Plots[ edit ] The story begins with Esperanza, the protagonist, describing how her family arrived at the house on Mango Street.
Both are seen as evidence of her departure from traditional patriarchal, white European-American conventions of fiction in English in favor of a feminist, specifically Latina mode of discourse.
I would argue that Cisneros uses both, as well, to accomplish her many-layered and exceptionally economical characterizations.
Cisneros' characters "come to life" often in remarkably few words, allowing the reader to feel both a sympathy with and a sense of individuality in almost every character that give even short sketches unusual depth and clarity.
One way she achieves this dimensionality is by having her characters often first-person narrators think or speak or, occasionally, write in a way that reveals the shapes of their thought processes.
The result is a sort of stream-of-consciousness discourse that can range from barely-conscious, extremely private "thoughts" or feelings through relatively public statements, as in the notes to the Virgin in "Little Miracles, Kept Promises.
Because this is how most people seem to think unless they are deliberately using linear logic, we are invited to find the character's thought processes familiar and to identify with them.
Further, the shape of a character's thought processes helps to define her or him as an individual. The rejection of linear form in favor of a more relaxed discourse is especially important in characterizing Esperanza of The House on Mango Street, for it creates an ironic tension between the narrator's idiosyncratic ordering and emphases and the reader's reception of her narrative, which in turn allows the reader to learn who the character is "as a person" in much the same way we learn to "know" actual people with whose thought processes we become familiar.
If the shape and direction of discourse is one way of discovering character, another is diction, including the images and figures of speech that distinguish a person's language.
It is clear that Sandra Cisneros has a gift for colorful, imaginative language, but if we look closely at her fiction, we find that she uses different kinds of image and figure or sometimes their absence to portray different characters.
The speaker of "One Holy Night," for example, uses similes and other figures sparely, and not at all in connection with everyday matters, but those she does use are rich in images that are both arcane and mystic, suggestive of the ancient mythos into which she says Boy Baby initiated her: She wanted her virginity to "come undone like gold thread, like a tent full of birds"; her lover's words are "like broken clay.
Speakers like the middle-aged woman in "Anguiano Religious Articles" and the elderly man in "Los Boxers" use no real figures of speech at all, as if their tiredness, or perhaps their long practice of conventionality, had depleted them of the gift of metaphor.
On the other hand, "Rogelio Velasco" a. For example, Chayo, of "Little Miracles, Kept Promises," uses metaphor to color a catalog of specific images: Caramel-skinned woman in a white graduation cap and gown.
Teenager with a little bit of herself sitting on her lap. Clemencia, in "Never Marry a Mexican," uses perhaps fewer figures and fewer original ones than the other artist-characters, and this may be because she is bitter and unhappy; her emotions may deplete her creative imagination.
Still when she does speak figuratively, her language can be intensely original, as when she describes her relationship to her mother after her father's death by comparing it wrenchingly to a pet bird's injured leg, which eventually dried up and fell off.
The bird "was fine, really," she concludes, her brisk assessment in painful contrast to her description of the injury. And, in contrast to Clemencia, Lupe of "Bien Pretty" uses a wide range of figurative imagery, from her mock-horrific description of the cockroaches' "cannibal rites" to her metaphors for the Spanish language "That sweep of palm leaves and fringed shawls.
That startled fluttering, like the heart of a goldfinch. Like Chayo's figures, but more playful and less grown-up, are those we find on practically every page of The House on Mango Street. Esperanza talks of cats "asleep like donuts," a big, clumsy dog "like a man dressed in a dog suit," hips on a maturing girl "ready and waiting like a new Buick with the keys in the ignition," two little black dogs "that leap and somersault like an apostrophe and comma.
And, appropriately, Esperanza's figures of speech, even when they are so wildly far-fetched as to be almost conceits a Cadillac's smashed "nose" is "pleated like an alligator's"are almost always similes, the simplest, least "mature," form of metaphor.
Thus form, in Cisneros' fiction, seems to exist primarily not for its own sake, nor to further any theoretical or political program, but for the very respectable purpose of advancing the sketches and portraits of that fiction's characters. Both in the non-linear shapes of the pieces and in the language of the characters themselves, form is here a means to the end of making these human sketches and portraits come to life.Critics praise Sandra Cisneros' fiction for, among other things, her use of non-linear form and her colorful, image-rich language.
Both are seen as evidence of her departure from traditional (patriarchal, white European-American) conventions of fiction in English in favor .
Sandra Cisneros' early life was a subject she would later draw on as a writer in books like The House on Mango Street. She was the only daughter among seven children in her family. Cisneros’ family and father specifically did not initially support her writing. Her father never wanted her to be an author.
Sandra Cisneros writes about working class Latino life in America and has won many awards for her writing.
She is best known for her book, “The House on Mango Street.” The themes in her writing include the meaning of home, belonging, crossing boundaries and cultural expectations of women. Sandra Cisneros, (born December 20, , Chicago, Illinois, U.S.), American short-story writer and poet best known for her groundbreaking evocation of Mexican American life in Chicago.
After graduating from Chicago’s Loyola University (B.A., ), Cisneros attended the University of . Woman Hollering Creek and Other Stories is a book of short stories published in by San Antonio-based Mexican-American writer Sandra lausannecongress2018.com collection reflects Cisneros's experience of being surrounded by American influences while still being familially bound to her Mexican heritage as she grew up north of the Mexico-US border.
The House on Mango Street is a novel by Sandra Cisneros that was first published in Here's where you'll find analysis about the book as a whole, from the major themes and ideas to analysis of style, tone, point of view, and more.
Themes; Motifs; Symbols; Writing Help. Get ready to write.