The Strength Of A Woman

Another important issue that Cisneros addresses in her story is gender roles in the Latino community. In Mexico, being born a male is of higher prestige and value

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

She was born in Chicago, Illinois. Cisneros grew up in a Latino family around the 1950s and 1960s. She had a Mexican father and Chicano mother. Cisneros was encouraged by her mother to read and was not insisted with spending all of her time performing classic “women’s work”. Cisneros welcomes her culture with open arms, but acknowledges the unjustness between the genders within. Having experience growing up in a poor neighborhood in a working class family while facing the difficulties created by racism, sexism, and her status, Esperanza longed to leave the barrio. Later, she finds her capability to succeed individually and find a “home with herself”; she worked to recreate some Chicano stereotypes for her community. Cisneros didn’t want to

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.

In “Only Daughter,” published in Glamour magazine in 1990, Sandra Cisneros talks about how it’s like for her to be the only daughter in a Mexican-American family of six sons. She talks about some of the struggles she faces. Sandra is a writer. A writer who wants her dad to be curious about her writing. He never bothers to ask what she’s writing. When they’d ask her father how many children's he has, he’d respond with “I have seven sons.” The mention of only sons, not a daugher. This proved to her he was only proud of his sons but not her. According to him she’d also have to go to college but only to find a husband. A man who will take her out of poorness. Since, according to Sandra that's why her dad thought college was important for her. He didn't care about her major. Sandra Cisneros is a writer who didn’t have the attention she was meant to receive. Towards the end she finally gets the attention she desired. She translated one of her pieces into Spanish, the only language her dad could read. That's how it gained the attention of her father. When her dad finally reads her story, it fills her with joy. At first she didn't get any attention from her dad at all, because she’s a girl. Sandra Cisneros makes a great argument on her life being full of loneliness. Although, she only talks about her perspective on things. In this article she only talks about her side of the story, and her side only. Sandra talks about how her life was as being the only girl out of seven children.

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.

Sandra Cisneros has been criticized by many for her depiction of Mexican Americans in her novel The House on Mango Street. Critics claim that Cisneros portrayal of Mexican Americans sustains an image of negative stereotypes. Those negative stereotypes being men who are dominating over women and women who are submissive. Throughout Cisneros’ story we meet many characters who are portrayed as the critics claim – in a way that suggests the dominance men have over the home and the family. Despite this, I believe this representation is not ment to enhance those negative stereotypes, but to better heighten the feelings of oppression, otherness, and helplessness Esperanza has. One of the most prominent examples of the negative stereotypes being displayed

Based on Cisneros’ works of literature, gender roles in a Hispanic culture revolves around patriarchal rule. The repercussions of a patriarchal rule includes the limitations of female liberation and development. Cleofilas’ abusive situation exemplifies the limitations of her independence and development as she can not make her own decisions and has to solely depend on her husband. This situation is illustrated when Cleofilas explains that the towns are “built so that you have to depend on husbands... You can drive only if you’re rich enough to own and drive an own car. There is no place to go” (Cisneros 628). Cleofilas reveals that men are the dominant gender and have more authority, and that women are compelled to depend on them in her society. It is an exceptionally rare case that a woman can afford her own car, for the men usually control the finances in a household. Additionally, Cleofilas has nowhere to seek refuge from her husband. Although she yearns to return to her father’s home, she decides not to due to the social standards imposed on her. In her society, the act of returning home after marriage is socially unacceptable. She understands that her family will be viewed in a negative light if she were to return home, as seen when Cleofilas refers to her town as a “town of gossips” (627). Similar to other men in the society, Juan Pedro’s authority is shown through his abuse. Cleofilas recalls, “He slapped her once, and then again, and again; until the lip split and bled an orchid of blood” (626).

Through countless stories and the motif of women sitting by windows, Cisneros ratifies how draining it is to be an average woman in Esperanza's community. In The House on Mango Street, women by windows depict women trapped by their families, specifically their husbands, maturing into a disturbing image that portrays the failure to be an individual that makes her own decisions. In the vignette “Rafaela Who Drinks Coconut and Papaya Juice on Tuesdays,” the author tells of a woman who is “too beautiful to look at,” saying, “Rafaela who … wishes there were sweeter drinks, not bitter like an empty room, but sweet sweet like the island, like the dance hall down the street where women much older than her throw green eyes easily like dice and open homes with keys” (Cisneros 80). Rafaela is yearning to be able to leave her home like the women she envies. She compares the bitterness of her fruit drinks to the desolation and seclusion of the house, and wishes the drinks were sweeter, expressing her looking out the window and longing for something more in life, like the fortunate few women in her community have. A character Esperanza knows named Sally has received abuse from her father, and when she gets married, Esperanza says, “She says she is in love, but I think she did it to escape” (Cisneros 101) and, “She sits at home because she is afraid to go outside without his permission” (Cisneros 102). Sally tried to get away from her father’s physical abuse, but in doing so, she is now living the life of a woman by the window, a

“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

Cisneros’ family bounced back and forth between Mexico and the United States for most of her youth, which led to firsthand experience in the difficulties of growing up as a multicultural person (Doyle. 54-55). As an adult, she settled in San Antonio, Texas, but that feeling of not belonging to either culture never left her. She drew on this feeling as inspiration for many works, including “Woman Hollering Creek,” a short story about a Mexican woman, named Cleofilas, brought to live in the United States by her new husband. She is excited to leave her lazy brothers and old-fashioned father behind, and dreams of the endless possibilities that

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.

Sandra Cisneros’ short story, “Never Marry a Mexican”, indirectly underlines her perspective, her interpretation, judgement, and critical evaluation of her subject, the work and its title. This perspective is evident in her use of literary devices, diction, and language structure in her narrative. The purpose of the use of these elements in the way that she does is ultimately linked to understanding her viewpoint on the subject. The author’s perspective is embedded in the meaning of the story and its theme. Her interpretations are valid, and justified in detail throughout the story to add color and vibrancy to her characters. Her judgment is lightly touched upon but only clearly and directly given at the end of the story, to allow the