The House on Mango Street | Critical Essay by Ellen McCracken

This literature criticism consists of approximately 14 pages of analysis & critique of The House on Mango Street.
This section contains 4,189 words
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Buy the Critical Essay by Ellen McCracken

Critical Essay by Ellen McCracken

SOURCE: "Sandra Cisneros's The House on Mango Street: Community Oriented Introspection and the Demystification of Patriarchal Violence," in Breaking Boundaries: Latina Writing and Critical Readings, edited by Asuncion Horno-Delgado, Eliana Ortega, et. al., University of Massachusetts Press, 1989, pp. 62-71.

In the following essay, McCracken asserts that The House on Mango Street is marginalized by four factors: its ideology, its language, its writer's ethnicity, and her gender. She argues that the book's treatment of patriarchal violence should move it, and others like it, toward being accepted as part of the canon.

Introspection has achieved a privileged status in bourgeois literary production, corresponding to the ideological emphasis on individualism under capitalism, precisely as the personal and political power of many real individuals has steadily deteriorated. In forms as diverse as European Romantic poetry, late nineteenth-century Modernismo in Latin America, the poetry of the Mexican Contemporáneos of the 1930s, the early twentieth-century modernistic prose of a Proust, the French nouveau roman, and other avant-garde texts that take pride in an exclusionary hermeticism, the self is frequently accorded exaggerated importance in stark contrast to the actual position of the individual in the writer's historical moment. Critical readers of these texts are, of course, often able to compensate for the writer's omissions, positioning the introspective search within the historical dimension and drawing the text into the very socio-political realm that the writer has tried to avoid. Nonetheless, many of us, at one time or another, are drawn into the glorified individualism of these texts, experiencing voyeuristic and sometimes identificatory pleasure as witnesses of another's search for the self, or congratulating ourselves on the mental acuity we possess to decode such a difficult and avant-garde text.

Literary critics have awarded many of these texts canonical status. As Terry Eagleton has argued, theorists, critics, and teachers are "custodians of a discourse" and select certain texts for inclusion in the canon that are "more amenable to this discourse than others." Based on power, Eagleton suggests metaphorically, literary criticism sometimes tolerates regional dialects of the discourse but not those that sound like another language altogether: "To be on the inside of the discourse itself is to be blind to this power, for what is more natural and non-dominative than to speak one's own tongue?"

The discourse of power to which Eagleton refers here is linked to ideology as well. The regional dialects of criticism that are accepted must be compatible, ideologically as well as semantically, with the dominant discourse. Criticism, for example, that questions the canonical status of the introspective texts mentioned above, or suggests admission to the canon of texts that depart from such individualistic notions of the self, is often labeled pejoratively or excluded from academic institutions and publication avenues.

We can extend Eagleton's metaphor to literary texts as well. How does a book attain the wide exposure that admission to the canon facilitates if it is four times marginalized by its ideology, its language, and its writer's ethnicity and gender? What elements of a text can prevent it from being accepted as a "regional dialect" of the dominant discourse; at what point does it become "another language altogether" (to use Eagleton's analogy), incompatible with canonical discourse?

The specific example to which I refer, Sandra Cisneros' The House on Mango Street, was published by a small regional press in 1984 and reprinted in a second edition of 3,000 in 1985. Difficult to find in most libraries and bookstores, it is well known among Chicano critics and scholars, but virtually unheard of in larger academic and critical circles. In May 1985 it won the Before Columbus Foundation's American Book Award, but this prize has not greatly increased the volume's national visibility. Cisneros' book has not been excluded from the canon solely because of its publishing circumstances: major publishing houses are quick to capitalize on a Richard Rodríguez whose widely distributed and reviewed Hunger of Memory (1982) does not depart ideologically and semantically from the dominant discourse. They are even willing to market an Anglo writer as a Chicano, as occurred in 1983 with Danny Santiago's Famous All Over Town. Rather, Cisneros' text is likely to continue to be excluded from the canon because it "speaks another language altogether," one to which the critics of the literary establishment "remain blind."

Besides the double marginalization that stems from gender and ethnicity, Cisneros transgresses the dominant discourse of canonical standards ideologically and linguistically. In bold contrast to the individualistic introspection of many canonical texts, Cisneros writes a modified autobiographical novel, or Bildungsroman, that roots the individual self in the broader socio-political reality of the Chicano community. As we will see, the story of individual development is oriented outwardly here, away from the bourgeois individualism of many standard texts. Cisneros' language also contributes to the text's otherness. In opposition to the complex, hermetic language of many canonical works, The House on Mango Street recuperates the simplicity of children's speech, paralleling the autobiographical protagonist's chronological age in the book. Although making the text accessible to people with a wider range of reading abilities, such simple and well-crafted prose is not currently in canonical vogue.

The volume falls between traditional genre distinctions as well. Containing a group of 44 short and interrelated stories, the book has been classified as a novel by some because, as occurs in Tomas Rivera's … y no se lo tragó la tierra, there is character and plot development throughout the episodes. I prefer to classify Cisneros' text as a collection, a hybrid genre midway between the novel and the short story. Like Sherwood Anderson's Winesburg, Ohio, Pedro Juan Soto's Spiks, Gloria Naylor's The Women of Brewster Place, and Rivera's text, Cisneros' collection represents the writer's attempt to achieve both the intensity of the short story and the discursive length of the novel within a single volume. Unlike the chapters of most novels, each story in the collection could stand on its own if it were to be excerpted but each attains additional important meaning when interacting with the other stories in the volume. A number of structural and thematic elements link the stories of each collection together. Whereas in Winesburg, Ohio, one important structuring element is the town itself, in The House on Mango Street and … y no se lo tragó la tierra the image of the house is a central unifying motif.

On the surface the compelling desire for a house of one's own appears individualistic rather than community oriented, but Cisneros socializes the motif of the house, showing it to be a basic human need left unsatisfied for many of the minority population under capitalism. It is precisely the lack of housing stability that motivates the image's centrality in works by writers like Cisneros and Rivera. For the migrant worker who has moved continuously because of job exigencies and who, like many others in the Chicano community, has been deprived of an adequate place to live because of the inequities of income distribution in U.S. society, the desire for a house is not a sign of individualistic acquisitiveness but rather represents the satisfaction of a basic human need. Cisneros begins her narrative with a description of the housing conditions the protagonist's family has experienced:

We didn't always live on Mango Street. Before that we lived on Loomis on the third floor and before that we lived on Keeler. Before Keeler it was Paulina, and before that I can't remember. But what I remember most is moving a lot …

We had to leave the flat on Loomis quick. The water pipes broke and the landlord wouldn't fix them because the house was too old…. We were using the washroom next door and carrying water over in empty milk gallons.

Cisneros has socialized the motif of a house of one's own by showing its motivating roots to be the inadequate housing conditions in which she and others in her community lived. We learn that Esperanza, the protagonist Cisneros creates, was subjected to humiliation by her teachers because of her family's living conditions. "You live there?" a nun from her school had remarked when seeing Esperanza playing in front of the flat on Loomis. "There. I had to look where she pointed—the third floor, the paint peeling, wooden bars Papa had nailed on the windows so we wouldn't fall out. You live there? The way she said it made me feel like nothing…." Later, after the move to the house on Mango Street that is better but still unsatisfactory, the Sister Superior at her school responds to Esperanza's request to eat lunch in the cafeteria rather than returning home by apparently humiliating the child deliberately: "You don't live far, she says … I bet I can see your house from my window. Which one? … That one? she said pointing to a row of ugly 3-flats, the ones even the raggedy men are ashamed to go into. Yes, I nodded even though I knew that wasn't my house and started to cry…." The Sister Superior is revealing her own prejudices; in effect, she is telling the child, "All you Mexicans must live in such buildings." It is in response to humiliations such as these that the autobiographical protagonist expresses her need for a house of her own. Rather than the mere desire to possess private property, Esperanza's wish for a house represents a positive objectification of the self, the chance to redress humiliation and establish a dignified sense of her own personhood.

Cisneros links this positive objectification that a house of one's own can provide to the process of artistic creation. Early on, the protagonist remarks that the dream of a white house "with trees around it, a great big yard and grass growing without a fence" structured the bedtime stories her mother told them. This early connection of the idea! house to fiction is developed throughout the collection, especially in the final two stories. In "A House of My Own," the protagonist remarks that the desired house would contain "my books and stories" and that such a house is as necessary to the writing process as paper: "Only a house quiet as snow, a space for myself to go, clean as paper before the poem." In "Mango Says Goodbye Sometimes," the Mango Street house, which falls short of the ideal dream house, becomes a symbol of the writer's attainment of her identity through artistic creation. Admitting that she both belonged and did not belong to the "sad red house" on Mango Street, the protagonist comes to terms with the ethnic consciousness that this house represents through the process of fictive creation: "I put it down on paper and then the ghost does not ache so much. I write it down and Mango says goodbye sometimes. She does not hold me with both arms. She sets me free." She is released materially to find a more suitable dwelling that will facilitate her writing; psychologically, she alleviates the ethnic anguish that she has heretofore attempted to repress. It is important, however, that she view her departure from the Mango Street house to enable her artistic production in social rather than isolationist terms: "They will know I have gone away to come back. For the ones I left behind. For the ones who cannot get out."

Unlike many introspective writers, then, Cisneros links both the process of artistic creation and the dream of a house that will enable this art to social rather than individualistic issues. In "Bums in the Attic," we learn that the protagonist dreams of a house on a hill similar to those where her father works as a gardener. Unlike those who own such houses now, Esperanza assures us that, were she to obtain such a house, she would not forget the people who live below: "One day I'll own my own house, but I won't forget who I am or where I came from. Passing bums will ask, Can I come in? I'll offer them the attic, ask them to stay, because I know how it is to be without a house." She conceives of a house as communal rather than private property; such sharing runs counter to the dominant ideological discourse that strongly affects consciousness in capitalists societies. Cisneros' social motifs undermine rather than support the widespread messages of individualized consumption that facilitate sales of goods and services under consumer capitalism.

Another important reason why Cisneros's text has not been accepted as part of the dominant canonical discourse is its demystificatory presentation of women's issues, especially the problems low-income Chicana women face. Dedicated "A las Mujeres / To the Women," The House on Mango Street presents clusters of women characters through the sometimes naive and sometimes wise vision of the adolescent protagonist. There are positive and negative female role models and. in addition, several key incidents that focus the reader's attention on the contradictions of patriarchal social organization. Few mainstream critics consider these the vital, universal issues that constitute great art. When representatives of the critical establishment do accord a text such as Cisneros' a reading, it is often performed with disinterest and defense mechanisms well in place.

Neither does The House on Mango Street lend itself to an exoticized reading of the life of Chicana women that sometimes enables a text's canonical acceptance. In "The Family of Little Feet," for example, Esperanza and her friends dress up in cast-off high heels they have been given and play at being adult women. At first revelling in the male attention they receive from the strangers who see them, the girls are ultimately disillusioned after a drunken bum attempts to purchase a kiss for a dollar. While capturing the fleeting sense of self-value that the attention of male surveyors affords women, Cisneros also critically portrays here the danger of competitive feelings among women when one girl's cousins pretend not to see Esperanza and her friends as they walk by. Also portrayed is the comer grocer's attempt to control female sexuality by threatening to call the police to stop the girls from wearing the heels. Cisneros proscribes a romantic or exotic reading of the dress-up episode, focusing instead on the girls' discovery of the threatening nature of male sexual power that is frequently disguised as desirable male attention and positive validation of women, though what is, in fact, sexual reification.

Scenes of patriarchal and sexual violence in the collection also prevent a romantic reading of women's issues in this Chicano community. We see a woman whose husband locks her in the house, a daughter brutally beaten by her father, and Esperanza's own sexual initiation through rape. Like the threatening comer grocer in "The Family of Little Feet," the men in these stories control or appropriate female sexuality by adopting one or another form of violence as if it were their innate right. One young woman, Rafaela, "gets locked indoors because her husband is afraid [she] will run away since she is too beautiful to look at." Esperanza and her friends send papaya and coconut juice up to the woman in a paper bag on a clothesline she has lowered; metonymical-ly, Cisneros suggests that the sweet drinks represent the island the woman has left and the dance hall down the street as well, where other women are ostensibly more in control of their own sexual expression and are allowed to open their homes with keys. The young yet wise narrator, however, recognizes that "always there is someone offering sweeter drinks, someone promising to keep [women] on a silver string."

The cycle of stories about Esperanza's friend Sally shows this patriarchal violence in its more overt stages. Like Rafaela, the young teenager Sally is frequently forced to stay in the house because "her father says to be this beautiful is trouble." But even worse, we learn later that Sally's father beats her. Appearing at school with bruises and scars, Sally tells Esperanza that her father sometimes hits her with his hands "just like a dog … as if I was an animal. He thinks I'm going to run away like his sisters who made the family ashamed. Just because I'm a daughter…." In "Linoleum Roses," a later story in the Sally cycle, we learn that she escapes her father's brutality by marrying a marshmallow salesman "in another state where it's legal to get married before eighth grade." In effect, her father's violent attempts to control her sexuality—here a case of child abuse—cause Sally to exchange one repressive patriarchal prison for another. Dependent on her husband for money, she is forbidden to talk on the telephone, look out the window, or have her friends visit. In one of his fits of anger, her husband kicks the door in. Where Rafaela's husband imprisons her with a key, Sally's locks her in with psychological force: "[Sally] sits home because she is afraid to go outside without his permission."

A role model for Esperanza, Sally has symbolized the process of sexual initiation for her younger friend. Two stories in the cycle reveal Esperanza's growing awareness of the link between sex, male power, and violence in patriarchal society. In "The Monkey Garden," Esperanza perceives her friend Sally to be in danger when the older girl agrees to "kiss" a group of boys so that they will return her car keys; "… they're making her kiss them," Esperanza reports to the mother of one of the boys. When the mother shows no concern, Esperanza undertakes Sally's defense herself: "Sally needed to be saved. I took three big sticks and a brick and figured this was enough." Sally and the boys tell her to go home and Esperanza feels stupid and ashamed. In postlapsarian anguish, she runs to the other end of the garden and, in what seems to be an especially severe form of self-punishment for this young girl, tries to make herself die by willing her heart to stop beating.

In "Red Clowns," the story that follows, Esperanza's first suspicions of the patriarchy's joining of male power, violence, and sex are confirmed beyond a doubt. She had previously used appellation throughout the first story in the Sally cycle to ask her friend to teach her how to dress and apply makeup. Now the appellation to Sally is one of severe disillusionment after Esperanza has been sexually assaulted in an amusement park while waiting for Sally to return from her own sexual liaison:

Sally, you lied. It wasn't like you said at alt … Why didn't you hear me when I called? Why didn't you tell them to leave me alone? The one who grabbed me by the arm, he wouldn't let me go. He said I love you, Spanish girl, I love you, and pressed his sour mouth to mine … I couldn't make them go away. I couldn't do anything but cry … Please don't make me tell it all.

This scene extends the male violence toward Esperanza, begun on her first day of work, when an apparently nice old man "grabs [her] face with both hands and kisses [her] hard on the mouth and doesn't let go." Together with other instances of male violence in the collection—Rafaela's imprisonment, Sally's beatings, and the details of Minerva's life, another young married woman whose husband beats her and throws a rock through the window—these episodes form a continuum in which sex, patriarchal power, and violence are linked. Earlier, Cisneros had developed this connection in the poem "South Sangamon," in which similar elements of male violence predominate: "he punched her belly," "his drunk cussing," "the whole door shakes / like his big foot meant to break it," and "just then / the big rock comes in." The House on Mango Street presents this continuum critically, offering an unromanticized, inside view of Esperanza's violent sexual initiation and its links to the oppression of other women in the Chicano community.

Cisneros does not merely delineate women's victimization in this collection, however. Several positive female role models help to guide Esperanza's development. Minerva, for example, although a victim of her husband's violence, makes time to write poetry. "But when the kids are asleep after she's fed them their pancake dinner, she writes poems on little pieces of paper that she folds over and over and holds in her hands a long time, little pieces of paper that smell like a dime. She lets me read her poems. I let her read mine." Minerva's artistic production is reminiscent of Dr. Reefy in Winesburg, Ohio's "Paper Pills," who scribbles words of wisdom on scraps of paper he crumples up, finally sharing them with a patient. It is also similar to the character of Rosendo in Soto's Spiks, a barrio artist who can only find space to paint an idyllic scene on the crumbling wall of his tenement bathroom and whose wife, acutely aware of the pressing economic needs of their young children, cannot afford the luxury of appreciating this non-revenue-producing art. Like Dr. Reefy, but unlike Rosendo, Minerva succeeds in communicating through her art; exchanging poems with Esperanza, she contributes to the latter's artistic development while at the same time offering a lesson in women's domestic oppression and how to begin transcending it.

Also supportive of Esperanza's artistic creativity is her invalid aunt, Guadalupe: "She listened to every book, every poem I read her. One day I read her one of my own … That's nice. That's very good, she said in her tired voice. You just remember to keep writing, Esperanza. You must keep writing. It will keep you free…." Although the aunt lives in squalid, poor surroundings and is dying from a disease that has disfigured her once-beautiful body, she listens to the girl's stories and poems and encourages Esperanza's artistic talent. The story, "Three Sisters," recounts the wake held for the baby sister of Esperanza's friends Lucy and Rachel and is also the theme of Cisneros' earlier poem, "Velorio," in the collection entitled Bad Boys. Expanding upon "Velorio," however, this story introduces the figures of "the aunts, the three sisters, las comadres," visitors at the velorio who encourage Esperanza to see her artistic production in relation to the community: "When you leave you must remember always to come back … for the others. A circle, you understand? You will always be Esperanza. You will always be Mango Street…. You can't forget who you are." Although Esperanza doesn't understand the women's message completely, the seeds of her socially conscious art have been planted here through the directives these women give her at the baby's wake.

Alicia, another positive role model who appears in "Alicia Who Sees Mice" and "Alicia and I Talking on Edna's Steps," also counsels Esperanza to value Mango Street and return there one day to contribute to its improvement: "Like it or not you are Mango Street and one day you'll come back too." To Esperanza's reply, "Not me. Not until somebody makes it better," Alicia wryly comments "Who's going to do it? The mayor?." Alicia had previously appeared in the collection as a university student who takes "two trains and a bus [to the campus] because she doesn't want to spend her whole life in a factory or behind a rolling pin." Rebelling against her father's expectations of her, that "a woman's place is sleeping so she can wake up early … and make the lunchbox tortillas," Alicia "studies all night and sees the mice, the ones her father says do not exist." Fighting what the patriarchy expects of her, Alicia at the same time represents a clear-sighted, non-mystified vision of the barrio. As a role-model and advice-giver to Esperanza, she embodies both the antipatriarchal themes and the social obligation to return to one's ethnic community that are so central to Cisneros' text.

Cisneros touches on several other important women's issues in this volume, including media images of ideal female beauty, the reifying stare of male surveyors of women, and sex roles within the family. In an effort to counter the sexual division of labor in the home, for example, Esperanza refuses one instance of women's work: "I have begun my own quiet war. Simple. Sure. I am the one who leaves the table like a man, without pulling back the chair or picking up the plate." Although this gesture calls critical attention to gender inequities in the family, Cisneros avoids the issue of who, in fact, will end up performing the household labor that Esperanza refuses here. This important and symbolic, yet somewhat adolescent gesture merely touches on the surface of the problem and is likely, in fact, to increase the work for another woman in Esperanza's household.

The majority of stories in The House on Mango Street, however, face important social issues head-on. The volume's simple, poetic language, with its insistence that the individual develops within a social community rather than in isolation, distances it from many accepted canonical texts. Its deceptively simple, childlike prose and its emphasis on the unromanticized, non-mainstream issues of patriarchal violence and ethnic poverty, however, should serve precisely to accord it canonical status. We must work toward a broader understanding among literary critics of the importance of such issues to art in order to attain a richer, more diverse canon and to avoid the undervaluation and oversight of such valuable texts as The House on Mango Street.

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