Richard Rodriguez’s memoir, Hunger of Memory, and Sandra Cisneros semi-autobiographical collection of short stories, House on Mango Street, encompass juxtaposing perspectives with regards to space. Rodriguez’s expresses the purging of one’s past ethnic roots, including his association with the Chicano/x community. He develops his public voice through his mastery of English and his astute scholarship. Cisneros and Rodriquez alike expose the bleak realities of their experiences with regards to their affiliations with their ethnicity. Cisneros proclaims authority by embracing her cultural hybridity. Rodriquez’s acculturates within the bounds of Western practices, which enables his public voice to be heard. Hunger of Memory and House on Mango Street …show more content…
Rodriquez expresses a deep nostalgia for his loss of his private life. He encapsulates the private sphere with the Spanish language, familial relations, ethnicity, and the Chicano identity. Spanish becomes an intimate and romanticized notion of his culture, he fears the meaning is lost in translation, “The problem was ... that though I knew how to translate exactly what she had told me, I realized that any translation would distort the deepest meaning of her message: It had been directed only to me. This message of intimacy could never be translated because it was not in the words she had used but passed through them” (31). Rodriguez’s inability to distinguish between ethnicity and race is problematic. He lump-sums race and ethnicity without identifying their incongruences because race is a social construct in contrast to ethnicity that is based on choice. Furthermore, ethnicity can be used as a resource for identity formation, Cisneros in her short story “My Name” she expresses her encounter with the foreignness of English and illuminates the beauty of Spanish, "At school they say my name funny as if the syllables were made out of tin and hurt the roof of your mouth. But in Spanish, my name is made out of a softer something, like silver" (13). Thus, ethnicity is not a corrective measure in relation to race, but rather a tool that augments cultural
Mr. Rodriguez quit his job at the People’s Tribune at the age of 39 to dedicate his life to writing and promoting his books. All of Luis Rodriguez’ books have the same overall theme, morality and reality. He wants his writing to portray his own imagination and truths that he grew up around. He traveled all over the world as a known author and poet in Rome, London, Paris, Amsterdam, Milan, Holland, Austria, Germany, Nicaragua, and
Richard Rodriguez’s claim about a person's identity is the using race as a basis for identifying Americans is not valid; culture should be what defines a identity. Richard Rodriguez says that newcomers were being “welcomed within a new community for reasons of culture. “ (136-137). Richard Rodriguez says that newcomers were welcomed when they were identified by their culture. Richard Rodriguez also says “I am Chinese, and that is because I live in a Chinese city and I want to be Chinese.“
In the autobiography ‘Hunger of Memory’, Richard Rodriguez offers a nostalgic portrayal of his past and an evocative analysis of his life through his words. ‘Ricardo’ Rodriguez, the child of Mexican immigrants who relocated to America for a better life, was quick in analyzing the effects the cultural change brought on him. He recounts the memories of his youth and digs into his childhood on how his education in America impacted him as a person. Although his experiences are his own; the message of this book is rather universal, highlighting the synergistic relationship of culture and education. To be an ethnic American is a culture all on its own.
Believe it or not, people are not entirely unique. It is certain that no one is truly the same as another person, but it would not be ridiculous to think that everyone does in fact share many similarities. After all, the majority of the population grows and develops opinions or values based on what they see or hear. For Esperanza, the protagonist of Sandra Cisneros’s, The House on Mango Street, the perspective she has is built upon her childhood on Mango Street. This coming-of-age novel illustrates how Esperanza’s experiences on Mango Street play an important role during her period of growth.
One of the area of conflict that rose in the book involves the usage of the English language in relation of the family’s native language, Spanish. As a Mexican-American raised in the States the exhibition of the English language, whether the use of the tongue is fluent or not, cause a strain in the Mexican culture as the culture takes in consideration of their romance and richness of history in their native tongue (Rothman 204). Language represent the supporting backbone of a person as the progress in life as the ability to communicate without misunderstands, however a person can cause the loss connection to the past romance of the culture and art of cultivation that brings the language to lifes from their inabilities to comprehend the ability/asset to its fullest potential (Rothman 204). To fully understand the true meaning behind a spoken chain of words can be understood by the method of trying to first comprehend the cultivation of the word and the definition behind them. Cisneros embeds the use of Spanish in fragments depicting a sense of reality within a fictional novel, Caramelo, as well with the use of interchangeable dialogues with spanish phrase to express the illustration of Celaya’s family and the culture in which is translate in of importance of pride.
In Rodolfo Gonzales' poem “I am Joaquin”, Gonazales writes to raise awareness of the struggles of Chicano people during the Chicano movement in the 1960s. He discusses the issues that have ceased the Chicano people from earning equality in America. Throughout the poem, Gonzales’ uses the tactic of comparing opposing objects through extended metaphors to illustrate that he is both the oppressor and the oppressed. On many occasions you can see Gonzales’ using the technique of repetition and extended metaphors to solidify the fact that as a Chicano man he is both the oppressor and the oppressed.
To add to the misinformation, the Hispanic category is then compared to other races, which only “constructs a fallacious equation” (408) since a term that signifies culture cannot be compared to a term that signifies race. These false perceptions lead to even more emphasis on race and cause humans to cling to separate identities. Once separated, there is no longer interest in commonalities but rather contempt because of differences, as seen in the example of a group of Laotians’ hatred for Mexicans living nearby. For this particular case, Rodriguez has shown that
Anzaldúa was a Mexican American who was a well-known writer and had a major impact on the fields of queer, feminist, and cultural theory. Her most famous work is Borderlands/La Frontera: The New Mestiza which includes poems, essays, and short stories. Anzaldúa was no stranger to the use of literary theories in her writing, which is evident in her short story “How to Tame a Wild Tongue.” Here, the author uses a combination of feminist, reader-response, and psychoanalytic theory to show the struggle of being oneself when they’re Mexican-American. Through the use of feminist theory, she explains how a female is labeled as an “habladora” when she tries to voice out her opinion about something; reader-response theory provides the reader with an understanding of the struggles of self-identity, which they are able to relate to, especially Mexican-Americans; and lastly, psychoanalytic theory illuminates on her childhood experiences, which could explain why Anzaldúa believes in what she does, such as the idea that Anglo people have tried to tame her tongue—in other words, her language.
“No, this isn’t my house I say and shake my head as if shaking could undo the year I’ve lived here (Cisneros 106).” This quote shows Esperanza’s unwillingness of accepting her poor neighbourhood because of the violence and inequality that has happened in it. In the House on Mango Street, the author, Sandra Cisneros, shows that there is a direct link between inequality, violence and poverty. The House on Mango Street shows women are held back by the inequalities that they face. Cisneros shows that racism prevents individuals from receiving job opportunities which leads to poverty and violence.
Situated near the U.S.-Mexico border during the early twentieth century is the fictional setting of Fort Jones, the outskirts of which is where Americo Paredes’ short story “Macaria’s Daughter” takes place. Emblematic of the disappropriation of Mexican land, as well as the increased marginalization of the Mexican people, the overbearing presence of Fort Jones reveals the struggle for preservation that characterizes the Mexican-American community of the story. “Macaria’s Daughter” is the tragic account of what happens in a small community when the upholding of Mexican values and institutions, and opposition to Anglo-American culture, become more important than a young woman’s life. In this essay, I will argue that “Macaria’s Daughter” is a text
“Oranges,” “The Seventieth Year,” and “Avocado Lake,” showcase Soto’s ability to move a reader using an emotional story without the use of rhyme or rhythm. Through Soto’s poetry, he indicates the traits that define Mexican-American community
Cofer addresses the cultural barriers and challenges that Latinos experience through emotional appeal, anecdotal imagery, parallelism and the use of effective periodic sentences. In her article, Cofer assesses the difficult cultural hurdles of Latin Americans with emotional appeal. She provides insight on her cultural barriers by first conveying the way she had to dress and her struggle, as it shows in this piece of text, “That morning I had organized… which to base my decision” (Cofer 5). This poignancy works to stress an agonizing feeling of uncertainty and restraint towards the author.
The House on Mango Street is set in a poor, primarily Hispanic neighborhood. Author Sandra Cisneros creates an atypical, yet easily digestible world for the reader to experience while learning about Esperanza’s childhood. The culture of her environment influences Esperanza’s development as she becomes a young woman, and contributes to the book’s driving theme of self-empowerment. Mango Street is the source of Esperanza’s growth through her childhood, and it hides sadness and longing underneath stereotypes of Hispanic people. The characters that live in the broken-down neighborhood all seem to represent pigeonholed views of Latino individuals.
In addition to contributing to the barrio authenticity through mise-en-scène, murals serve as a counter-discursive visual narrative to underscore the underlying myths or discourses revealed in this analysis, especially issues of bilingualism and biculturalism which are at the core of Chicano identity. As Fregoso (1993) points out in her analysis of Yo Soy Joaquin, Yo Soy Chicano, and Chicanas, murals have played a key role in both Mexican and Chicano social and political movements and in film. Therefore, from a multimodal and genre perspective, the depiction of murals in the film is both an intertextual reference to previous films in which murals have figured prominently and a subtext about Mexicanidad and Chicano history reflecting social justice issues.
In the poem “To live in the Borderlands means you”, the borderlands become a place of change, such as changing from just one culture or race into a diverse culture or race and not-belonging. (Singh, A., & Schmidt, P. 2000). The poem describes how the author’s own background ethnicity people, mixicanas, identifies people like her, chicanas, as “split or mixture that means to betray your word and they deny “Anlo inside you.” (Anzaldua, F. 1987). The poem describes that the borderland is a place of contradiction, such as of home not being a home.