Mexican Women In The House On Mango Street

The house on Mango Street by Sandra Cisneros is really a coming of age novel of a Mexican American female developing in a working class Chicago neighborhood. The writer is similar to the main character Esperanza in a number of ways. One being that Cisneros was also a Mexican American female growing up in a Chicago working class community. While Esperanza is ashamed of becoming a Mexican American around white Americans, Cisneros is proud to be considered a Mexican American female. But she endeavors to defy the roles and limitations of this culture. In the novel, Cisneros portrays the problems that Latino females face in a culture which respect them as lower class people. A culture which is stressed by males, along with a general public which …show more content…
Plus they're raised to believe in that a man is required by them to meet the life of theirs and that a spouse is required by them to assist them. A great case of this's Marin. At the time when Marin discusses a real exercise, Marin states which the most effective work environment is downtown, not as an outcome of the job that's there, but in light of the reality that "you constantly get to look gorgeous and wear good clothes" (Cisneros 26). She also tells the little women which the primary thing which troubles is in case your dresses aren't tall, and your eyes are pretty, with the aim that you're noticed by people. Cisneros is demonstrating us once more that the primary esteem that these Latino women have are the characteristics set upon them by males, and these characteristics are observed by young women that believe this is the appropriate means for getting everything done, and consequently the potential for females getting independent is not heard of before, until the point when young females as Esperanza have some thirst for leaving the male controlled society of her and having to be free, simply to 1 day almost any hope of going back to teach others that they do not have to be governed by …show more content…
As Helena Grice argues, if female sexuality is usually figured as a burden in the text, then it sometimes also comes with a feasible means of manipulating and controlling patriarchal conditions (234). Esperanza becomes conscious of this possibility of using sexuality in the favour of her in the vignette called Hips, when she says: You gotta have the ability to find out with hips if you purchase them (50). Although she's theoretically aware of the power of womanhood, Esperanza, at exactly the same time, describes herself as an ugly daughter as well as the one nobody comes for (88). She'd love to be cruel and beautiful as a film heroine:She's the person who drives the males crazy and laughs them all away. Her strength is her own. She won't give it away (89). Esperanza also would like to be powerful; she has decided to not become an adult like the others who lay the necks of theirs on the threshold waiting for the ball and chain (88). Because she sees herself as ugly, she finds her personal way of attaining power, her quiet war: I'm the one who leaves the table like a male, without putting back the chair or even picking up the plate