Of Sandra Cisneros's Only Daughter And The Parable Of The Prodigal Son

Living in Mexico throughout her teen years was very rough. Unlike other teenagers where their parents constantly provide for their children, Marisela’s life was a lot different than the usual parent- child relationship. She lived with her Abuela ( Grandma) Lupe, along with her 3 brothers and sister. She constantly had to take care of her brothers and sister at such a young age, that she became the mother-like figure of the

Sandra Cisneros writes about growing up as the only daughter in a Mexican household with six brothers. This presents many difficulties for her growing up because she constantly yearned for the approval of her father; a father who believed her only purpose in this world was to get married and start a family. Throughout her whole life she sought to please him, and when she told him she had plans to go to college, what she did not realize what that her “father thought college was good for girls—good for finding a husband.” To go a step further, her father would constantly tell people about his “seven sons,” as though it were some kind of merit. This clearly and understandably bothered Cisneros because she said that she would “tug [her] father’s sleeve and whisper: ‘Not seven sons. Six! and one daughter.’” Despite all of these hardships, she finally was able to impress her father. After she had gone to college, become a successful author, and had a story published and translated to Spanish, she presented the story to her father. He was clearly very impressed with her work and she finished by saying that out of all the great things that have happened to her, this moment was by far the greatest.

The story “Woman Hollering Creek" by Sandra Cisneros describes the lives of Mexicans in a Chicago neighborhood. She depicts the life that women endure as Latino wives through her portrayal of the protagonist, Cleofilas. For Cisneros being a Mexican-American has given her a chance to see life from two different cultures. In addition, Cisneros has written the story from a woman’s perspective, illustrating the types of conflicts many women face as Latino wives. This unique paradigm allows the reader to examine the events and characters using a feminist critical perspective.

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.

Sandra Cisneros explores gender preference within her Mexican-American heritage with strong usage of imagery and the variation of her tone. First, the imagery found in “Only Daughter” helps portray the sacrifices Cisneros father made for his children. For instance, Cisneros writes how ecstatic their father was that his children would use their smarts instead of their hands like he once had to. Cisneros describes her father's hands saying, “Even now my father's hands are thick and yellow, stubbed by a history of hammer and nails and twine and coils and springs” (Cisneros 99). Cisneros use of imagery creates a vivid picture of how her father has worked extensively to make sure his seven children do not have to work as hard as he did to live in

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.

Thesis statement: Esperanza has a variety of female role models in her life. Many are trapped in abusive relationships, waiting for others to change their lives. Some are actively trying to change things on their own. Through these women and Esperanza’s reactions to them, Cisneros’ shows not only the hardships women face, but also explores their power to overcome them.

The first passage reveals the parallel suffering occurring in the lives of different members of the family, which emphasizes the echoes between the sufferings of the father and the narrator. The narrator’s father’s despair over having watched

Clo grew up in a time when the gender roles for Mexican women were more traditional and her father really only expected her to get married and not much else. Her father actually arranged for her to be married to a wealthy man that was her father’s age. All Clo wanted to do was go to art school in Paris but her father ignored her pleas. On the day of the wedding, Clo came down the stairs naked and embarrassed her father so much so that he sent her away to the art school in Paris with money to help keep her away.

In the film “Mi Familia,” we follow the story of the Mexican-American Sánchez family who settled in East Los Angeles, California after immigrating to the United States. Gregory Nava and Anna Thomas introduce the story of this family in several contexts that are developed along generations. These generations hold significant historical periods that form the identity of each individual member of the family. We start off by exploring the immigrant experience as the family patriarch heads north to Los Angeles, later we see how national events like the great depression directly impact Maria as she gets deported, although she was a US citizen. The events that follow further oppress this family and begins separate identity formations. These

“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

Many young second generation daughters of Mexican heritage has grown up with a distinctive gender norm. In the midst of the second world war, the expression of freedom and equality spread throughout the country. This initiates for women to become more tuned to the social affairs the men had left behind. Thus, immigration brought a lot of Mexican families into Los Angeles. Double exposure to familial expectations and the American way of life brought in a sense of desperation of trying to balance both. The second generation daughters who have been exposed to the loudly spoken

Again, the story shows lots of examples in how the Sandoval family had to go through many discriminating acts. At the end of the Story Mariana, daughter of Pete, Granddaughter of Neftali falls in love with an Anglo Rich boy who never learned to accept Mariana because she was Mexican. Society has characterized Mexican Americans as unintelligent, dirty, and lazy people, therefor seeing an Anglo male with a Mexican girl was not common, and even if one did not think that at the time, Anglos were still embarrassed to be seen interacting with Mexicans, which could potentially degrade their name. Marianas Boyfriend David makes Mariana get an abortion on chapter seven, promising her a future; even though, Striver was planning on leaving Mariana after the abortion and planned to start a new life. This part of the story is absolutely saddening because Mariana died, thinking Stiver loved her, and was going to have a future with her. Mariana is not one only unfortunate girl who had this happen to her, but a Mexican woman during this era was only seen for maids, prostitutes, factory/field workers, or simply nothing. This shows the indifference Mexican American woman had to face, which was much different that Anglo woman.

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