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The stories “A Clean, Well-Lighted Place” by Ernest Hemingway and “The House on Mango Street” by Sandra Cisneros have many similarities and differences. Each specializing in their own kind of identity and societies. In both stories emotions such as loneliness and fear are presented through the different characters. Although the stories are told in such different communities with different social standards the many characters show a lot of resemblance towards each other. The In “A Clean, Well- Lighted Place”, there is a regular customer in the café whom stays until late hours and drinks heavily. Consequences of his age and attitude the suicidal drunkard sits in the café until late hours. The youngest waiter wishes for him to have killed himself
Warm air and the sickly sweet smell of the swooning cherry blossom trees. This is the place where I grew up, where I took my first steps, said my first words, and had my first haircut. As much as I hate small towns, without growing up in Madison I don’t know where or what I would be doing right now. In both books The House on Mango Street and Persepolis the main characters had to deal with growing up in a slightly damaged society but they managed to push past it, just like everyone else who has struggled with a past but not brave enough to write it down.
In The House on Mango Street by Sandra Cisneros, and in A Raisin in the Sun by Lorraine Hansberry, majority of the characters have dreams. Many of the dreams that reveal in the stories are unrealistic to come to a reality, considering where they come from, their backgrounds, and the environment around them. In The House on Mango Street, the main character Esperanza struggles to find her true identity and wishes she was a grown up making her own decisions and experiencing new things. While in Raisin in the Sun, Walter thinks he has everything under control, and only does what is best for him, not what is best for his family. In both The House on Mango Street and Raisin in the Sun, the authors reveal that maturity begins when you have to make
“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
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.
Sandra Cisneros's writing style in the novel The House on Mango Street transcends two genres, poetry and the short story. The novel is written in a series of poetic vignettes that make it easy to read. These distinguishing attributes are combined to create the backbone of Cisneros's unique style and structure.
In The House on Mango Street by Sandra Cisneros, there is an emphasizes on how rough it is to be part of the low economic class . Through her words you can create an image about the way poverty affects children. She goes through the book making great remarks on the topic. The different experiences that Esperanza goes through have a lot to connect with her family's financial status. She specifically describes her feelings about the poverty they live in through three of her short stories. The three short stories in which poverty seems to be an obstacle are The House on Mango Street, Our Good Day, and Chanclas. When the book begins the downgrading of Esperanza's esteem begins with it.
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
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.
The older waiter can relate to this man, for he has nowhere to go after work. The waiter himself cannot find a clean well-lighted café of his own to pass the night. The old waiter is offended by how the young waiter has treated the old man. "Why didn't you let him stay and drink?"( Hemingway 174) the old waiter says. The old waiter tells the young waiter the he has `youth, confidence and a job, you have everything"(Hemingway 175).
The main focus of "A Clean, Well-Lighted Place" is on the pain of old age suffered by a man that we meet in a cafe late one night. Hemingway contrasts light and dark to show the difference between this man and the young people around him, and uses his deafness as an image of his separation from the rest of the world. Near the end of the story, the author shows us the desperate emptiness of a life near finished without the fruit of its' labor, and the aggravation of the old man's restless mind that cannot find peace. Throughout this story stark images of desperation show the old man's life at a point when he has realized the futility of life and finds himself the lonely object of scorn.
Ernest Hemingway developed his own style of writing and follows it in “A Clean, Well-Lighted Place”. Hemingway’s elegance in writing is such that he indirectly gives all of the information to the reader without making any judgment; thus allowing one to create an opinion about every minute detail of the story. Hemingway illustrates his foundations of writing in “A Clean, Well-Lighted Place” by providing small clues that provide an indirect view of the larger meaning.
The young waiter seems selfish and inconsiderate of anyone else. In the beginning of the story, he's confused why the old man tried to kill himself. "He has plenty of money," he says, as if that's the only thing anyone needs for happiness. When the old man orders another drink, the younger waiter warns him that he'll get drunk, as if to waver his own responsibility rather than to warn the old man for his sake.
To begin Hemingway’s two photographs show an evolution of the young character who as time passes is withdrawing from humanity, in light of this; he becomes lonely and unable to reconnect with individuals. In fact the transformation from a member of social organization who attends a
The tables were all empty except for his. Additionally, according to Hemingway, the old man was deaf but he could tell that it was quiet (Hemingway 151). Because he sits in the shadows at the edge of the light, drinking, this could be his way to avoid feeling alone but still be left alone. Hemingway 155.
Ernest Hemingway’s short story, A Clean, Well- Lighted Place is on the surface a tale of working men and their dialogue at work in a café. However, Hemingway was a great writer, and one who will always use the obvious, everyday happenings to delve deeper in the world. The reader of this story is able to find a deeper meaning and understanding of what can be looked at as meaningless conversation. He tends to leave some of the story in an open ended format, which can be quite disturbing for the reader looking for answers to the unanswered questions of a story, but it can also be fulfilling.