The House On Mango Street Coming Of Age

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Sandra Cisneros’ book The House on Mango Street she discloses what life is like growing up in the Barrios of Chicago while being a young woman in poverty. The House on Mango Street is unique in the narrative it tells because it is not a movement out of poverty narrative that is generally told. Cisneros’ book tells the coming of age narrative through a feminine perspective as young Esperanza navigates her way through poverty. Through a close reading of “Hips”, “Sally”, and “Beautiful & Cruel” I will examine the representations of women in poverty and how this affects the coming of age narrative.
In the first vignette titled “Hips,” Esperanza and her friends are jumping rope while discussing what happens once you get hips, and why you get them
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This vignette depicts a young girl named Sally who is friends with Esperanza. In the narrative, Sally has already been forced to come of age. This is exemplified by the way that Sally is depicted. Due to the fact that Sally has an abuse father, she feels that she is already grown. Therefore, she tries to present herself as a grown woman although she is still young. This is shown in the narrative with Sally is depicted as “…the girl with eyes like Egypt and nylons the color of smoke.” (Cisneros81). The depiction of Sally means that she is already wearing black clothing, as well as dark makeup. These are markers that are traditionally marked for older women. This narrative does not depict the coming of age of Esperanza but shows the effects that having to come of age before you are emotionally prepared can have. As well as exemplifying that women and girls in poverty are offered no escape from the life that they lead. There is no way for them to work themselves out of their situations. This is because women are often portrayed as weak and frail, and the only narratives that can possibly exist for women are to be the virgin or the whore. This then translates to the idea that women cannot attain a higher social status without first attaining a

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