By Mary Patterson Thornburg
This concise complement to Cisneros' The apartment on Mango road & lady Hollering Creek is helping scholars comprehend the general constitution of the paintings, activities and motivations of the characters, and the social and cultural views of the writer.
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This concise complement to Cisneros' the home on Mango highway & lady Hollering Creek is helping scholars comprehend the final constitution of the paintings, activities and motivations of the characters, and the social and cultural views of the writer.
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Extra resources for The House on Mango Street and Woman Hollering Creek and Other Stories
Part of the horror Aunt Lupe’s illness has inspired in Esperanza and her friends (who have visited Lupe together) may stem from the condition of the sick woman’s house and the kind of care she has received from her husband and sons. Traditionally, the wife and mother is in charge of all housework, including cooking and cleaning but also, often, repairs, painting, and refinishing as well. Lupe has obviously not been able to hold up her end of this household work, and (as Esperanza 34 CliffsNotes Cisneros’ The House on Mango Street & “Woman Hollering Creek” makes clear in this chapter) her husband and sons resent having to perform these “feminine” chores and show their resentment by performing them badly or not at all.
Delirium tremens. “Engine, engine number nine. . ” abuelito a very old jump-rope rhyme. (Spanish) a familiar diminutive of abuelo (grandfather). está muerto (Spanish) he is dead. Joan Crawford an American movie actress, most popular in the 1930s, 1940s, and 1950s. “the sickness. . ” Aunt Lupe’s illness; apparently Esperanza is somewhat confused about whether her aunt was ill or injured in some sort of accident; what she says about her having been swimming, and the fact that she was paralyzed, suggests that Lupe contracted polio, relatively common in the 1950s and often spread through the use of swimming pools.
He thinks a woman’s place is in the kitchen, making tortillas, but Alicia commutes across town to the university because she doesn’t want to work all her life in a factory or at home making tortillas. Commentary This group of chapters begins with Louie’s cousin Marin and ends with Alicia. Although Marin will all but disappear from the book after our introduction to her, she and Alicia—and Rosa Vargas—are important in that they are all older than Esperanza, all potential “role models” because they are women she knows, female participants in her culture, at a time when she has begun to turn away from her own mother and female relatives and to look elsewhere for clues about who she will be.