Violence in The House on Mango Street

In the novel The House on Mango Street, Sandra Cisneros reveals how violence affects women on Mango Street. The women in Mango Street have abusive husbands and fathers. They don’t do anything about it because they seem to be used to being abused. Esperanza tries to deal with the violence in her neighborhood by trying to protect her friend Sally from some boys but it turns out being a failure for her. Esperanza finds it important to try and protect her friend Sally from kissing some boys.

She goes to tell the boy’s mother what happen and the mother said was “That’s all? What do you want me to do she said, call the cops? ” (97) The mother of the boy clearly didn’t care about what was happening, she probably thought they were just playing a game. Esperanza seemed disappointed and angry because all she wanted was for her friend to be back with her. Not the boys who made her kiss them or who knows what else they might have made her do to get her keys back. Sally didn’t really seem to be bothered from what Esperanza told.

She just wanted to protect her friend, but she clearly couldn’t do anything about it. The chapter “Red Clowns” depicts how Esperanza had to deal with sexual violence by some boys who touched her at the carnival. Esperanza didn’t realize what had happened to her because she didn’t know anything about sex. She expected sex to be like in the movies she watched, so she believed everyone had lied to her about it. Girls like Esperanza see things about sex in media and believe it has to be like in the movies, shows, and in novellas. In fact, teens report that their main source of information about sex, dating and sexual health comes from what they see and hear in the media. ” (Sexual Behavior. What Teens Learn From Media). It basically says that media is a high influence on the way kids see sex. This is clearly what happened to Esperanza since she said it wasn’t what she saw in the movies. It was a big let down for her even though she didn’t want to be touched by the boys. “Linoleum Roses” is another chapter that depicts how Esperanza’s friend married an older man who brings violence to her life.

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Sally married an older man to get away from the violence she got at home from her father, who would beat her so she wouldn’t bring shame to his family. Sally ended up getting married with an older man who now beats her. Sally’s husband doesn’t allow her to go out or to communicate with her friends because he believes she belongs to him and finds the need to control her to keep her with him. “He also won’t appreciate the younger women being close to family and friends. ” (Advice Women Need When Dating Older Men).

This is what is happening to Sally she just doesn’t really mind because to her he is only violent once in awhile not all the time. She needs help and Esperanza notices that but she can’t really do anything about it but continue being her friend. Violence is a big part in the life of Esperanza’s best friend who she thought she had to protect because she truly cared for her. Esperanza just wanted her friend Sally back for them to be young and reckless. In the end Esperanza got past the violence in her neighborhood and what had happened to her because she wanted to live in her dream home alone.

Function/S of Space in Sandra Cisneros’ the House on Mango Street

Function/s of Space in Sandra Cisneros’ The House on Mango Street Space occupies a central role in Sandra Cisneros’ coming-of-age novel The House on Mango Street. Using the example of the house shows this very plainly. This can be seen at the very beginning of the book, namely the title. Although it is a female Bildungsroman, the novel is not named after its protagonist Esperanza Cordero, but her residence. It shows that Cisneros attached much importance to the house on Mango Street and the reader also learns that it is of central significance for the development of the young girl.

On Mango Street, she develops not only physically, but also in terms of her character and her own identity. That is why I will concentrate on the function of the house rather than on other different settings in the novel. Usually, the house is a symbol for warmth and shelter. It represents the place of the family and where one belongs to. But the first sentence of the initial vignette shows, that this does not apply to the house on Mango Street. Esperanza’s family has been constantly on the move and they lived in several apartments in different cities.

The feeling of being rooted therefore never existed, just as little as the feeling of comfort. For Esperanza, the house on Mango Street does not symbolize shelter, but shame. In the first vignette Esperanza depicts the family’s house in a very negative way, run down and with cramped confines. It is neither “[…] the house Papa talked about when he held a lottery ticket […]”, nor “[…] the house Mama dreamed up in the stories she told us before we went to bed. ” (Cisneros 4). The house on Mango Street is at last their own, but not the one Esperanza and her family have longed for.

It symbolizes “[t]he conflict between the promised land and the harsh reality” (Valdes “Canadian Review” 57). Especially for Esperanza, who is in quest of her own identity, reality and hope (Spanish: esperanza) diverge here, which means that Esperanza has not found her personal reality yet. She wishes to have “[a] real house. One I could point to. ” (Cisneros 5). This desire shows that the house also symbolizes the “American Dream” of having a comfortable home of one’s own, something the people of Esperanza’s community will probably never attain.

Esperanza experiences that instead, they are often confronted with the fact that the house also functions as a symbol of female restriction. This proves the given traditional role of a Chicana, whose business concentrates on the household and on being wife and mother. In the novel, female restriction is also depicted in a more extreme way: Several women like Marin and Rafaela are restricted physically because they are locked indoors by their husbands. Esperanza clearly comes out against such a male-dominated home.

Although she is not sure who she is and still searches for her own identity, she clearly knows what she wants: a house all on her own, “Not a man’s house. Not a daddy’s. A house all my own. ” (Cisneros 108). According to that, having her own house stands for her longing for a self-determined space as an independent woman, in which she can be free to be herself, unconfined by either a husband or a father and without any social expectations. There is something, Esperanza didn’t realize yet: the fact “[…] that the house she seeks is, in reality, her person. (Valdes “Canadian Review” 58). Thus, the house functions as a metaphor for Esperanza’s identity formation. Apart from its importance for self-identification, the image of the house functions as a synecdoche: it is part of the community, a place of one’s own amidst the whole community and barrio. By interacting with the community, meaning communication and observation, Esperanza learns that she can only define herself through her relationship to the other people of her community.

She orientates herself by some positive role models like Aunt Lupe or Minerva, but she also distances herself from Sally or the “women sitting by the window” like her great-grandmother or Mamacita. Nevertheless, Esperanza learns through their experience. This shows Esperanza’s ability to distinguish between the different role models. She recognizes that she does not want to be a copy of somebody and this is why she sees others just as partial role models. The social interaction with the community actually is of utter importance for Esperanza’s identity formation.

The fact that she defines herself through people she lives with shows the close interaction between community and Individual. The house stands for the community because it is part of it and thus functions as a synecdoche: pars pro toto - the term “community” is replaced by a narrower one, thus the “house”. This also works vice versa, totum pro parte means here that the house is used to represent the community. For Esperanza, the relationship between individual and community is a mutual one. She recognizes that there is a lot she learned and experienced while living in the house on Mango Street and in the ommunity. At the end of the novel, both what the three sisters and Alicia say to her “[…] induce Esperanza to acknowledge her indebtedness to the community and her role as mediator and negotiator between worlds. ” (Rukwied 63). So she decides to give something back, to help others with her experience. In the vignette “Bums in the Attic” she states: One day I’ll own my own house, but I won’t forget who I am or where I came from. Passing bums will ask, Can I come in? I’ll offer them the attic, ask them to stay, because I know how it is to be without a house. Cisneros 87) Esperanza shows great sympathy for other people who are, by some means or other, lost like she was when wondering who she is. She describes this state with the word “homeless” (Cisneros 87). Having no home means having no house or apartment. And as I argued before, the house is the central metaphor for self-identification. In the end, Esperanza finally finds her voice by beginning with writing. She now has a clear vision of how her promised house should be: “Only a house quiet as snow, a space for myself to go, clean as paper before the poem. (Cisneros 108). This is another way of contributing something to the community: she writes about it. As I argued, the house is of central importance in The House on Mango Street. Esperenza first refuses to accept that she belongs to Mango Street and thus to the whole community. But in the end she recognizes that it was there her identity fully developed because our environment always shapes our identity. I focused on the function of the house, but there are further reasons for the importance of space in general.

In my opinion, one of them is “highly visible” indeed: The fact that Sandra Cisneros left a lot of space on the pages of the novel. In chapter 7 for example, there is both recto and verso in a large part unprinted. Works Cited List: Cisneros, Sandra. The House on Mango Street. New York: Vintage Books, 1991. McCracken, Ellen. "The House on Mango Street: Community-oriented Introspection and the Demystification of Patriarchal Violence. " In: Horno-Delgado, Asuncion et al (eds). Breaking Boundaries: Latina Writing and Critical Readings. Amherst: University of Massachusetts Press, 1989. 7-71. Rukwied, Annette L. The search for identity in two Chicana novels : Sandra Cisneros' The house on Mango Street & Ana Castillo's the mixquiahuala letters. Stuttgart: Universitat, Magisterarbeit, 1998. Valdes, Maria Elena de: “In Search of Identity in Cisneros’s The House on Mango Street”, Canadian Review of American Studies, Vol. 23, No. 1, Fall 1992. 55-69. Valdes, Maria Elena de. "The Critical Reception of Sandra Cisneros's The House on Mango Street. " Gender, Self, and Society. Ed. Renate von Bardeleben. Frankfurt: Peter Lang, 1993. 287-300. (7. 01. 2008) (7. 01. 2008)

House on Mango Street: Four Skinny Trees

The Trees of Hope and Courage In The House on Mango Street, the author Sandra Cisneros takes you into a completely different world through the eyes of a young, insecure Esperanza growing up in a poor section of Chicago. A vignette that especially stood out was “Four Skinny Trees”. In this vignette Esperanza is describing four skinny trees that are overlooked and underappreciated. Cisneros uses powerful personification techniques that not only create vivid images but trigger intense reactions. Her words trigger despair and hope, fear and courage, strength and weakness.

Esperanza is connected to these trees on an emotional level because what she is imagining in these trees is what she sees in herself. The trees served as emotional guides teaching Esperanza to have confidence. Cisneros projects Esperanza’s emotions onto these four skinny trees though powerful personification techniques. Esperanza sees a distinct parallel between her life and the trees. Esperanza feels as if, “They are the only ones who understand me. I am the only one who understands them” (74).

Esperanza sees herself in these trees, “…with skinny necks and pointy elbows like mine” (74). She sees these scrawny trees trapped in the concrete of Mango Street and can relate because she too is stuck in the concrete of Mango Street. Esperanza sees a parallel between her and the trees and imagines these trees with souls and emotions that reflect her own. She perceives the trees as full of anger, “They grow up and they grow down and grab the earth between their hairy toes and bite the sky with violent teeth and never quite their anger” (74).

It is apparent that these trees aren’t really angry but that Esperanza is embedding her hidden rage into these trees. Cisneros vivid personification makes the trees strong symbols of Esperanza’s emotions, her anger, fear, inconsequence and also her hope, courage and importance. These trees are misplaced and misunderstood but yet they keep on growing, keep on fighting. They continue to exist, not giving up, “Four who grew despite concrete” (75). The four scrawny, angry trees symbolize both hope and courage.

To Esperanza these trees symbolize an emotional guide, they teach her she can trade despair for hope and fear for courage. The trees are teachers. The trees could very well surrender, “... they’d all droop like tulips in a glass, each with arms around the other” (75). But they don’t they keep on growing despite that they do not belong. Esperanza takes courage from the trees to never give up. Esperanza has learned from these trees how to achieve a peace with who she is.

These four skinny trees that were probably planted by some city worker on a concrete slab are objects in which Esperanza has brought to life with her own emotions. Because they too are misplaced like Esperanza but yet they continue to be and keep growing, they do not give up. They have taught her not to surrender to who she is but to accept it and keep growing. One day Esperanza will leave Mango Street but instead of living with despair waiting to escape she is living with hope for the future and the courage to be strong throughout the process.

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