The House on Mango Street
This book is so powerful because Sandra Cisneros gives a first-hand account of the everyday magic and misery of young Esperanza, simultaneously applying themes of her desire for escape and love for the people and bittersweet childhood of Mango Street. In many other novels of this sort, the dialog comes across as an extended complaint, a long and tiresome negative report of how down-trodden and hopeless is a given situation, and how arrogantly nonchalant are those who benefit from or cause it. The beauty of this book is Cisneros' deft mingling of Mango Street's poverty and low social status with its inherently human beauty and magic when seen through the eyes of a young girl. Mango Street's humanly rich qualities are what will bring Esperanza back. The mayor won't help Mango Street, so who will? Clearly, at the end of the book, she will. Her telling of their story in such a positive and invigorating light might change the mayor's mind. Reading Cisneros' brief biography on the last page says that she taught high school drop-outs, probably not from towns like Amherst or Acton, but from neighborhoods like Mango Street. Seldom can an author make a pointed social and political statement about poverty and social stratification without making it oppressive and depressing. Esperanza realizes her situation enough to want to escape it. She sympathizes with her father who wakes up in the dark every morning and is gone before the rest of the house is awake. But she is at the same time wonderfully innocent. She and her friends believe that the Earl of Tennessee's prostitutes are his wife, and no one can agree on what she looks like.
This book is like a photo album, there is no chronological story, but each snap-shot a whole story in itself. Interspersed throughout the Mango Street-specific bits, are pieces of timeless relevance, like "A Rice Sandwich." This sketch tells the timeless truth that you always want what you don't have, but once you get it, it's not so great anymore. "Canteen! Even the word sounds important!" She doesn't belong there, and the kids who do are probably wishing they could go home for lunch.
Thomas J. DiLorenzo is professor of economics at Loyola University Maryland. He is also a member of the senior faculty of the Mises Institute. DiLorenzo has also written Lincoln Unmasked; How Capitalism Saved America; and Hamilton 's Curse: How Jefferson’s Archenemy Betrayed the American Revolution — and What It Means for Americans Today. So DiLorenzo is a well known writer and an economics professor who is highly educated and qualified to write on the economic positions of the civil war. The purpose of this book The Real Lincoln is to prove that a lot of the good credited to Lincoln is merely “myth.”(DiLorenzo 1) The Author Thomas J. DiLorenzo attempts to do this by writing of Lincoln’s motives based upon quotes from Lincoln’s speeches and
Thomas DiLorenzo’s purpose in writing The Real Lincoln: A New Look at Abraham Lincoln, His Agenda, and an Unnecessary War is to portray the idea of a different side of one of America’s greatest presidents. Abraham Lincoln is indeed one of the most written about “American political figure[s]” (1). However, The Real Lincoln is devoted to revealing the true mindset and agenda of Abraham Lincoln during his time of presidency. DiLorenzo, in one single book, undermines the political choices and strategies of Abraham Lincoln. He challenges the decisions Lincoln made; specifically stating that Lincoln “could have ended slavery just as dozens of other countries in the world did” (4).
In The House on Mango Street by Sandra Cisneros, there is an emphasizes on how rough it is to be part of the low economic class . Through her words you can create an image about the way poverty affects children. She goes through the book making great remarks on the topic. The different experiences that Esperanza goes through have a lot to connect with her family's financial status. She specifically describes her feelings about the poverty they live in through three of her short stories. The three short stories in which poverty seems to be an obstacle are The House on Mango Street, Our Good Day, and Chanclas. When the book begins the downgrading of Esperanza's esteem begins with it.
way to escape the lives they lived. The residents of Mango street all had their
“Someday, I will have a best friend all my own. One I can tell my secrets to. One who will understand my jokes without me having to explain them” (9). These are the longing words spoken by Esperanza. In the novel The House on Mango Street, Esperanza is young girl experiencing adolescence not only longing for a place to fit in but also wanting to be beautiful. This becomes complicated as Esperanza becomes more sexually aware. Throughout the novel, Cisneros argues the importance of beauty and how Esperanza deals with beauty as a part of her identity. When Esperanza meets Sally a new friend, Esperanza’s whole world is turned upside down. Esperanza’s views on beauty change from a positive outlook to a negative one by watching how beauty has damaged Sally’s life.
Characteristics are what define us as human beings. When comparing and contrasting one person to another, characteristics is used to do so. Characteristics such as physical appearance or emotional perceptions help define how a person is perceived, and how we do, or do not compare in such ways. Authors use descriptions of physical characteristics to help us paint a picture in our mind of characters’ appearance from their books while, characteristics of a character’s mentality help develop a personality for us to relate to. It is important for authors to develop personality so readers can relate or understand the differences from themselves and the characters of their stories. The house on mango street is a book written by Sandra Cisneros which, is about main character Esperanza coming to age. Esperanza speaks frequently about having a house she can be proud to call her own. The house in this story represents both physical and intangible wants and needs of the main character. I cannot compare myself physically due to the difference in sex but, Esperanza and I do have similarities
Smith, K. (2013). Google employees reveal their favorite perks working for the company. Business Insider. Retrieved from: http://www.businessinsider.com/google-employee-favorite-perks-2013-3?op=1
Rosato, Donna. “Secrets to paying for your kids college.” NBC News, April 2012. Video. 26 Apr. 2014.
At the novel's end, Esperanza declares that she is too strong for Mango Street to keep her forever. What is the nature of her strength? How does Cisneros establish this characteristic elsewhere in the book?
Sandra Cisneros' strong cultural values greatly influence The House on Mango Street. Esperanza's life is the medium that Cisneros uses to bring the Latin community to her audience. The novel deals with the Catholic Church and its position in the Latin community. The deep family connection within the barrio also plays an important role in the novel. Esperanza's struggle to become a part of the world outside of Mango Street represents the desire many Chicanos have to grow beyond their neighborhoods.
The Sumero-Babylonian version of the epic of Gilgamesh, after two and a half millennia of dormancy, was resurrected by British archaeologists in the nineteenth century. Amid the rubble of an Assyrian palace, the twelve clay tablets inscribed the adventures of the first hero of world literature – King Gilgamesh, whose oral folk tales go back to at least 3000 years before Christ (Harris 1). Tablet XI contains the story of the Flood. In this essay let us compare this flood account to the more recent Noah’s Flood account in Genesis of the Old Testament.
Esperanza, a strong- willed girl who dreams big despite her surroundings and restrictions, is the main character in The House on Mango Street by Sandra Cisneros. Esperanza represents the females of her poor and impoverished neighborhood who wish to change and better themselves. She desires both sexuality and autonomy of marriage, hoping to break the typical life cycle of woman in her family and neighborhood. Throughout the novel, she goes through many different changes in search of identity and maturity, seeking self-reliance and interdependence, through insecure ideas such as owning her own house, instead of seeking comfort and in one’s self. Esperanza matures as she begins to see the difference. She evolves from an insecure girl to a mature young lady through her difficult life experiences and the people she comes across. It is through personal encounters and experiences that Esperanza begins to become sexually aware and acceptance her place and self-definition in her community.
Sandra Cisneros's writing style in the novel The House on Mango Street transcends two genres, poetry and the short story. The novel is written in a series of poetic vignettes that make it easy to read. These distinguishing attributes are combined to create the backbone of Cisneros's unique style and structure.
“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 Tennessee Williams’ 1947 play, “A Streetcar Named Desire,” Stella and Stanley Kowalski live in the heart of poor, urban New Orleans in a one-story flat very different from the prestigious home Stella came from. This prestige is alive and well inside Stella’s lady-like sister, Blanche Du Bois. Over the course of Blanche’s life, she has experienced many tragedies that deeply affected her, such as the death of her gay husband, the downward spiral in her mental health that followed, and most recently the loss of her wealth and therefore social status. She constructs a proverbial lampshade to mask her pain and to control the last part of her world that she is able to, the image she projects into the world for herself and others to see. The brooding prince of William Shakespeare’s “Hamlet” chooses a very similar way of coping with the hand life has dealt him. When his mother remarries his uncle only a month after his father’s passing, the ghost of Hamlet’s father visits the young prince demanding avengement. These events cause Hamlet to try to replace the old lampshade that helped him cope with reality by changing his own image and fooling himself and others into thinking he’s crazy. An examination of both plays reveals that the importance of subjective truths and the way in which Blanche and Hamlet use them to cope transcends the context of both plays.