Analysis Of Never Marry A Mexican By Sandra Cisneros

The character Clemencia for Never Marry A Mexican is just so refreshing and modern. A women of her words. Her fierceness and unique voices help me realizes that these invisible double standard gender stereotypes is only as strong as to how much I believe in them. Before reading this short story, I was indulge into a society where it 's a shame for women to think of men sexually let alone a marry man. I think it is a sign from society to pretty much wanting women to be pure and well behave. But, Clemencia she goes against that current. Her thoughts are liquid and they sting. They let the readers in and be apart of her brain as a spectator. She makes the reader, realizes how powerful she is and she is able to have that power because

Cleofilas feels that she could not do much, but she becomes hopeful about her situation. For instance, Cleofilas has to remind herself why she loves her husband when she is changing the baby’s Pampers, or when she is mopping the bathroom floor (Cisneros, 1991, p. 249). Cisneros emphasizes that many women who are controlled and abused often feel that they need to remind themselves why they married their husbands. Cisneros points out that when an individual loves someone they should not have to ask themselves why, nor worry so much about getting hurt.

I was once told I had the world in my hands by my vice principal. The reason for his statement was because I was a Hispanic young woman with above average grades, and my involvement in extracurricular activities. Why was being a Hispanic young woman so much more special? This is where the harsh reality set in; Hispanic women have the tendency to not achieve their goals.

In the story "Woman Hollering Creek" Sandra Cisneros discusses the issues of living life as a married woman through a character named Cleofilas; a character who is married to a man who abuses her physically and mentally .Cisneros reveals the way the culture puts a difference between a male and a female, men above women. Cisneros has been famous about writing stories about the latino culture and how women are treated; she explain what they go through as a child, teen and when they are married; always dominated by men because of how the culture has been adapted. "Woman Hollering Creek" is one of the best examples. A character who grows up without a mother and who has no one to guid and give her advise about life.

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth

Women themselves perpetuate their inferiority; the author recounts a moment in her life when her emotional connection with her mother was interrupted abruptly by a telephone call from her brother. In this instance, the mother chose to speak with her son, the Chicano, over her daughter, the Chicana.

The story describes the experiences of a young women named Cleofilas. She grew up with six brothers and had no mother. So therefore, she learned how to be a woman through watching telenovelas. She believes that to be a woman she only needs to find true love and have a “happily ever after”. Later she meets a man named Juan and they eventually fall in love and get married.

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

     The author of Mexican Lives, Judith Adler Hellman, grapples with the United States’ economic relationship with their neighbors to the south, Mexico. It also considers, through many interviews, the affairs of one nation. It is a work held to high esteem by many critics, who view this work as an essential part in truly understanding and capturing Mexico’s history. In Mexican Lives, Hellman presents us with a cast from all walks of life. This enables a reader to get more than one perspective, which tends to be bias. It also gives a more inclusive view of the nation of Mexico as a whole. Dealing with rebel activity, free trade, assassinations and their transition into the modern age, it justly

Sandra Cisneros’s short story “Never Marry a Mexican” deals heavily with the concept of myth in literature, more specifically the myth La Malinche, which focuses on women, and how their lives are spun in the shadows on men (Fitts). Myths help power some of the beliefs of entire cultures or civilizations. She gives the reader the mind of a Mexican-American woman who seems traitorous to her friends, family and people she is close to. This causes destruction in her path in the form of love, power, heartbreak, hatred, and an intent to do harm to another, which are themes of myth in literature. The unreliable narrator of this story was created in this story with the purpose to show her confusion and what coming from two completely different

Currently Sandra Cisneros resides in San Antonio in a purple house and she describes herself as “nobody’s mother” and “nobody’s wife.” Both Frida Kahlo’s and Cynthia Y. Hernandez’s works convey the idea of having one’s culture limit one’s freedom and individuality. Cisneros and Esperanza are both victims of this idea and realize that the only way to live one’s life freely is to defy the roles and limitations created by one’s culture.

The story illustrates the overlapping influences of women’s status and roles in Mexican culture, and the social institutions of family, religion, economics, education, and politics. In addition, issues of physical and mental/emotional health, social deviance and crime, and social and personal identity are

Every individual relationship mentioned in the book consists of at least one direct family member of Celia del Pino. Celia

I was thrilled while reading the Sex Goddess of SANDRA CISNEROS. It was an impressive and unique way of depicting the struggle that most Litinas women experience when it come to their personal intimacy. Even though this reading concern only the Latinas world, I would like to extend it to a broader community, my population. Before even doing so, I will share the fact that reading this essay appeal some emotions that I thought I would not have. It had a sense of belonging to the Mexican community, the values they extol, and the sense of family they preserve. Through this essay, I felt my three little sisters, I felt my mother, I felt my grandmother, I felt every single female gender from my community. I felt the pain those girl feel whenever