Minority: House on Mango Street and Fences
From the abolition of slavery by President Lincoln to the civil rights victories of Martin Luther King, Jr., discrimination against and among minorities is still very real even today. Minority issues are popular themes with writers who would be considered “minorities” themselves. Two stories in particular, Fences by August Wilson and House on Mango Street by Sandra Cisneros, reveal common and familiar minority issues such as race and gender injustices through their writing styles. In the play Fences , the main character Troy, had a big dream of becoming a professional baseball player, but his dream was soon crushed when he couldn't play Major League Baseball because of his race.
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He is building “fences” between himself and the ones he loves like his sons, his wife, and his friend. Troy ruins his son Cory’s dream of going to college and playing football, ruins his relationship with his wife, and leaves his son Lyons when he was just a baby. We also see similar minority issues in the story House on Mango Street whose main character is a twelve year old girl named Esperanza. Esperanza's family is very poor which leads them to move into a “not so nice” house on Mango Street. While living in this house, she gets made fun of by fellow minority neighbors which makes Esperanza motivated to achieve her one and only dream when she grows up, to live in her dream house out of the area where minorities are forced to live. Both of these stories show us that if you don't work hard and just forget about your dream, you will never achieve it, but if you work hard at it, it will come true. While both Wilson and Cisneros are very effective in conveying similar minority issues through the their writing styles, Cisneros use of poetic vignettes and figurative language is more effective than Wilson’s use of a play with a heavy reliance of …show more content…
First off, Wilson shows us the minority of African-Americans by the set time in the play. August Wilson makes the set time of the story the 1950s which is after abolition of slavery but before the Civil Rights Movement. The South was still segregated, and African Americans still faced many hardships in the North. There is very little progress towards equality, so minorities live a very hard lifestyle by being treated differently and unfairly because of their race. One example that shows little progress towards racial equality during this time period was on page four when Troy says, “They gonna fire me cause I asked a question? That's all I did. I went to Mr, Rand and asked him, ‘Why? Why you got the white men's driving and the colored lifting.” This clearly shows that Troy is very upset because the colored are not getting treated as fairly as the white, and furthermore, Troy is afraid they might fire him for asking a question. In other words, a colored man should not question his white boss. We also see racial inequality when we find out that Troy didn't get play baseball professionally just because he was colored. In addition, Wilson uses a lot of figurative language, especially baseball imagery, to emphasize racial inequality. One example, in Act I
August Wilson’s Fences was centered on the life of Troy Maxson, an African American man full of bitterness towards the world because of the cards he was dealt in life amidst the 1950’s. In the play Troy was raised by an unloving and abusive father, when he wanted to become a Major League Baseball player he was rejected because of his race. Troy even served time in prison because he was impoverished and needed money so he robbed a bank and ended up killing a man. Troy’s life was anything but easy. In the play Troy and his son Cory were told to build a fence around their home by Rose. It is common knowledge that fences are used in one of two ways: to keep things outside or to keep things inside. In the same way that fences are used to keep things inside or outside Troy used the fence he was building to keep out death, his family, and his disappointments in life while Rose used the fence to keep those she cared about inside and help them bond.
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
Esperanza was able to provide the audience with an image that was vivid of her surroundings through her diction and tone. Esperanza presents a series of stories that she deals with in her neighborhood as she grows up. Esperanza arose from poverty and always dreamt of having a house of her own. Sandra Cisneros' strong cultural and gender values have a tremendous influence on The House on Mango Street. Cisneros feels that the Mexican-American community is very abusive towards the treatment of women because men are seen as the powerful, strong figure.
Fences, a low-diction play by August Wilson, expresses the complex relationship between a father and his sons. Troy Maxson, once a baseball star in the Negro League, is now envious of his son Cory, who dreams of having a successful football career. Troy also worries that Cory will be treated with the same disrespect that he once was during his baseball career. Lyons, Troy's eldest son, is completely misunderstood by Troy, mostly because of his refusal to get a “real” job and his drive to become a musician. Wilson references stories from Troy's past to convey the reason behind Troy's frustration and actions toward his children.
Should a neglected, discriminated, and misplaced black man living in the mid 1900s possessing a spectacular, yet unfulfilled talent for baseball be satisfied or miserable? The play Fences, written by August Wilson, answers this question by depicting the challenging journey of the main character, Troy Maxon. Troy, an exceptional baseball player during his youth, cannot break the color barrier and is kept from playing in the big leagues. That being his major life setback, Troy has a pessimistic view on the world. His attitude is unpleasant, but not without justification. Troy has a right to be angry, but to whom he takes out his anger on is questionable. He regularly gets fed up with his sons, Lyons and Cory, for no good reason. Troy disapproves of Lyons’ musical goals and Cory’s football ambitions to the point where the reader can notice Troy’s illogical way of releasing his displeasures. Frank Rich’s 1985 review of Fences in the New York Times argues that Troy’s constant anger is not irrational, but expected. Although Troy’s antagonism in misdirected, Rich is correct when he observes that Troy’s endless anger is warranted because Troy experiences an extremely difficult life, facing racism, jail, and poverty.
Esperanza, the main character of The House on Mango Street, a novella written by Sandra Cisneros in 1984, has always felt like she didn’t belong. Esperanza sought a different life than the ones that people around her were living. She wanted to be in control of her life, and not be taken away by men as so many others around her had. Esperanza wanted to move away from Mango Street and find the house, and life she had always looked for. Through the use of repetition, Sandra Cisneros conveys a sense of not belonging, that can make a person strong enough to aspire to a better life.
The theme of August Wilson’s play “Fences” is the coming of age in the life of a broken black man. Wilson wrote about the black experience in different decades and the struggle that many blacks faced, and that is seen in “Fences” because there are two different generations portrayed in Troy and Cory. Troy plays the part of the protagonist who has been disillusioned throughout his life by everyone he has been close to. He was forced to leave home at an early age because his father beat him so dramatically. Troy never learned how to treat people close to him, and he never gave anyone a chance to prove themselves because he was selfish.
Everything in August Wilson’s play Fences, can be related to or is a fence of some sort. The main character, Troy Maxson, is a retired negro league baseball star whose whole life revolves around fences. Fences is completely driven by this idea of metaphorical and physical fences. Pride and alcohol are the fences that really cloud Troy’s views. His son, Cory, has fences in this play as well. All these fences intertwine to create a story that addresses many of society's problems.
Troy has a lower-middle/working class occupation - a garbage man. In Troy's mind, this job is something that enables him to survive thus far. Growing up, Troy experiences many hardships. Escaping an abusive father, Troy corrupts his life with a passion for thievery and irresponsible actions. For example, Troy impregnates a woman; the woman gave birth to Lyons. Because of Troy's irresponsible lifestyle, he is sent to jail; Lyons grows up without a father. Upon obtaining this job, Troy thinks it is one of the most stable aspects of his life. Stability, security, and success - this occupation brings many enhancements into Troy's life. Having a steady income changes his personal ideology of what character traits an African-American male should possess; in particular, what character traits his sons should possess. Troy's son Lyons now lives as a musician. To Troy, musicianship as a career does not provide that level of stability his job as a garbage man provides. Telling Lyons his point of view, Troy says the following:
Troy also says “You think only white fellows got sense enough to drive a truck. That ain't no paper job!” Troy continues to fight with his boss about how blacks con not drive the trucks Troy is fighting for himself and other black guys because they all want higher positions in the sanitation department. Troy makes it seem like black people would be able to drive the trash trucks but they would not be good enough to handle the paper or office jobs and this is also saying how black people are a little bit racist
Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old. She lived in a one story flat that Esperanza thought was finally a "real house". Esperanza’s family was poor. Her father barely made enough money to make ends meet. Her mother, a homemaker, had no formal education because she had lacked the courage to rise above the shame of her poverty, and her escape was to quit school. Esperanza felt that she had the desire and courage to invent what she would become.
In the play “all the characters are African American, and they must deal with racism everyday” (Fences Themes). Wilson makes his characters lifestyles harsh as though it was for African Americans growning up. The theme racism is also expressed in the play by having the main character Troy experience unfairness because of his race. Troy is appearntley “not fit to play professional sports [because] his skin is too dark”(Kiffer). Wilson also uses the theme dreams, hopes and plans in the play Fences.
“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and how we grow through our life experiences. In her personal, Cisneros depicts Esperanza Cordero’s coming-of-age through a series of vignettes about her family, neighborhood, and personalized dreams. Although the novel does not follow a traditional chronological pattern, a story emerges, nevertheless, of Esperanza’s search to discover the meaning of her life and her personal identity. The novel begins when the Cordero family moves into a new house, the first they have ever owned, on Mango Street in the Latino section of Chicago. Esperanza is disappointed by the “small and red” house “with tight steps in front and bricks crumbling in places” (5). It is not at all the dream-house her parents had always talked about, nor is it the house on a hill that Esperanza vows to one day own for herself. Despite its location in a rough neighborhood and difficult lifestyle, Mango Street is the place with which she identifies at this time in her life.
In the play Fences by August Wilson, we are introduced to the Maxsons. An African American family struggling to live in Pittsburgh during the 1950’s pre civil rights movement. This play was the sixth out of ten plays in Wilson's Pittsburgh cycle. Fences was also a pulitzer prize winner. At the beginning of the play we are introduced to Troy. He is the patriarch of the family and his problems and mistakes are what lead the Maxson family to be torn apart. Troy treats his wife, Rose, and his sons, Cory and Lyons, poorly. Troy, can be seen as a villain. Troy proves himself to be more of a villain than a hero thought the play. He takes advantage of his wife Rose, treats his sons, Cory and Lyons, poorly, was once a criminal, and is unsympathetic
The idea of the alienated artist is very common in feminist works. Esperanza, the protagonist, is alienated from the rest of society in many ways. Her Latino neighborhood seems to be excluded from the rest of the world, while Esperanza is also separated from the other members of her community. Members of other cultures are afraid to enter the neighborhood because they believe it is dangerous. Esperanza seems to be the only one who refuses to just accept Mango Street, and she dreams of someday leaving it behind. She is considered an artist because she has an extremely creative imagination which creates a conflict with the type of liberal individuality she seeks. This creative "genius survives even under the most adverse conditions..." (Gagnier 137). To escape the pain of this division, Esperanza turns to writing. She says, "I put it down on paper and then the ghost does not ache so much" (Cisneros 110). Gagnier sees a "distinction of the writer who nonetheless sees herself as somehow different, separate..." (137).