Childhood The way we are raised by our parents in our early experiences stick with us for years and influences our adult decision making and the way we perceive things in life. In the book, The Rain God, by Arturo Islas, Juanita is married to Miguel Grande, who ends up cheating on her yet she decides to stay with him despite his affair. Through the application of Psychoanalytic Criticism to the character Juanita, it can be argued that her father’s influence during her childhood was the start of her psychological trauma that influence and shaped her relationship with Miguel Grande. This can be seen through the development of her unconsciousness, her defenses
Islas writes, “Their father could be vicious in his rage and was capable of beating them up severely when he drank too much” (43). After Juanita’s mom died, her father was the only one who was able to educate them for their adulthood. However, when he drank too much he became aggressive and enforced violence in order to educate them and teach them to behave. All her father ever did was tell them to behave, for example, ‘“Behave yourselves!’ It struck her as ridiculous that a man’s last words to his children should be so stupid. She hazarded a comment to Juanita as they were being led out of the room by their aunts. ‘What else what have we ever done?’” (Islas 44). This shows that all they have ever done was behave. All their father has ever done was hit them and discipline them into good girls. Due to her father always hitting them so that they learn to behave, Juanita unconsciously engraved this idea into her adulthood which affected her relationship with Miguel
The way we are brought up as a child can have an impact on how we perceive things in our adulthood, which sometimes it can have a negative outcome resulting in severe or mild trauma, or a positive outcome. This is the case in Arturo Islas’ The Rain God. Through the perspective of Psychoanalytic criticism, Juanita’s father cause her scarring trauma that affected her relationship with her husband and family members. This was portrayed in the way her unconscious psychological trauma was developed, through the finding of her sexuality, and through the defenses she used in her marriage with Miguel Grande to be well behaved against the violent influence her father had on
Doña Guadalupe is a woman of great strength and power, power and strength which she draws from her devout faith and her deep and loving compassion for her family, and power and strength which is passed down to her children. “‘Well, then, come in,’ she said, deciding that she could be handle this innocent-girl-stealing coyote inside. On going into the long tent, Salvador felt like he’d entered the web of a spider, the old woman was eyeing him so deliberately” (360). Doña Guadalupe is a very protective woman, which is extremely speculative when it comes to her children, this is especially true when it comes to boys, because she has not gone this far only for all of her hard work to be ruined by a no good boy. This shows how protective she is, she loves her family, and especially her kids so much that they themselves must pass her test before being able to pass on to her children. “The newborns were moving, squirming, reaching out for life. It was truly a sign from God” (58). Doña Guadalupe is also a very devout and faithful person. She sees God in everything and in everyone and by that fact, what she sees and who she sees is true, and she tries to be a model of clairvoyance for the family. “Doña Guadalupe put the baby’s little feet in a bowel of warm water, and the child clinging to his mother. He never cried, listening to her heartbeat, the same music that he’d heard from inside the womb” (57). Finally, Doña Guadalupe is very passionate which allows for a great model upon which her children follow. This further shows how she is clearly th...
Sandra Cisneros “Never Marry a Mexican” and Junot Diaz’s The Brief Wondrous Life of Oscar Wao are stories that reflect on the cultures in which the characters grew up in. In Never Marry, Clemencia, the narrator, reflects on her past sexual relations as well as her childhood. She speaks of her parents’ marriage and then transitions into her relationship with college professor and his son. In Oscar Wao, Yunior, the narrator, gives a second-hand retelling of Oscar’s experiences in New Jersey growing up as well as in the Dominican Republic. A person’s identity is largely influenced by their culture, this is especially the case in Hispanic cultures. The social constraints that these cultures place on social class, sexuality, and gender norms can be very detrimental to a person’s self-esteem.
Esperanza tries to be a good friend to Sally, but ends up appearing immature and silly. Esperanza feels shame, as she “wanted to be dead”, to “turn into the rain”, and have “my eyes melt into the ground like black snails” (Cisneros 97). With sensory-rich imagery, the author uses similes and metaphors to describe Esperanza’s feelings of utter mortification as she embarrasses herself in front of Sally. Esperanza becomes confused about her newfound sexuality and her loss of innocence when she begins acting strangely, yet awkwardly around boys. She doesn’t know whether to act like a child or an adult because although she wants to be mature and glamorous like Sally, and she gets exposed to the harsh nature of society. The disillusioned view of becoming mature and having boys notice her is especially realized by Esperanza when she gets raped at a carnival. Through detailed imagery, Cisneros describes the dirtiness of the boy, elaborating on “his dirty fingernails against my skin” and “his sour smell again” (Cisneros 100) and the confusion and anger from Esperanza. After this experience, Esperanza blames Sally instead for covering up the truth about boys and is heartbroken about the real truth of sexuality and men. It is clear that Esperanza vividly remembers this awful experience, and just reflecting on this experience causes her thoughts to
Upon returning to the Dominican Republic after many years, Yolanda decides to take a trip across the island––something her family views as ridiculous. “‘This is not the states’ . . . ‘A woman just doesn’t travel alone in this country.” (9) This quote highlights the sexism inherent in Dominican society. Yolanda’s family is asserting that women are not individuals capable of taking care of themselves. On another hand, Yolanda’s close friendship with Mundín causes tensions as their mothers confront them about crossing gender lines. “My mother disapproved. The outfit would only encourage my playing with Mundín and the boy cousins. It was high time I got over my tomboy phase and started acting like a young lady señorita. ‘But it is for girls,’ . . . ‘boys don’t wear skirts.’” (228) This is an example of how Dominican societal norms and gender roles have impacted the sisters. Yolanda and Mundín were the only boy-girl playmates out of all the García children, yet this was frowned upon by both of their parents as to not impede the seemingly inevitable growth of Yolanda’s femininity, and conversely, Mundín’s masculinity. Moreover, this shows how societally-prescribed gender roles were instilled in Yolanda at a young age. However, this is not the only way in which women’s freedoms are
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.
The short story “And of Clay Are We Created,” written by Isabel Allende, has a strong emotional effect on the reader. Because of the imagery and desperate voice Allende portrays, the reader can realize how emotional some situations turn out to be, but in different ways than expected. The story is of a girl, Azucena, who is trapped in a mire after a volcano eruption. A reporter, Rolf Carlé, stays with her, even though they both know help is far away. While staying with Azucena, Rolf comes to terms with his past by realizing how his sister resembles Azucena being stuck without help. Allende uses strong imagery to portray the hopelessness of this girl’s life.
Yunior’s fathers only concern was obtaining the “American Dream” job security, financial stability, and owning his own home. Yunior’s childhood memory of his father are vague; they have no bond or connection, to Yunior he’s just a stranger. “ He’d come to our home house in Santo Domingo in a busted up taxi and the gifts he had brought us were small things-toys guns and tops-that we were too old for, that we broke right away.” (Diaz, 129). For a young man growing up without a father figure has a profound effect on them that lasts way into manhood. “Boys need a father figure to learn how to be a man, without having this influence in their lives, boys are at risk of growing into men who have problems with behaviors, emotional stability, and relationships with both significant others and their own children.”
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 chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Family is one of the most important institutions in society. Family influences different aspects of a person’s life, such as their religion, values, morals and behavior. Unfortunately, problems may arise when an individual’s belief system or behavior does not coincide with that of family standards. Consequently, individuals may be forced to repress their emotions or avoid acting in ways that that are not acceptable to the family. In the novel The Rain God, written by Arturo Islas, we are presented with a story about a matriarchal family that deals with various conflicts. One major internal conflict is repression. Throughout the novel the characters act in strange ways and many of the family members have internal “monsters” that represent the past that they are repressing. In his article, “The Historical Imagination in Arturo Islas’s The Rain God and Migrant Souls”, Antonio C. Marquez’s implicitly asserts a true idea that The Rain God is a story about repression. Marquez’s idea can be supported from an analysis of secondary sources and a reading of the primary text.
In John Connolly’s novel, The Book of Lost Things, he writes, “for in every adult there dwells the child that was, and in every child there lies the adult that will be”. Does one’s childhood truly have an effect on the person one someday becomes? In Jeannette Walls’ memoir The Glass Castle and Khaled Hosseini’s novel The Kite Runner, this question is tackled through the recounting of Jeannette and Amir’s childhoods from the perspectives of their older, more developed selves. In the novels, an emphasis is placed on the dynamics of the relationships Jeannette and Amir have with their fathers while growing up, and the effects that these relations have on the people they each become. The environment to which they are both exposed as children is also described, and proves to have an influence on the characteristics of Jeannette and Amir’s adult personalities. Finally, through the journeys of other people in Jeannette and Amir’s lives, it is demonstrated that the sustainment of traumatic experiences as a child also has a large influence on the development of one’s character while become an adult. Therefore, through the analysis of the effects of these factors on various characters’ development, it is proven that the experiences and realities that one endures as a child ultimately shape one’s identity in the future.
To understand fully the implicit meaning and cultural challenges the film presents, a general knowledge of the film’s contents must be presented. The protagonist, Tita, suffers from typical Hispanic cultural oppression. The family rule, a common rule in this culture, was that the youngest daughter is to remain unwed for the duration of her mother’s life, and remain home to care for her. Mama Elena offers her daughter, Tita’s older sister Rosaura, to wed a man named Pedro, who is unknowingly in mutual love with Tita. Tita is forced to bake the cake for the wedding, which contains many tears that she cried during the process. Tita’s bitter tears cause all the wedding guests to become ill after consuming the cake, and Tita discovers she can influence others through her cooking. Throughout the film, Tita’s cooking plays an important role in all the events that transpire.
Elena Poniatowska escrita durante una epoca de cambio en Mexico. Antes de sus obras las mujeres mexicanas eran sometidos, docil, y pasivo. En la tiempo de sus obras las mujeres estaba tratando salir de los estereotipos de antes. Esta problema social tomo un afecto en Elena. Aunque ella no viene de un movimiento literatura directamente, ella escrita con el concepto de compremetido. En su narrative El Recado ella crea un mujer estereotipical que no puede controlar sus emociones. La titula es eso porque ella viene a ver su amante, pero el no esta, asi ella escribe las cosas que sentia. La perspectiva es de un personaje y ella nunca interacta con otros personajes. En facto la unica descripcion de un personaje otro de la protagonista es de su amante Martin. Habla de otros personajes, pero solamente de sus acciones. Porque ellas es la unica perspectiva que tenemos es sencillo a sentar compasion para una protagonista de quien nombre no aun sabemos. Ella da la descripcion de toda que vea, y mas importante todo que se sienta. Tambien tropos y figuras retoricas dan un tono significante al poema. Estos sentimientos de la portagonista y el tono emocional de la narrativa transporta una tema de una mujer estereotipical y debil quien quiere ser reconocido.
In the novel, Bless me, Ultima by Rudolfo Anaya, a boy goes through many more experiences than any child in the hot summer days in Santa Rosa, New Mexico. He witnesses the deaths of his close friends and family. This boy expresses his emotions and grief through his dreams, only to wake up with fear and confusion in his mind. Antonio’s life is filled with dreams that foreshadow future incidents, as well as influences Antonio’s beliefs of religion and ideas of innocence.
The storm is the main metaphor in this story; it is seen as the lust that stomps through their lives like the storm rages through a single d...
Released in 1988, writers Ronald Bass and Barry Morrow created a compelling story by introducing many to the world of autism. These two writers brilliantly plotted the dramatic story of a brother's greed developing into love in the 1988 Oscar winning movie Rain Man. Charlie Babbitt, the first main character played by Tom Cruise, is an arrogant, selfish businessman, striving to be wealthy, but his business is failing. The second main character in the film is Raymond Babbitt, played by Dustin Hoffman, who is an autistic savant who lives and is cared for at a mental institution. Charlie receives word that his father, whom he hasn't had contact with in years, has deceased. His father left an inheritance to Charlie and his unknown (or forgotten) brother Raymond. Charlie inherited an antique 1949 Buick Roadmaster while three million dollars went into a trust fund designated to an unknown beneficiary. Charlie, who is furious, investigates this beneficiary and finds him to be Raymond. He also discovers that Raymond is his older brother, and the "rain man" he vaguely recalls from his childhood. Raymond was sent to the institution at age eighteen when Charlie was just two. Now Charlie's number one priority is to kidnap Raymond and to get part of the three million dollars that he thought was rightfully his. Charlie takes Raymond across country on a journey that would change his life forever. Throughout the adventure Raymond's unique abilities are beneficial to Charlie, but at the same time his limitations and rituals are most of the time more than Charlie has the patience for. Charlie, who didn't care for Raymond in the beginning, learns to love and develop a relationship with him. Charlie teaches and exposes Raymond to many new thing...