Richard Rodriguez analyzes the cultures of two places that have different points of view about how life should be lived in his book “Days of Obligation”. He analyzes the differences between the cultures of California and Mexico, naming one a tragedy and the other a comedy. The rhetorical devices Rodriguez uses include renaming the two places, and a type of reverse psychology. Rodriguez starts by giving new names to California and Mexico. California is what he considers to be a comedy and Mexico, a tragedy. This instantly contrasts the two places by associating these words with them. When thinking about comedy, happiness and laughter come to mind- a happy feeling. Opposite of this is tragedy; the word tragedy is full of sorrow and heartache. The two could not be more different. But he doesn’t just leave the reader with only their thoughts about these words- he adds to their meanings. Rodriguez defines comedy not as laughter or happiness but as youth and the ability “to start anew”- as the ability to break tradition. In the same way …show more content…
Therefore, he sees Mexico as having the upper hand, the tragedy may not be as tragic as it seemed. When there is wisdom in your life, it does not mean that no fun comes- it means that they are more apt to realize what life has to offer instead of always striving for something and missing what is happening in that moment. So while California is drifting through the clouds like a balloon with its eyes closed, Mexico is below walking on the sidewalk looking at all the shops and realizing everything that they have around them. By using this type of reverse psychology Rodriguez sheds more light on his meanings of the two words comedy and tragedy by explaining that things aren’t always as they
Hunger of Memory is a memoir of the educational experience of Richard Rodriguez and his journey as a first generation Mexican- American citizen. The book is compiled of a prologue, in which he states his reasons for writing, and six chapters with no specific chronological order. Richard Rodriguez grew up in a white, middle-class neighborhood and attended a Catholic school. He describes his early childhood as a war between his “public” and “private life”: a war between school and home. He struggled when he first started school, because English was his second language and he felt insecure about his shaky ability to communicate through it.
Adapting, though it is one of most humans’ skills, is simple for some but problematic for others. Learning a new language, culture, or a social group can be challenging. In the stories “Greasy Lake” and “Mericans”, these main characters are facing just that in the themes. Whereas the characters come from different worlds than the settings of the stories, both authors show the struggle with the uncertainty of one's identity given that the ends of the stories show the one cannot judge a book by its cover.
(Paredes, 148). He combines the two cultures, Mexican and American, but cannot form a new and whole identity out of these selected parts. Yet, Gualinto seems to be able to use this split identity to his advantage. His Mexican side is lived out in war fantasies, which torment him. He fantasizes in corrido fashion in which he fights the Anglo-Americans gaining land back that had been stolen from the Mexicans.
In the essay "Children of Mexico," the author, Richard Rodriguez, achieves the effect of relaying his bittersweet feeling regarding how Mexicans stubbornly hold on to their past and heritage by not only relaying many personal experiences and images, but also by using an effective blend of formal and informal tone and a diction that provides a bittersweet tone. Among the variety of ways this is done, one is through repetitive reference to fog. The word is used many times in the essay, especially in segments relating to Mexican-Americans returning to Mexico for the winter. One of the more potent uses reads as follows: "The fog closes in, condenses, and drips day and night from the bare limbs of trees.
“Fiesta 1980” father and son. Junot Diaz story “Fiesta 1980” is a story about an immigrant family that came to the US in the hunt for better opportunities. The story includes a myriad number of culturalisms to show that Yunior’s family is still new and that they still conserve their traditions. Nevertheless, Yunior’s family is not so different from many other Hispanic families in the US; a great amount of Hispanics families can be represented by “Fiesta 1980”.
Both Okita's and Cisneros's stories talk about the American identity and how it is much more complex than just your physical appearance or your family's heritage. Okita's poem talks about how she identifies much more with the American culture than her Japanese heritage, and it focuses on a conflict with an American girl that she has grown up with in school. Okita's classroom friend, Denise, becomes hostile and rude towards her after the passing of the executive order that targets Japanese American people. Okita writes her letter to clarify that she may be Japanese-American, but she is not the enemy and she is just like Denise. Cisneros's story focuses on how different she feels from her Mexican culture, comparing and contrasting her
However, in order for one to truly understand the arguments made by the authors they must also understand the context behind these arguments; therefore, knowing how the individual authors’ definition of bilingualism lets the reader truly absorb what points they’re trying to make and why. In Espada’s essay, he defines bilingualism as a way for a person to remain in contact with their different cultural identities. There are many areas in the essay where the reader could interpret this definition from. However, the most significant piece of evidence appears at the beginning of the essay where Espada mentions his friend Jack Agueros’ analogy to describe his bilingualism “English and Spanish are like two dogs I love. English is an obedient dog.
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.
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.
When first reading this analysis, it is not easy to recognize that Miner is talking about American’s culture. Miner argues several common actions and behaviors of Nacirema’s further in his analysis. Miner uses descriptions and words for certain things that happen in our everyday lives that we normally do not hear. By doing so, Miner allows the readers to understand what he is saying in a different perspective. First looking at the Nacirema
Soto’s “Small Town with One Road” is a poem that deeply touches upon the issues of Latin Americans stuck in small towns. With the use of literary devices such as similes and imagery it illustrates the deep pain in the townspeople’s hearts. In line 24 the speaker thinks “Papa’s fields wavered like a mirage”(Soto “Small Town”) which shows the illusion of a perfect life in small town fading away. This is a simile that hints at the imperfections hidden in the small town of the speaker’s upbringing. The imagery in the poem such as "And its black strip of highway, big-eyed With rabbits that won't get across"(Soto “Small Town” 2-3) paint a picture of what the quality of life is in the town.
Octavio Paz, a Mexican poet and essayist, is one of the many philosophers with a written piece regarding his understanding of Lo Mexicano. Paz’s “Sons of La Malinche” was first published in the Labyrinth of Solitude in 1950 and is a rather grim interpretation of the Mexican character, however, it captures the crisis of identity that Mexico was burdened with after the conquest. Paz uses the Spanish term “chingar,” (when literally translated means “to screw, to violate”) and its associated phrases to understand the conquest and the effect
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.