This maybe why Sally, who seems very independent, appeals to Esperanza. Louie, who lives in an apartment down the street, has a cousin, Marin, visiting from Puerto Rico. She reveres her mother as both an ideal, accepts her advice and acts upon it. Her parents tell her not to talk to him, but she is fascinated by him and his girlfriend Lois. Sally is the same age as Esperanza but is sexually bold and seems quite glamorous to Esperanza. Nevertheless, she was kind to Esperanza. Cisneros also shows how Latino women are expected to be loyal to their husbands, and that a husband should have complete control of the relationship.
The American Dream they pursued changed with time and evolves even now. And the thought of the mayor coming to Mango Street makes me laugh out loud. Their experience is exceedingly similar to people in urban areas and cities today. This is an important way for Esperanza to realize that what she liked about her aunt was her interest in her writing--and, by extension, Esperanza realizes how important her writing is to herself. Sally takes her to a carnival, where she meets a boy.
Her mother at first dislikes the idea, but then gives in. However, in The House on Mango Street, Sandra Cisneros clearly identifies herself as a Hispanic woman, and pivots to move up economically and socially to speak for her race. Some of these characters, like Earl, are really minor; the others, important as they may be in Esperanza's life, are typically for a girl her age both taken for granted and dismissed from the front row of people with whom she is just now most concerned. After sketching out the neighborhood in general, Esperanza begins to detail those who deviate from the norm. The book ends with her looking ahead to her new life, but also resolving to return for those who need her.
That's where all the blue places come from. Though the chapter ends there, the reader understands the consequence of this: just when she is beginning to feel safe in a frightening place, she is, in a sense, betrayed by someone she trusted. Now that she is not able to buy herself a drink from the store. Our Good Day Summary: Esperanza meets two more young neighbors, Lucy and Rachel. The metaphor of the horse-woman manifests how such independent female spirits were traditionally meant to be curbed by men. Rosa Vargas is imprisoned by the impossible task of taking care of her many unruly children.
For instance, Nenny's slippery hair seems to match her wistful and dreamy disposition, which the reader will see develop throughout the course of the novel. And, in the three short chapters at the end of the book, she reveals what we might already have guessed about her: Esperanza is a person who will feel everything very deeply and will quietly channel her experiences and feelings into creative energy; they will emerge transformed, as art. The narrator's responsibilities to act as both friend and guardian to her little sister are a chore which limit her possibilities for finding other friendships. She is named after her free-spirited Grandmother, and lives with her parents and two brothers and one sister. The main character Esperenza, along with other women struggles to trench the stereotypes that have been made for women by the men in the community. She admits, however, that the same fear and ignorance exists in her own community. S Sally Sally wears black clothes, short skirts, nylons, and makeup.
She wants to use her beauty to have power over men, but never marry one. She is grateful, until he asks her for a birthday kiss. Her husband is a marshmallow salesman that she meets at a school bazaar. The family moves often, and this book concerns the year they spend in a Hispanic neighborhood in Chicago. The fortune is significant for the reader, however, because it confirms what we are already learning about Esperanza: she is too independent to be tied to any one place she lives.
The poignancy of the dialogue is the result of the simple and straightforward language, making the recorded encounters as realistic as possible. Now, Sire, an older, intimidating boy, watches her as she walks by his house every day, and she finds the courage to look back. Rosa Vargas has so many children that the neighborhood gives up trying to take care of them, even though they are always getting into trouble. They are also signs of an imaginative intelligence that marks Esperanza as something more than average. Thus, the narrator expresses her dissatisfaction that her parents promise to one day move into a real house was not fulfilled in on Mango Street. New York: Modern Language Association. Her father beats her whenever she talks to boys, but when she tries to move out for a while, he apologizes, and she immediately forgives him.
Esperanza makes friends with two other Chicana girls of Mango Street, Rachel and Lucy. Sally puts Esperanza in a situation where she feels ashamed and uncomfortable being in her own skin and not understanding how Sally acts with the boys. Although Mamacita is somewhat ridiculous, with her enormous body and tiny pink shoes, she is also tragic. As my colleague Joan England points out, Alicia also shows Esperanza the reality of leaving the neighborhood. By this stage in the book, Esperanza is sure she does not want to end up like any of the women she knows--except, perhaps, Alicia, the university student. Moreover, her intelligence is specifically creative, as is shown by her poetry, her originality, and especially her characteristic way of describing things in imaginative similes and other metaphors. Male characters have a huge impact to Esperanza because she notices that most of the women rely on men.
Cathy Queen of Cats Summary: In this chapter, Esperanza first meets another child resident of Mango Street, who she calls Cathy Queen of Cats. Another important theme is the dual beauty and harshness of the Mango Street neighborhood. Esperanza does not want to belong to her impoverished neighborhood and dreams of one day owning a home of her own, different from her families ramshackle dwelling on Mango Street. This explains why most of the negative people that Esperanza meets on Mango Street, and her gender, helped her see the mold she needed to fill in order to give herself an identity. She symbolizes the difference between Mexico and Chicago, and the pain, alienation and loneliness that difference can cause. The repetition of metaphors indicates that the name Esperanza symbolizes the hope for the future that took Papa out of Mexico, and the disillusionment he, and consequently his family, experienced when the dream was translated- it's strength and beauty destroyed- into English. It is also important to note the ironic social commentary implied through many occurrences.
But as she gets closer to Sally, she realized that unlike the movie stars she idolized, Sally seduces men and allows them to manipulate and use her body; she is comfortable having intercourses with men and being adored by them. She too has traded her freedom for a husband. She is completely ignorant about sex and says that boys and girls live in completely different worlds. Mama reveals herself as a superstitious figure who tells Esperanza that she was born on an evil day and that she will pray for her. Esperanza also develops feelings of moral responsibility toward her community of women.