In the following essay, Doyle discusses the ways The House on Mango Street broadens the white middle-class feminist perspective expressed in Virginia Woolf's essay A Room of One's Own to include a working-class Chicana feminist perspective.

In the following essay, Cruz discusses the variety of reader responses to The House on Mango Street in terms of the textual ambiguity inherent in Cisneros's storytelling style.

In the following essay, Brady examines the representation of space in Woman Hollering Creek, arguing that “Cisneros's stories perform their critique of the production of space in multiple ways, within individual stories and through the interplay between and among them.”

In the following essay, Olivares provides analysis of central themes within The House on Mango Street, and suggests some possible approaches to teaching the work.

In the following essay, Wyatt explores the relationship between the internalized icons of womenhood and the tension between Anglo and Mexican cultures to determine how it affects the female protagonists of Cisneros's stories "Never Marry a Mexican" and "Woman Hollering Creek."

In the following essay, Wyatt explores the transformations of feminine "icons" of Anglo and Mexican gender ideology by "borderland" cultural assumptions in "Never Marry a Mexican," "Woman Hollering Creek," and "Little Miracles, Kept Promises."

In the following essay, Guerra traces the evolution of voice in Chicana literature through an analysis of “Woman Hollering Creek” and Alma Villanueva's poem “Mother, May I.”

In the following essay, Carbonell investigates the influence of the fertility goddess Coatlicue and the mythical Mexican figure of La Llorona in “Woman Hollering Creek” and Helena Maria Viramontes's “The Cariboo Café.”

In the following essay, Szadziuk examines the autobiographical novels of three women writers: The House on Mango Street, by Cisneros, When I Was Puerto Rican, by Esmeralda Santiago, and Loving in the War Years, by Cherríe Moraga. Szadziuk asserts that all three novels explore the concept of culture-in-transition through the metaphor of culture-as-travel.

In the following essay, Sanchez contends that the narrator of The House on Mango Street rejects the traditional patriarchal myths of the home while celebrating the empowerment that comes from writing about and remembering the childhood experience of the household and family.

In the following interview, Cisneros discusses her cultural identity, her personal and family history, her literary influences, and feminism.

In the following essay, Estill examines the collection My Wicked Wicked Ways alongside Cisneros's novel The House on Mango Street, tracing the narrators' barrio childhoods, their struggles to gain independence of their families, their travels of personal discovery, and their transformations through celebrating control of their bodies and identifying with women of the third world.

The following is a compilation of two interviews. In an author's note, interviewer Martha Satz states: "The first was conducted in 1985 under the auspices of the Dallas Public Library in a cable TV series titled "Conversations." The second took place on November 17, 1996, in connection with Cisneros's reading during the SMU Literary Festival. The conjunction provides an insight into the development of Cisneros's views and writing."

In the following interview, Cisneros discusses her childhood, the female perspective in her work, and her experience as a Latina writer.

In the following essay, Phelan utilizes the dialogue form in order to explore the relationship between “Woman Hollering Creek,” Phelan's rhetorical analysis, and the cultural criticism found in The Practice of Everyday Life by Michel de Certeau.

In the following essay, Payant explores the borderland theme in the stories comprising Woman Hollering Creek.

In the following essay, Doyle examines Cisneros's utilization of the La Llorona myth in her story “Woman Hollering Creek” and argues that the story “charts psychological, linguistic, and spiritual border crossings.”

In the following essay, García contends that Leslie Marmon Silko's story “Yellow Woman” and Cisneros's “Woman Hollering Creek” are “two contemporary stories in which these writers recognize the importance of their indigenous heritage in relation to their thinking, writing, and identity as Native women in the 20th century.”

In the following essay, Brunk asserts that Cisneros's construction of a multiple and shifting narrative point-of-view in The House on Mango Street works to reveal the social realities of the urban, poor, Latin-American community in which the protagonist grows up.

In the following essay, Fitts discusses Cisneros's representations of three Hispanic female icons in the stories of Woman Hollering Creek: La Malinche in “Never Marry a Mexican;” the Virgin of Guadalupe in “Little Miracles, Kept Promises;” and La Llorona in “Woman Hollering Creek.”

In the following essay, Fitts discusses the portrayal of Mexican American women in three stories from Woman Hollering Creek.

In the following essay, Heredia examines two coming-of-age novels that represent urban life from a Latina feminist perspective: The House on Mango Street, by Cisneros, set in Chicago, and El Bronx Remembered, by Nicholasa Mohr, set in New York City. Heredia asserts that the protagonists in both novels develop a social consciousness and self-awareness of their roles within the public sphere that allows them to experience intellectual and psychological freedom from patriarchal domination.

In the following essay, Mullen investigates the Mexican-American words, mythology, encoded messages, and cultural secrets in Cisneros's narrative.

In the essay below, Mullen discusses Cisneros's representation of the conflict of Hispanic and Anglo cultures and their respective linguistic codes in terms of Latino tensions between race, class, gender, and ideology.

In the following essay, Herrera examines the idea of the house as a metaphor for personal identity in The House on Mango Street, asserting that Cisneros appropriates the traditional novelistic form of the bildungsroman in representing a young Chicana's struggle for female, communal, and literary identity.

In the following essay, Busch contends that The House on Mango Street represents the protagonist's development of Chicana feminist empowerment and a fluid and progressive notion of Chicana identity.

In the following essay, Busch examines Esperanza's exploration of her Chicana identity in Cisneros's short story collection.

In the following essay, Lewis classifies the stories in Woman Hollering Creek into three groups and asserts that the stories in the collection concern minority women who “find themselves confronting an external, dominant set of values.”

In the following essay, Griffin considers how cultural influences shape and limit the lives of the women in Woman Hollering Creek.

In the following essay, Carroll and Maher maintain that the stories in Woman Hollering Creek traverse artistic and cultural borders in that “her narratives unfold within a temporally variegated framework of Latina sisterhood, stretching back to mythic Aztlan yet detailing the very real confines of contemporary barrio life.”

In the following essay, Olivares examines Cisneros's use of imagery in The House on Mango Street, analysing the metaphor of the house and the dialectics of inside vs. outside, here vs. there, integration vs. alienation, and comfort vs. anxiety.

In the following essay, Kolmar examines novels by four authors who utilize supernatural elements in their writing. The works discussed are: The House on Mango Street, by Cisneros, The Salt Eaters, by Toni Cade Bambara, Tracks, by Louise Erdrich, and Mundane's World, by Judy Grahn.

In the following essay, Rangil argues that Cisneros's writing provides new roles and affirming definitions for Latinas.

In the following essay, Spencer views “La Fabulosa: A Texas Operetta” as a retelling of the opera Carmen and asserts that by allowing her heroine to live, Cisneros is subverting the traditional fate of strong female protagonists in opera and fairy tales.

In the following essay, Thomson surveys the strong, feminist, female characters in Cisneros's second short fiction collection.

In the following essay, Olivares discusses the theme of space in Cisneros's first short story collection, and demonstrates the manner with which she employs her imagery as "poetics of space."

In the essay below, Gutierrez Spencer analyzes the way Cisneros inscribes "feminine" motifs of fairy tales and librettos into her narrative art.

In the following essay, Valdes provides an overview of critical responses to The House on Mango Street, based on reviews published in three different sets of sources: mainstream newspapers, academic journals, and the ethnic-oriented periodicals. Valdes examines the intersection of the “symbolic reader” and the “implied reader” in Cisneros's text.

In the following essay, Mayock examines three novels by Latina authors: The House on Mango Street, by Cisneros, How the Garcia Girls Lost Their Accent, by Julia Álvarez, and When I Was Puerto Rican, by Esmeralda Santiago. Mayock asserts that each of these novels constitutes a bi-cultural Latina transformation of the traditional bildungsroman.

In the following essay, Klein examines two novels by Chicano/a writers that represent the Chicano/a coming-of-age experience and the search for personal identity: The House on Mango Street, by Cisneros, and Bless Me, Ultima, by Rudolfo Anaya.

In the following excerpt, Carter examines three autobiographical texts by female authors: The House on Mango Street, by Cisneros, In Search of Our Mothers' Gardens, by Alice Walker, and Your Native Land, Your Life, by Adrienne Rich. Carter asserts that in each tale, the protagonist draws from a “bittersweet” past in a transformative process of self-empowerment to develop a newly emergent sense of personal identity.

In the following essay, Cujec discusses the dominant themes and influences of Caramelo.

In the following essay, Muske celebrates Cisneros for resisting the constraints of genre by writing poems that speak naturally and prose that sings.

In the following review, Randall offers high praise for Cisneros's Caramelo, judging it to be an ambitious, captivating, and masterfully written novel.

In the following review, Caldwell asserts that Cisneros's Caramelo is lacking in narrative structure, cohesiveness, and momentum, and ultimately fails as a novel.

In the following essay, Nash lauds Cisneros's deceptively complex poetic explorations of eros and consciousness.

In the following review, Kaveney lauds Cisneros's skillful blending of autobiography and fiction in Caramelo, calling the novel an “achieved and enjoyable book.”