In the short story “Women Hollering Creek”, by Sandra Cisneros, Cisneros uses the life of Cleofilas Enriqueta DeLeon Hernandez, as a way to show both the relationship between feminism and masculinity, and the patriarchal societal norms of the time period. Cisneros uses her life experience as a Latina writer to accurately portray the social norms of the time period. This can be seen throughout the short story in the way Cleofilas acts and reacts to certain situations.
Both the ways that Cisneros portrays Cleofilas life before marriage, and life after marriage shine a light on the oppressive climate during that time period. Continuing on this point, an example of this would come from the way that Cleofilas father and suitor treat her marriage. Cleofilas suitor, Juan Pedro, has to ask her father for permission to marry her, showing how women in the time period where not treated as equals. Furthermore this shows the gender inequality through Cleofilas father’s treatment of his daughter. Even though the reader knows that he loves Cleofilas, it is obvious that he believes her to be his possession. This is especially prevalent when Juan Pedro has to ask for permission to marry Cleofilas.
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In the short story Cisneros talks about the timer period where Juan Pedro abuses, cheats on, and neglects Cleofilas emotionally. Juan Pedro’s abuse of Cleofilas is tied to him feeling like he is not a man because he is unable to provide a posh life for Cleofilas. This results in him feeling like less of a man because he does not meet what society defines as a man. In addition he also cheats on Cleofilas, while she is giving birth to his son. This again is tied to Juan Pedro feeling emasculated because he cannot support his
Three examples of men who do this are Manolo, Minerva’s husband who cheats on her, Jaimito, Dede’s husband who is abusive, and Enrique, who is the exceedingly controlling father with a secret second family. All three of these men hurt people in their lives and are portrayed negatively by the author. The first man, that the novel is not deeply accepting of is Manolo. Manolo is described as “tall and very handsome and so romantic,” by Maria Teresa but the book soon casts a disapproving light
Clemencia wants men to love her, a Mexican, however she cannot bring herself to love someone like her. This inconsistency in her behavior and narration raises questions about her perception and presentation of herself and her relationships, especially in her relationship with Drew. Clemencia's relationship with Drew, is a reflection of her internalized racism. She sees Drew as a symbol of whiteness and power and believes that by being with him, she can escape the perceived limitations of her Mexican identity by gaining approval and love from a white man. However, this belief for assimilation and acceptance ultimately leads to her own self-destructive tendencies and lack of self esteem.
In Latino culture, machismo behavior is defined by men that see inferiority in people and expect obedience from them (mostly non-male-bodied individuals). This is illustrated when Blanca invites the pastor and Claudia, a woman from church, to dinner despite Julio’s distaste for it. As a result, Julio snaps at Blanca after her persistent preaching of a church where she is indirectly disrespected and “‘the women are treated as if they were just there to glorify their husbands, their children, and their pastor’” (Quiñonez, 130). Throughout the novel, Blanca is presented as a pious girl, as if she has not changed from the young schoolgirl that Julio fell in love with when he was young.
In traditional Dominican households, women are expected to play the submissive housewife role. The old-fashioned point of view is that a woman is to be a child bearer and care for her husband’s needs in every way. She is to cook, clean, care for her children and put her husband’s needs above hers. Specifically looking at the story “Fiesta 1980”, the portrayal of the women is shown when Yunior discloses his Papi’s affair with a Puerto Rican woman. “He didn’t say nothing to nobody, not even my moms.
The result of Juan leaving was major, but it was not what was to be expected. Usually a person falls apart when their spouse leaves them, but Maria becomes extremely cold. When her child dies from complications of birth, Maria,”becomes stolid, refusing even to cry when her child is born and dies”(DeMouy). She still battles on and continues her daily life. When the women and girls offer their sympathies and prayers to Maria, she simplys replies, “Keep your prayers to yourself, Lupe, or offer them for others who need them.
In the short story, “Mericans”, written by Sandra Cisneros, there are many underlying conflicts that surface throughout the story. The conflicts, in short, evolve around two very distinguished cultures. Furthermore, the clashing views regarding the two cultures cause a great amount of problems for many individuals in a society. The cultural differences can tremendously affect a society, as the clashing views can lead to a wide array of issues such as ethnocentrism, gender discrimination, stereotypes, as well as the health of many personal relationships. Cisneros begins to develop this conflict when the story’s narrator, Michele, describes the altar to La Divina Providencia in which the “awful grandmother” worships.
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
Felice is an independent woman who lives a happy life. “Felice is free, she speaks herself into being, defying the social control that extends even to the geography” (Thomson). Felice does not have a husband, drives her own pickup, and provides immense help for Cleofilas. Cleofilas is fascinated by Felice and finds inspiration through her. The author claims “Everything about this woman, this Felice, amazed Cleofilas….she said she didn’t have a husband.
In Allende’s novel The House of the Spirits, Esteban Trueba is the only character to survive the entirety of the novel. In the commencement, the reader witnesses how his rigorous childhood plays a key role in foreshadowing how his violence develops the themes throughout the novel. Furthermore, the reader additionally grows with Esteban as an adult, and witness how his volatile relationships with characters conform the theme of society and class. Lastly, throughout the novel he plays a central role as the antagonist in numerous conflicts, which develop the recurring theme of violence. From a zealous young man, to the main antagonist in various conflicts; examining Esteban’s growth throughout the novel involves the reader in the core of Esteban,
In Woman Hollering Creek Cleofilas is a mother that is abused and goes through hardships and wants to be in love. Cleofilas is obsessed with Spanish soap operas. She fantasizes about them and wants her life to be like that when she marries and moves to Texas with Juan Pedro. She gets the opposite of that with her husband. Juan Pedro is an abusive no good husband.
“That’s the problem with the world, too many people grow up.” – Walt Disney. Growing up quickly is a dream for many girls. They will make countless attempts in hopes of becoming a woman faster. In Sandra Cisneros’s, The House on Mango Street, Esperanza becomes one of those girls who spends all of their precious time trying to grow up quickly.
“Woman Hollering Creek” is a short story that was written by a Hispanic woman named Sandra Cisneros. Her stories are written in English but also use Spanish terms throughout the story. In the short story, Cisneros writes about a Mexican woman, Cleofilas Enriqueta DeLeon Hernandez, who moves from her hometown in Mexico and marries a U.S. citizen named Juan Pedro Martinez Sanchez. The couple moves to Texas to begin a new life together. As years go by, Cleofilas gets abused by her husband and she decides to keep it a secret.
Cleófilas so desperately wants her marriage with Juan to be just like the relationships in the telenovelas. When they are newlyweds, their relationship is great and Cleófilas believes this will be the way it is forever. One night, Juan hits Cleófilas, this is the beginning of Cleófilas’s realization that her relationship with Juan is not perfect. The relationships between Cleófilas, her father, and her husband show the difference between family love, which is unconditional, and marital love, which has
Márquez ridicules traditional gender norms and the sociocultural pressures against men and women through repeatedly criticizing gender expectations held by both men and women in the novel. Márquez juxtaposes the role of men with that of women in Colombian society, writing that “brothers were brought up to be men” and “the girls had been reared to get married” (p.30). Contemporary readers may expect the sentence to read ‘the girls had been brought up to be women’ but Márquez wryly mocks Colombian values by challenging the perceptions of gender held by readers. Juxtaposition is utilised by the author to highlight the power imbalance between men and women in Colombian society, effectively satirizing gender roles. Additionally, Márquez shapes meaning in the sentence with diction through the utilisation of the word ‘brought up’ for men, and ‘reared’ for women, a word which is typically reserved for raising animals.
In the novel, Cisneros depicts the idea of one’s judgement based on perception through the characters’ influence on the main character Esperanza. Throughout the book, Cisneros illustrates Esperanza’s meeting many people who teach her new ways of thinking and influence her behaviors. In the vignette “A Rice Sandwich” Cisneros states, “The special kids, the ones who wear keys around their necks, get to eat in the canteen. The canteen! Even the name sounds important,” (43).