When Esperanza considered the homes on Mango Street, they represented the feeling of a prison that traps the family, but especially the women, and leaves them with little hope. Esperanza dreamt of an extravagant home all to herself and this meant freedom, independence; she felt it was her destiny for her writing. Unfortunately, the home on Mango Street symbolized to Esperanza poverty and shame which overtime became embarrassment. Ashamed of her home, she wishes not to even mention where she lives even telling people she lived somewhere else. Somehow by denying where she lives, Esperanza feels she erases that she lived there.
She becomes obsessed with the patterns of the wallpaper, but she mainly notices a woman that she thinks is trying to free herself from the confines of the wall. During the day this woman is still, but when night time comes around, it seems as though the woman creeps around. Towards the end of the story, the narrator has a breakdown and thinks that she is this woman inside of the wallpaper, and begins to perform similar actions like creeping around. This meaning of this scene is simple cause and effect. Not only did she already have postpartum depression, but she is basically trapped in this house for a whole summer with nothing to do so she can heal.
In The House on Mango Street written by Sandra Cisneros, the dominant theme for these collection of vignettes is the dreams and beauty expressed throughout the book using poetic devices. For instance, Esperanza grasps onto the dream of having her own house as she remains discontented with the house on Mango Street. On page 5, she stated, “I knew then I had to have a house. A real house.” Esperanza clinging onto her dream house indicates that she doesn’t want to belong on Mango Street. She also uses repetition to emphasize a few phrases.
In our society today people can take relief in knowing that sometimes hardship can cause one to have a new appreciation for life, or in the bird's case, "freedom". In “Elanor Rigby” loneliness is a major recurring theme throughout the song. In the second stanza, Eleanor is introduced as a woman who cannot face the world as herself. She wears a “face that she keeps in a jar by the door” (Eleanor Rigby, lines 6-7). Literally, this can be interpreted as makeup or a form of mask.
Esperanza’s Achievement of Cultural Identity and Autonomy In the coming of age story of Sandra Cisnero’s novel The House on Mango Street, the author uses simple but profound language to express the young girl and main character, Esperanza’s, goal is to become an autonomous individual who controls her own choices. She is driven by her observations of the many trapped and powerless people of Mango Street. This desire is physically represented by her dream of a new house in a different place—at first it is a house for her family, but at the story’s end, it is a house she owns alone, where she can write. It not only symbolizes her dream of agency of trying to change her name to something that shows the “real” her. This novel also presents identity
The life that Nieve lived before made her want to change. The people Nieve has surrounded herself with also make her a different person. It is shown here, “If I want to feel a part of ‘this world’, I need to stay in this circle and not feel so disappointed, much less lose heart”(pg.200). In order for her to feel like she fits in, she lets the people she hangs out around shape her to be quiet and kept to herself. It also makes her another person who is not at all herself, and forces her to keep her true feelings in her diary.
The short story doesn’t give us much background on the characters; so their names tell the rest of their story. First off, Connie, the main character, has a very subtle, and somewhat controversial, hidden meaning. From my perspective, Oates named her Connie due to the fact that she always conjures up something. When she’s at home, she often conjures up conflict concerning her mom and sister. She does not do her chores, unlike her perfect sister, who always does her’s; she gawks at herself in the mirror, much to her mother’s disapproval; and she is filled with “trashy daydreams” that have done wonders to corrupt her mind.
After finishing her work, Araceli goes into her room which is described as her sanctuary, then “She pulled the comforter up to her chin, and was aware how childlike that gesture was, to seek solace in the softness of fabric” (41), which illustrates a theme of her solitude and isolation happened in her private space, her room, her sanctuary. She enjoys her apartness from the world especially the strange rich world when she is alone, nevertheless, she is never fully herself and wakeful at work. She is a special Mexican woman, not like Guadalupe, the former nanny who is humorous and talkative. She does not try to assimilate into the rich community, instead, she appreciates her solitude. She thinks again in a contemplative silence that “How can we live in such a big world, where hooded sweatshirts and baby ballerina dresses circulate from north to south, from new to old, from those who pay retail to those who pay for their clothes by the pound?” (273), thus, the boundary she set for herself as a poor person strengthens her solitude, which brings a great impact on how society sees the boundary between rich and
Joyce Carol Oates’ “Where Are You Going, Where Have You Been?” leads the reader to believe both Connie and Arnold Friend battle with their identity. As Oates begins the story, she introduces Connie as “shallow and vapid” (Slimp); more obsessed with herself to notice the real world around her. Connie had a tendency to look “one way when she was at home and another way when she was away from home” (Oates 1), showing the reader she was two sided. Connie’s need to change her identity based on her location can very much stem from a lack of self-confidence. This can also be seen with Arnold Friend.
Thus when she says, “At night in any kind of light… it becomes bars,” the reader is shown how restricted the narrator feels, reflected through the wallpaper. In her society, it is the woman that is left to be alone in her own thoughts, shown through her husband’s freedom to leave the house and not come back until he wants to versus her confinement to the house. This is reflected through the various “hedges and walls and gates that lock”, making her stay isolated in the house. Ultimately, the character is overtaken by the imagination and through the