Suppose your mother has hammered into your head over years to marry a man unlike your father. You may not ever marry, you may even become a harlot. Now, suppose have six siblings and you are the only daughter. Your Mexican fathers’ only expectation is for you to marry. You end up not marrying, but always seeking your father’s approval. These are the fascinating cultural enriched protagonists in “Never Marry a Mexican” and “Only Daughter” by Sandra Cisneros. The cultural expectations of these women and the roles they decided to take went against what older generations had demanded or saw fit. These protagonists challenged these expectations with the roles they chose and I instantly became a fan. Sandra Cisneros is a Latina American …show more content…
Sandra writes of things based on truths, about experiences she has had or those that others around her have experienced ("Sandra Cisneros, Reading, 8 Oct. 1996"). She writes about truth and builds upon this to create her stories. She uses first-person narratives told to us by the protagonist to represent gender roles and the culture expectations for Mexican Americans girls. Roles and expectations that hold women back in the modern day. She also offers views of women in a not so appealing light as they search for their identity. While reading Cisneros work, there is a definite theme that is no doubt inspired by her parents, her upbringing and the Mexican culture. A theme of different female roles and expectations based on the Mexican American culture. Sandra breaks down barriers and standards and moves forward with more modern day thought and ideas on the female role and mixes authentic Mexican culture with American and highlights some struggles for women in “Never Marry a Mexican” and “Only Daughter”. Sandra Cisneros has a very soft and child-like voice. Listening to her speak and read her stories makes them more enjoyable because she is a great story teller. Sandra states “I 'm trying to write the stories that haven 't been written. …show more content…
She writes characters that can be more than just a wife and mother. Women that can be educated, they don’t have to marry at all and they can even be promiscuous and cold hearted. Sandra forces open gender roles and culture barriers. Sandra’s writings empower women of all cultures to create their own identity and expectations for themselves. She uses her Mexican American culture to express this. The female protagonist are successful in bending the traditions of their culture but they end up not feeling so great afterwards. Breaking traditional views feels wrong to the protagonist and they are left seeking approval and feeling
The author of Mexican Lives, Judith Adler Hellman, grapples with the United States’ economic relationship with their neighbors to the south, Mexico. It also considers, through many interviews, the affairs of one nation. It is a work held to high esteem by many critics, who view this work as an essential part in truly understanding and capturing Mexico’s history. In Mexican Lives, Hellman presents us with a cast from all walks of life. This enables a reader to get more than one perspective, which tends to be bias. It also gives a more inclusive view of the nation of Mexico as a whole. Dealing with rebel activity, free trade, assassinations and their transition into the modern age, it justly captures a Mexico in its true light.
“I Am Not Your Perfect Mexican Daughter”, by Erika L. Sanchez is a novel of shattering stereotype, Mexican teenager coming-of-age. Introducing Julia Reyes, fifteen-year-old teenager who desperately wants to go to college She’s a very outspoken sarcastic feminist with big dreams and a real hunger for art. The daughter of undocumented Mexican immigrants Ama and Apa, living in a apartment infested with roaches. She’s filled with anger almost all the time and perpetually bitter because she is poor. Suffering from the loss of her prude older sister, Olga, who died by being run over by a semi-truck. Julia battless with the death of her sister Olga, her parents are having a challenging time with Julia not wanting to be a perfect Mexican daughter. However, for Julia her life needs more than being your traditional Mexican daughter have a good office job, marrying a Mexican, raising children, and preparing tortilla until the day she dies. In which, Ama struggles with daily, on why Julia just can’t be perfect like her dead sister Olga. Even though families are based on culture and
Oftentimes, societal problems span across space and time. This is certainly evident in Julia Alvarez’s How the García Girls Lost Their Accents a novel in which women are treated peripherally in two starkly different societies. Contextually, both the Dominican Republic and the United States are very dissimilar countries in terms of culture, economic development, and governmental structure. These factors contribute to the manner in which each society treats women. The García girls’ movement between countries helps display these societal distinctions. Ultimately, women are marginalized in both Dominican and American societies. In the Dominican Republic, women are treated as inferior and have limited freedoms whereas in the United States, immigrant
In “Like Mexican” Gary Soto’s grandmother uses her wisdom and an advising tone in order to encourage Gary to marry a Mexican girl who is financially poor and is like a “house-wife.” A traditional family such as this author’s shares an outlook how marriage is significant and culturally supervised by the parent or the grandparents. The grandmother looks toward a homogamy for Gary’s marriage. The grandmother’s conversational style is most defined throughout “Like Mexican” since it began with the grandmother’s advices and throughout the essay Gary was yet again spoken by his grandmother. The repetition of the thought constantly wraps around Gary’s mind. In contrast, the essay “Gender in the Classroom” strikingly separates the male and female student’s own conversation styles. From Deborah Tannen, males are likely to speak up to show their “contribution” and to “express themselves on the floor.” Also, male students tend to find the “public classroom setting more conducive to speaking” in a large group. (Tannen pg. 285). However, in “Like Mexican” as the audience, we were not introduced with many of Soto’s male friends or a male gathering in order for Soto to express his thoughts and feelings. In another opposition in “Gender in the Classroom” “most women are more comfortable speaking in private to a small group they know well.” (Tannen 285). In other words, female
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
Sandra Cisneros short story “Woman Hollering Creek”, has many allegories about culture, morality, and gender roles.
Using both English and Spanish or Spanglish the author Gloria Anzaldua explores the physical, cultural, spiritual, sexual and psychological meaning of borderlands in her book Borderlands/La Frontera: A New Mestiza. As a Chicana lesbian feminist, Anzaldua grew up in an atmosphere of oppression and confusion. Anzaldua illustrates the meaning of being a “mestiza”. In order to define this, she examines herself, her homeland and language. Anzaldúa discusses the complexity of several themes having to do with borderlands, mestizaje, cultural identity, women in the traditional Mexican family, sexual orientation, la facultad and the Coatlicue state. Through these themes, she is able to give her readers a new way of discovering themselves. Anzaldua alerts us to a new understanding of the self and the world around us by using her personal experiences.
Cofer, Judith Ortiz. "The Myth of the Latina Woman." Bullock, Richard, Maureen Daly Goggin and Francine Weinburg. The Norton Field Guide to Writing. Ed. Marilyn Moller. 3rd. New York: W.W. Norton and Company, 2013. 806-812. Print.
Growing up everyone has certain roles to perform; gradually your roles can change once you are freely able to express yourself without any restrictions. Unfortunately just like thousands of other women in the world at the time, the women of Mexico were limited and had role in which they followed. A challenge Mexican women had during their early times was that, “no unmarried women under thirty could legally leave her parental home” (Soto, 10). This limited women to their own individuality as they were force to stay home and take care of their parents since there was no husband to tender for. Every women wanted to get married so that they can grow older a...
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
In the story Jubilee by Kirstin Valdez Quade A young very bright Latin American woman, Andrea, struggles with feeling like she’s been accepted in today’s society despite all of her achievements. These feelings tend to peak and turn negative whenever she’s around the family of her father’s lifelong employer, the Lowells, and in particularly their daughter Parker. Although the Lowells, as a whole seem to love Andrea and her family, she finds that their success and good fortune directly correlates to her family’s second rate citizenship. This story reveals that obsession with being accepted as an equal can be an ever increasing stressor that can severely damage a child’s identity, social skills and ultimately lead to misplaced resentment and
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 was born in Chicago and grew up in Illinois. She was the only girl in a family of seven. Cisneros is noted for her collection of poems and books that concentrate on the Chicano experience in the United States. In her writings, Cisneros explores and transcends borders of location, ethnicity, gender and language. Cisneros writes in lyrical yet deceptively simple language. She makes the invisible visible by centering on the lives of Chicanos--their relationships with their families, their religion, their art, and their politics.
The contrast between the Mexican world versus the Anglo world has led Anzaldua to a new form of self and consciousness in which she calls the “New Mestiza” (one that recognizes and understands her duality of race). Anzaldua lives in a constant place of duality where she is on the opposite end of a border that is home to those that are considered “the queer, the troublesome, the mongrel and the mulato” (25). It is the inevitable and grueling clash of two very distinct cultures that produces the fear of the “unknown”; ultimately resulting in alienation and social hierarchy. Anzaldua, as an undocumented woman, is at the bottom of the hierarchy. Not only is she a woman that is openly queer, she is also carrying the burden of being “undocumented”. Women of the borderlands are forced to carry two degrading labels: their gender that makes them seem nothing more than a body and their “legal” status in this world. Many of these women only have two options due to their lack of English speaking abilities: either leave their homeland – or submit themselves to the constant objectification and oppression. According to Anzaldua, Mestizo culture was created by men because many of its traditions encourage women to become “subservient to males” (39). Although Coatlicue is a powerful Aztec figure, in a male-dominated society, she was still seen
In the novel, The House on Mango Street, Sandra Cisneros describes the problems that Latino women face in a society that treats them as second class citizens. A society that is dominated by men, and a society that values women for what they look like, and not for what is on inside. In her Novel Cisneros wants us to envision the obstacles that Latino women must face everyday in order to be treated equally.