Women Minority Experience in Baby of the Family, and House on Mango Street
The two novels Baby of the Family, and House on Mango Street expose the minority experience through the perspective of a child, struggling to find an identity in their own unique views of the cultures they are growing up in. The life of Lena's family, one of an upper class African American family in the southern part of the United States, appeals to the ideal of the New American as her family blends the dominant culture with their minority background in their everyday life experiences. Esperanza is a Hispanic youth, growing up in a barrio, where there is not much to offer the Hispanic locals. She ultimately feels the profile the of the New American in her view of attaining a better life, and escaping the suffocating prescence of the barrio, while still remembering her ethnic roots.
Both these characters apply to the classification of the Double Minority in the obvious aspect of being females, and of course their relationship of being in a minority culture. In Baby of the Family, author Tina Ansa exposes the reader to the perspective of a child living in a dominant culture oriented household, that is trying to latch on to some very important traditional aspects of their minority background. Esperanza in House on Mango Street struggles to find her identity in a society discriminating against her not only as a minority, but her genders hinders her advancement also.
The authors of these two minority novels corelate these ideals and explore the hardships these two character face as struggling to become the New American while being classified ultimately as Double Minorities. A few of the common apects shared by the two novels include the common...
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...alls these children experience. These two children take the ideal of the "New American" and expose it as they find ways to live in a world in which they walk a fine line between the two clashing cultures. The "Double Minority" role plays an important and attempt to overcome the barriers in their own cultures. The cultures ultimately take on a new definition as time progresses, because there is truly not a definite distinction anymore.
Works Cited
Ansa, Tina McElroy. Baby of the Family. Harcourt Press; San Diego, 1989.
Blicksilver, Edith. The Ethnic American Woman. Kenall/Hunt Publishing; Iowa, 1978.
Cecil, Andrew R. The Meaning of the Family in Society. University of Texas; Dallas, 1991.
Cisneros, Sandra. The House on Mango Street. Vintage Contemporaries; New York, 1991.
Murray, Alma. Black Perspectives. Scholastic Books; New York, 1971.
The novel Brown Girl, Brownstones is a fiction story that is about an immigrant family from the Caribbean country of Barbados and their struggles in America. The story is set in New York during the time between The Great Depression and also World War II and is told in a third person point of view so that the reader, being us, understands different components of the story. The story’s main character is a girl named Selina Boyce and the story is told through the stages of her life from when she was around ten years old up to when she was around her early twenties. Immigration, specifically race, played a large factor in the story, with race hindering opportunity, and different characters coping with race in different ways. (Thesis statement)
Throughout The House on Mango Street Esperanza learns to resist the gender norms that are deeply imbedded in her community. The majority of the other female characters in the novel have internalized the male viewpoint and they believe that it is their husbands or fathers responsibility to care for them and make any crucial decisions for them. However, despite the influence of other female characters that are “immasculated”, according to Judith Fetterley, Esperanza’s experiences lead her to become a “resisting reader” in Fettereley’s terminology because she does not want to become like the women that she observes, stuck under a man’s authority. She desires to leave Mango Street and have a “home of her own” so that she will never be forced to depend on a man (Cisneros 108). During the course of the novel Esperanza eventually realizes that it is also her duty to go back to Mango Street “For the ones that cannot out”, or the women who do not challenge the norms (110). Esperanza eventually turns to her writing as a way to escape from her situation without having to marry a man that she would be forced to rely on like some of her friends do.
“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.
Through strong dramatic plots, characters and music, melodrama has created an engaging, well-developed form of theatre. But melodrama is not limited to one category. Like other forms of the theatre arts, melodrama can be further broken down into Victorian melodrama and Modern melodrama. As the names entail, Victorian melodrama was practiced in the Victorian Era (1837-1901) whereas Modern melodrama is still being performed today. Both equally exaggerated and emphasizing the good vs. evil conflict, these two forms of melodrama have shaped the stage theatrically and developed complexity in character and plot development.
Esperanza is first influenced by an experience out of her control when she is forced to uproot from her previous home and move to a new house on Mango Street. Her initial idea of the house was that it was just another house; falling apart like the ones before with,
Although, African Americans are considered minorities in the United States, not all of them live in poverty. Many African Americans live in a middle class society along with the dominant culture. However, many African Americans do not live in a middle class society, but rather live in poverty and have to suffer along with this poverty. For instance, Donald Goines’s Black Girl Lost and Tina McElroy Ansa’s Baby of the Family, two narrative novels, that illustrate the difference in two young African American girls lives and the society in which they inhabit. Not only do these young African American girls represent the two sides of poverty, they also represent how children can also qualify in the minority category. For example, Sandra lives in a run down apartment with a drunk mother who could care less about her daughter. In addition, Sandra remains all on her own and has to find ways in which to survive each day. But on the other hand, Lena lives in a nice size home with her two parents, her two brothers, and her grandmother, all who love her very much. Moreover, Lena has many family members who look after her and take extra special care for her because she is the baby of the family. Although, both Sandra and Lena lead very different lives, both are faced with challenges as a minority and as a child which questions their view on life.
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).
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.
Jose de Goya y Lucientes was born on March 30, in the year 1746, in Fuendetodos, a small village in northern Spain. At the age of fourteen he became an apprentice for a local artist, Jose Luzan. Later he traveled to Madrid where he took interest in the last of the great Venetian painters. After attempting and failing to enroll in the Royal Academy of San Fernando, Goya then traveled to Rome, Italy. Then on to Sagossa in 1771 where he painted fresco in several local churches, establishing a reputation.
Dichter, Ernest. "Why Do We Smoke Cigarettes?" Why Do We Smoke Cigarettes? The Psychology of Everyday Living, 1947. Web. 10 Nov. 2013.
She wanted to give a little sense to the audience on how her life was growing up. Aspired to her life Cisneros writes about conflicts dealing with feeling alone, disgraced, poverty and cultural reliability. As similar to Esperanza the character in “The House on Mango Street”, she would describe her penniless young child, who yearns for security in the house. Making a connection to the book moving for Cisneros was as a nauseated and unpleasant occurrence. Cisneros stated that relocating into neighborhood as in” France after the World War 2”. Meaning that the building was collapsing and the place were dead. In addition, Esperanza had no voice when it comes to authority meaning that she is pressure of being married than having an education. This shows a connection because her father wanted her to go to college just for finding a husband. She stated, “All that college wasted, and still no husband” she had realized that she has been disgracing her father’s approval in chasing her dreams than chasing a man. Prior to her life experiences the novel, the characters were a variety of people who she had encounters at different times in her
An immigrant from Mexico who lives on Mango Street appears to be timid and anxious about this new land and all the people in it. The title of the book, The House on Mango Street, includes vignettes written by Sandra Cisneros. The vignettes cover the story of Esperanza, the immigrant, in which the young girl offers insight on many of the events that occur around her neighborhood. Deducted from her actions, Esperanza is a person who is a bad role model. Because she is afraid, ashamed, and inconsistent that makes her a poor choice for a role model.
The House on Mango Street shows how Esperanza’s pure outlook on life gradually changes, becoming more realistic and sophisticated. Mentally transitioning into adulthood is an organic part of life that all readers can relate to. Loss of innocence through experience is inevitable and ultimately irreversible. However, these moments are
The phallus is symbolic of male dominance and power. Puss’s pride of his own endowments is a prevalent theme throughout the story. Puss is often seen to glorify and commend his own physique, which leads him to groom himself through-out the novel. This suggests that t...
Papa for example is a hardworking man and does what he must do to make ends meet. Esperanza’s family may represent the typical immigrant family; Hence, Esperanza’s parents are both hardworking, loving, supportive and very caring. Many immigrant parents are very selfless and give everything they have for their child to succeed. Esperanza is the Chicana who is fortunate enough to have this support and move ahead in life. Although she may not have the money, she has the support and Sandra Cisneros does a great job emphasizing on the importance of a community, of a family in order to