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卢帅第四期包装+Blender全能班
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卢帅第四期包装+Blender全能班
testing,” Esperanza seeks to create a new identity and avoid her great-grandmother’s fate.
In the Elliot interview, Cisneros states that one of the “sacred” figures within Chicana
literature is the grandmother. She describes a dead grandmother as a “mythic symbol in
Chicana literature” (-). Cisneros admits that she seeks to “throw rocks” at the
cliché of the grandmother figure in her own writing. In her chapter titled, “The House on
Mango Street: An Appropriation of Word, Space, and Sign,” Alvina Quintana explores
Cisneros’ representation of the great-grandmother. Quintana states, “In this story as in
other Chicana literature, “grandmother” signifies the symbolic matriarchal handing down
of cultural traditions. But Cisneros’ Esperanza subverts the usual process…overturning
the customary nostalgic sentiment that associates grandmothers with positive cultural
nourishment” (). Despite wanting to know her great-grandmother, Esperanza is
adamant about rejecting the cultural traditions and avoiding her great-grandmother’s fate.
Unlike Esperanza’s little sister, Magdalena, Esperanza feels she cannot transform or
escape her identity. Even as Esperanza expresses a desire to rename herself, she
acknowledges that she will “always be Esperanza” (). As Esperanza comes to
understand the various meanings of her name, she learns of the inescapability or rigidity
surrounding her identity. This inescapability or permanence of identity is echoed in the
vignette titled “The Three Sisters.”
In “The Three Sisters” Cisneros reimagines the story of the Fates and connects it
to Esperanza’s unspoken wish—to leave Mango Street. The vignette plays off the sense
of mystical fate: “They came with the wind that blows in August, thin as a spider web
and barely noticed. Three who did not seem to be related to anything but the moon”
(). The fragility and idea of being “barely noticed” relates to coming and going of
women and their fleeting identities within Mango Street. They are another representation
of the “forgotten” women that emerge throughout the text. One of the three sisters tells
Esperanza, “When you leave you must remember to come back for the others. A circle,
understand? You will always be Esperanza. You will always be Mango Street. You can’t
erase what you know. You can’t forget who you are” (). Even though Esperanza
attempts to create a new identity and leave behind what she rejects from Mango Street,
the experiences she has there should inform her future. Her identity, “cannot be erased”
because that is who she is. The woman goes on to say, “You must remember to come
back. For the ones who cannot leave as easily as you. You will remember? She asked as
if she was telling me” (). Esperanza has a freedom that the other women do not have.
The movement away from “home” is followed by a reimagining/ or reinventing of what
home is. Esperanza has a privilege and sense of responsibility to those in her community,
or more generally, women. Instead of a physical space, “home” is redefined a space or
way of navigating and creating identity within a patriarchal culture.
Loss of Freedom/Mobility
Esperanza’s loss of innocence, specifically her awareness of the dangers of female
sexuality, occurs through interactions with other young women within her community.
One of these young women is Marin, a woman who is in a perpetual state of waiting.
Marin wants to get a job, but not as a means to assume power or independence: “Marin
says that if she stays here next year, she’s going to get a real job downtown because that’s
where the best jobs are, since you always get to look beautiful and get to wear nice
clothes and can meet someone in the subway who might marry you and take you to live
in a big house far away” (). Marin sees this potential job as an opportunity to meet a
man who will marry her and be able to remove her from her current place of isolation
(). Her body is the only currency she can use to escape the poverty and the community.
Marin does not view having a job as a pathway to economic freedom, but rather the space
or stage to find a man who can give her the opportunity to move away from Mango
Street. Marin understands that displaying her sexual attractiveness is the only form of
power available to women in Mango Street. Marin stays outside the front of her Aunt’s
house at night, displaying herself for others to see: “Marin, under the streetlight, dancing
by herself, is singing the same song somewhere. I know. Is waiting for a car to stop, a star
to fall, someone to change her life” (). The description of Marin under the streetlight,
compares Marin to a prostitute, who must put her attractiveness on display. Rather than
create her own identity, Marin’s identity is defined and contingent on men. Adding to the
text’s play on the word “esperanza” as waiting, Marin “waits” for “someone to change
her life,” presumably a man who will marry her and offer her an escape from her current
conditions. As Marek states, “The illusory romanticism of Marin, who ends up stuck in
the house looking after her young cousins all day, is another clear warning to Esperanza
both about the dangers of traditional gender expectations (beauty, flirtatiousness, willing
sexuality) and the boredom of predictable marriage” (). Marin’s identity is defined by
men: by her relationship to her boyfriend in Puerto Rico and in her desire to meet a man
who will allow her to move away from the community.
Marin, specifically in her desire to leave her community, can be read as a revision
of the Chicana archetype, La Malinche. La Malinche, or Malintzin Tenepal, is a historical
figure who lived during the time of the conquest (Blake ). As the interpreter for the
Spanish conqueror, Hernán Cortés, La Malinche’s translating and leadership roles
garnered her respect from both the Spaniards and the indigenous peoples (Blake ).
Serving as a mediator between the two cultures, La Malinche’s role was directly linked to
the act of speaking. Ultimately, La Malinche’s important roles and accomplishments
became overshadowed by the title of “traitor”: “She quickly became the scapegoat for the
Mexica defeat, and unwarranted attribution that continues to resonate” (Blake ). La
Malinche was “branded unreliable and impure” because she “acted independently and
supposedly voluntarily slept with more than one man” (Blake ). Petty asserts that
“Cisneros’s text appropriates the Malinche myth, showing that this type of dependence
on men for one’s importance and security is what leads to violation and abandonment”
(). Blake notes that Chicana and Mexican writers began to shift the perceptions of La
Malinche’s name by “reviewing her place in history, revealing her as a cultural and
gender scapegoat, and representing her as a historical subject-agent” ().
Another example of a woman in Mango Street who experiences a loss of mobility
and loss of freedom is Mamacita. In “No Speak English,” the reader learns that
Mamacita’s husband works tirelessly to bring her and her baby boy to the United States.
Everything about Mamacita is grand and bold, except her shoes: “All at once she
bloomed. Huge, enormous, beautiful to look at, from the salmon-pink feather on the tip of
her hat down to the little rosebuds of her toes. I couldn’t take my eyes off her tiny shoes”
(). Mamacita’s tiny shoes represent the constraint and powerlessness that she faces
living in a new country. Mamacita has “a dozen boxes of satin high heels,” but she never
goes outside her apartment. The high heels, as in other points in the text, represent an
entry into womanhood. Ironically, she stays with her belongings, becoming another sort
of “object” in the apartment. Mamacita’s husband and the taxi-cab driver have to
physically “pull” and “push” her out of the taxicab upon her arrival to the country.
Mamacita’s reluctance and physical difficulty in moving to the new “home” of the United
States, signals Mamacita’s loss of mobility.
