The House On Mango Street
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As her name suggests, Esperanza is a \"figure of hope, a 'fierce woman' on a complex pursuit for personal and community transformation.\".[14] Esperanza uses her house in Chicago, to question her society and the cultural customs that weigh on her due to her identity as a young Chicana woman.[15] She observes the women of her community to find a role model of her own, and she looks at both their negative and positive aspects and uses what she has learnt from her observations to form an identity for herself.[16]
There is economic dependency on women remaining in the home, and with these foundations that Esperanza begins with her \"own quiet war. [. . .] [where she] leaves the table like a man, without putting back the chair or picking up the plate\"[45] versus being the servant, the woman, who puts back the chair and picks up the plate. Burcar argues that the novel ends on a note where it blames a patriarchal system for the entrapment of Mexican-American women in the home.[46] For Esperanza, joining mainstream America (having a \"house of [her] own\") will allow her freedom as a woman.[47] However, Burcar contends that this emancipation comes at the expense of the sacrifice of other women, women that came before her, particularly her mother.[citation needed]
Episodes of patriarchal and sexual violence are prevalent in demonstrating women's issues in the Chicano community in The House on Mango Street.[48] McCracken argues that \"we see a woman whose husband locks her in the house, a daughter brutally beaten by her father, and Esperanza's own sexual initiation through rape.\"[48] As McCracken notes, many of the men portrayed in the stories \"control or appropriate female sexuality by adopting one or another form of violence as if it were their innate right.\"[48] The many stories of Esperanza's friend Sally is an example of this patriarchal violence, as mentioned by McCracken. Sally is forced into a life of hiding in her house and her father beats her. She later on escapes her father's violence through marriage where she is dependent and controlled by another man. As McCracken analyzes, \"her father's attempts to control her sexuality cause Sally to exchange one repressive patriarchal prison for another.\"[49] The House on Mango Street offers a glimpse of Esperanza's violent sexual initiation and also portrays the oppression and domestic abuse faced by other Chicana women. Together with Esperanza's experience of sexual abuse the \"other instances of male violence in the collection-Rafaela's imprisonment, Sally's beatings, and the details of Minerva's life another young married woman whose husband beats her and throws a rock through the window-these episodes form a continuum in which sex, patriarchal power, and violence are linked.\"[50]
The relationship the protagonist has with the house itself is a pillar in this process of self-discovery, the house is in itself a living being as well, as mentioned by de Valdés.[57] Her neighborhood engenders the battles of fear and hostility, of dualistic forces, of the notion of \"I\" versus \"them\". The character is impressed upon by these forces and they guide her growth as a person.
The House itself plays a very important part, especially in how the narrator reacts to it. She is fully aware that she does not belong there, everything about it is described in negative terms delineating everything that it isn't versus what it is. It's by knowing where she doesn't fit that she knows to where she might fit.[58] It is similar to the concept of light and dark. We know that darkness is the absence of light, in this case her identity exists outside of this house on mango street.
Esperanza Cordero is an impoverished child and wishes to find a sense of belonging outside of her own neighbourhood as she feels \"this isn't my house I say and shake my head as if shaking could undo the year I've lived here. I don't belong. I don't ever want to come from here.\"[59][60] Esperanza attempts to find such belonging in the outside world as she perceives this as a safe place that would accept her. She eminants this desire to belong through little things, such as favouring English over the Spanish typically used in her community or actively desiring the purchase of a house outside of Mango Street.[60] In other words, Esperanza's sense of belonging is absolutely dependent on separating herself from her Spanish native tongue, community and ultimately away from Mango Street.[60]
MONTAGNE: Let's go back to Esperanza, because there's of course some overlap here, I think, with you. She loves her family, but the house they live in on Mango Street has come to represent the opposite of what she wants for herself, or would have even hoped for in a home. There's a little small description on page four of the house, if you wouldn't mind reading it.
The house on Mango Street is not the way they told it at all. It's small and red with tight steps in front and windows so small you'd think they were holding their breath. Bricks are crumbling in places and the front door is so swollen you have to push hard to get in. There is no front yard, only four little elms the city planted by the curb. Out back is a small garage for the car we don't own yet, and a small yard that looks smaller between the two buildings on either side.
MONTAGNE: The house of Esperanza's dreams, as you write it, is white, wooden, with a big yard and lots of trees. So she has a life here, but always dreaming of something else. You grew up in Chicago, seven children. You're the only girl
In this collection of vignettes, Esperanza charts her transition from child to young woman. She is growing up in a small house in urban Chicago, surrounded by other children of mostly Mexican American families. She navigates the shame of being poor at her Catholic school, feeling suffocated by sharing a tiny space with her parents and siblings, and the difficulties of developing sexual awareness and losing the innocence of childhood. She uses writing to help her process her feelings and experiences.
When the family finally moves into a house (instead of an apartment), it is nothing like what any of them hoped or dreamed. The family shares one bedroom, and there is no yard like Esperanza hoped. Their house is crowded up against apartment buildings, and the residents of the neighborhood are loud and bustling. Many of the local families experience poverty and domestic violence.
Esperanza shares her love of reading and writing poetry with select adults, all of whom are very encouraging. Some even tell her that she is talented and will go far, but they remind her that she must always remember her people and where she comes from. Her mother shares her own regrets about giving up on her education too soon and wasting her talents. She inspires Esperanza to study and work hard. Esperanza begins to dream of having a house all to herself; a house surrounded by nature that is quiet enough to focus on writing. The final vignette declares that she will continue on with her love of writing and will leave Mango Street in order to pursue her dream, but she will not forget to come back for the ones she leaves behind.
It is depicted by the scene in the monkey garden when she tries to stop Sally from kissing a group of boys in her neighborhood. Even though the men in the novel are consistently exploitative, absent, or violent, no woman can muster the courage to ask them to change or rebel against them or leave mango. We see this theme in the woman hollering creek as well.
Esperanza wants to escape the house on Mango Street, and the neighborhood, and the life she has led and that her parents and siblings will continue to lead. But, she is told by family and friends, she can never fully leave.
And, so it is, at the end of the novel that Esperanza is picturing the future. She knows she will leave. She knows she will find her way in the outer world. She knows she will find a house of her own.
Sandra Cisneros is a key figure in the Chicano literary movement. Her book of short stories, Woman Hollering Creek and Other Stories (1991), made her the first Chicana author to be represented by a major publishing house. Other important Chicano authors include Luis Alberto Urrea, Helena María Viramontes, and Tomas Rivera.
Throughout her childhood, Esperanza's family has always moved from place to place while her parents repeatedly promised the family would one day have a home of their own. The house on Mango Street is just that, the first home the Cordero family actually owns. However, it is old, rundown, and overcrowded by Esperanza's family. It doesn't meet the girl's expectations, and she continues dreaming of having a \"real\" (Chapter One) house.
The vignettes particularly explore the lives of the women in the neighborhood, many of whom suffer in relationships with abusive husbands or fathers. They are often confined to their houses and must focus all their energy on caring for their families.
After this trauma, Esperanza resolves to escape Mango Street and have a house of her own one day. She does not want to be trapped like the other women she sees around her, and she believes that writing can be a way out. However, Esperanza also comes to understand that Mango Street will always be a part of her. She meets the elder sisters of Rachel and Lucy, who tell her that she will leave Mango Street but make her promise to return later to help the women remaining there.
The boys and girls live in separate worlds. The boys in their universe and we in ours. My brothers for example. They've got plenty to say to me and Nenny inside the house. But outside they can't be seen talking to girls. -Chapter Three
The family's Mango Street home embodies everything Esperanza wishes were different about her life. It is \"sad and red and crumbly in places\" (Chapter Five) and a far cry from the \"real house\" (Chapter One) that Esperanza imagines living in one day.
The shoes that various women wear, be they sturdy, elegant, dirty, or so on, speak to the characters' personalities. Shoes are also an important symbol of maturity. In one vignette, Esperanza, Lucy, and Rachel acquire three pairs of high-heels and walk up and down the street in them. They are harassed by some men and take their shoes off when they become \"tired of being beautiful\" (Chapter Seventeen). Removing the shoes allows them to return to childhood for a bit longer. 59ce067264
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