" She notes that this process involves environment and psychological factors combined, and involves "coming to terms with multiple social and cultural forces" in addition to coming to terms with internal and external issues that often impede Chicana women from realizing "individuation" or understanding their sense of individual self (77).
The author notes that a recurrent theme in much of Chicana literature centers on the evolvement of a child into an older women, and that in fact a majority of the literature related to Chicana women focus on the process of self development that is not just a search for identity, but rather a method for engaging Chicana readers and exploring or articulating a process that will ultimately lead to the awakening of the female lead in a work (Eysturoy, 1996). This process is often seen as a means to inspire Chicana women in their rite of passage.
Other narratives and works focused on Chicana women that focus on older rather than younger women tend to be according to Eysturoy, more "confessional in nature" suggesting that a Chicana women as she grows old must re-examine their past heavily in order to arrive at a better understanding of her female self, both as an individual and as a sexual being.
The focus of much of Chicana works seem to be an emergence of the self via interactions with oneself and the world at large according to many. The path toward self development and definition for many Chicana women is often portrayed as connected to the process of creation (Eysturoy, 1996). This is perhaps the result of a new movement toward feminism and self recognition for Chicana women.
Chicana women have for some time faced masculine domination and the notion that women are weak passive and should be dependent on men for their livelihood and to find meaning in life (Canut et. al, 1993). This sentiment is evidenced by many Chicana women who believe that their sexuality in some respect in the past has condemned them by enslaving them to men, and this very act of enslavement often lead to self-hatred (Cantu, et. al, 2003). To find their sense of self and personal identity, Chicana women often have to first overcome the myth or notion that they are in some way inferior in part because they are women (Canut, 1993). That is why much of the literature aimed at Chicana women attempts to liberalize them by freeing them from oppressive roles handed down by a patriarchal society (Cantu, et. al, 1993).
Women have for years in the Chicana culture been subject to the concept that they should be barefoot and pregnant, subordinated and under-appreciated, resulting in a lack of unit between men and women (Vidal, 1972:31). This is an old belief that perhaps has led to some suppression of women's sense of sexuality and self-worth.
Martinez (2002) points out that Sandra Cisneros adequately captures the image of a Chicana looking to discover her sexuality and own path in her work, "The House on Mango Street." In this work the author portrays the Chicana woman as someone who stares out of a window, waiting inside locked doors for their spouses to return or for something extraordinary to occur within the course of a day (Martinez, 2002). Women are images of what many Chicana women see their reality to be ... A life where they do not initiate their own lives and do not get to chose their own spouses, a life where they do not get to choose whether or not they have sex or get pregnancy, and are for the most part considered 'bad girls' (Martinez, 2002).
This book however like many others takes on the standpoint however that this method of existence is not acceptable, that women need to create her own path and her own sexual choices. There is much urging among the Chicana community for females, whether characters in novels or in real life to make their own sexual choices and "control their erotic fantasies" (Martinez, 2002).
The modern Chicana woman does not find shame or disappointment to herself, and does not feel the need to marry to find respect within her culture. Rather she is independent, strong and sexually alive (Martinez, 2002). The later depictions of Chicana's show characters acting on their own sexual desires and determining how their lives should be structured, without the help of masculine role models (Martinez, 2002).
In fact, the Chicana woman as a sexual being can best be described as 'blossoming.' As Martinez (2002) points out, recent portrayals of women as intellectuals in control of their destiny and in control of their sexual desires and experiences act as a metaphor...
She feels she doesn't really belong to that house because that is not the house of her dreams. That is what prompts her to start writing. Her creative pursuits help her stay sane so she doesn't feel so trapped by the "ghost" of the sad red house. "I put it down on paper and then the ghost does not ache so much. I write it down and Mango says
Esperanza transforms into a girl who wants nothing else but to leave the house on Mango Street and all the neighbors behind into a woman with a real sense of responsibility to the people in her neighborhood. She goes from thinking only of herself to really considering the lives of those in her community. This sense of responsibility and her set of values show that Esperanza has transcended even herself. Esperanza's
" Thus, although she is not aware as such of her position in society, she realizes however that the house they moved to does not correspond to what her family had been dreaming about. The small and crammed house offers almost as little space as the other places they lived in. When describing the small house, the author introduces the single metaphor in the speech of the child narrator, saying that
The frequency of window imagery in the novel highlights both the importance of expectancy ("Esperanza) and houses. Esperanza's namesake was said to always be looking out of a window, after she was 'carried off' by a man, symbolizing Esperanza's fears of maturity. Esperanza is ashamed when people point to her house through windows, like the nun at her school points at the house from a window to indicate why
House on Mango Street by Sandra Cisneros [...] theme of search for self-definition. The protagonist of this novel, Esperanza, narrates a series of "chapters" concerning her life, her world, and the barrio as she sees it happening around her. Throughout the book, as Esperanza watches the world, she struggles to discover just who she is, and where she fits in the world around her. This self-definition is a compelling
House Mango Street Sandra Cisnero"(book) the question paper: Is book represe It would be exceedingly difficult to represent all of Latino culture in any book, regardless of how talented the author is. Nonetheless, Sandra Cisneros is that rare breed of author for whom, particularly as it relates to her unique blend of poetry and prose, virtually nothing is impossible. She has been hailed as "a major literary talent" (Cruz, 2010,
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