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Wolf suggests that one distinction between literature for children and literature for adults may be that the former tends to embrace myth while the latter tends to embrace reality: Certainly, if children are to reach their potential and make their contribution to humanity, they must eventually move beyond a perception of the world as they desire it to be and accept it as it is—enormously destructive, turbulent, and chaotic as well as creative and peaceful" Though children find myth attractive, they might nonetheless acquire a distorted "perception of reality" should the book emphasize myth—or if myth and reality are irreconcilable.
But as one might expect, the practice of literary interpretation could render such distinctions problematic in certain texts.
The foremost proponent of archetypal criticism, Northrop Fryedescribes the structure of the mono-myth in historical terms as a movement in Western literature from primitive myth to modern irony, a schema that does much to subordinate myth to irony.
Such a tendency might limit the appeal, perhaps the usefulness, of texts that are said to be mythic. For the purposes of this essay, however, I should like to consider myth in the sense that Joseph Campbell defines it in The Hero with a Thousand Faces: Religions, philosophies, arts, the social forms of primitive and historic man, prime discoveries in science and technology, the very dreams that blister sleep, boil up from the basic, magic ring of myth" 3.
We might think of myth, therefore, as cultural story telling, a way by which the writer who belongs to and identifies with a particular community explains why the world is the way it is, from the point of view of that particular community.
The writer either validates a myth, or modifies a myth without rejecting it, or rejects a myth and creates a new myth based on his or her own experience. In The House on Mango Street, Sandra Cisneros participates in the third type of story telling by combining myth home and irony homelessness in her depiction of life in the barrio as seen through the eyes of a girl.
Cisneros addresses the theme of home versus homelessness in a series of forty-four vignettes—some as short as a few paragraphs, others as long as four or five pages—written in a language that is easily accessible and in a style that is sophisticated in its presentation of voice and theme.
We are never told her age, but she seems to be about ten or eleven years old. She wishes to find a house of her own: Not an apartment in back.
A house all my own. With my porch and my pillow, my pretty purple petunias. My books and my stories. My two shoes waiting beside the bed. Nobody to shake a stick at.
Only a house quiet as snow, a space for myself to go, clean as paper before the poem. To free her protagonist of one myth, Cisneros must create another myth. There is closure to the narrative in the repetition of a specific passage at the end of The House on Mango Street. Before that we lived on Loomis on the third floor, and before that we lived on Keeler.
But what I remember most is moving a lot" 3.
Before Keeler it was Paulina, but what I remember most is Mango Street, sad red house, the house I belong but do not belong to" What Esperanza adds to the second passage evinces her discovery that although what she remembers initially is moving often, what she remembers finally is Mango Street.
The addition to the second passage suggests that there has been a change in Esperanza from the beginning to the end of her story telling, where her concern is with a particular neighborhood and a particular house, to which she vows she will return. As Terry Eagleton points out: Although repetition suggests closure, the narrative, in fact, is not self-enclosed; rather, it is open-ended and encourages the reader to consider what will become of Esperanza after the book has ended.
Higonnet describes two types of fragments: The most interesting type of fragment, then, may be that which deliberately propels the reader into responsibility for the unwritten narrative conclusion" The sherdlike fragment applies to the ending of The House on Mango Street.
Although the book has closure, it is also open-ended in that it does not tell us whether Esperanza finds her ideal house. Essential to the didactic quality of the text, however, is the lesson that if Esperanza does indeed escape Mango Street, and we cannot help but believe she will, she must return "for the others.
By the end of the narrative, Esperanza recognizes that she must someday "return" to Mango Street empowered as a writer. Cisneros was raised in Chicago and, like Esperanza, in her writing returns to the barrio.
Although Cisneros is writing fiction, there are nonetheless parallels between Cisneros and Esperanza. In her autobiographical essay "Ghosts and Voices: Writing from Obsession," Cisneros tells that hers was a large family six brothers and her parents living in small apartments, the family traveling often between Chicago and Mexico Like her protagonist who also comes from a large family—three brothers, a sister, and parentsCisneros has learned to write about "the ones who cannot out"which implies a tie not only between narrator Esperanza and the characters within the fictional narrative but also between writer Cisneros and the readers of the text.Pity any woman who had to suffer through puberty without this book on her shelf.
Margaret is the year-old everywoman, waiting for her first period and literally praying for breasts. Pity any woman who had to suffer through puberty without this book on her shelf.
Margaret is the year-old everywoman, waiting for her first period and literally praying for breasts. “Full of drama and gossip (because who doesn’t love chisme), this is a must-read for any chica in the process of finding her true self.” ―Cosmopolitan “Palma Piedras, 43 and divorced, tries on lovers of both sexes like a woman grabbing stilettos at a sample sale.
The House on Mango Street by Sandra Cisneros is about Esperanza Cordero, a girl living in Chicago struggling to identify who she is.
Through the experiences Esperanza encounters, she feels neglected living in a culture where women are .
The House on Mango Street by Sandra Cisneros can be appreciated through an analysis of literary criticisms. This is evident through an examination of Feminist Criticism, Critical Race Theory, and Marxist Criticism.
Feminist criticism looks for sexual oppression and it attempts to expose all negative. Teaching Sandra Cisneros’ The House on Mango Street from The House on Mango Street Teaching Sandra Cisneros' from Multiple Critical Perspectives by Rhonda Carwell short story, but shorter than a novel.
Each chapter of the novella, The House on Mango Street, tells a small.