The Earl of Tennessee
Earl, who lives next door in Edna’s basement, is a tenant next door to Esperanza on Mango Street. Earl works night shifts, so he is always inside during the day resting. Earl is an independent person who has a wife that everyone on Mango Street. This wife, described by Esperanza seems to be a mysterious woman because overtime they see her she looks differently. Sometimes she is blonde and “pale like salamanders that have never seen the sun” (The Earl of Tennessee 71.) But other times, some of the residents on Mango Street saw that she had red hair. “Whenever she arrives, he holds her tight by the crook of the arm. They walk fast into the apartment, lock the door behind them and never stay long.” (The Earl of Tennessee 71.) The way Earl is described by Esperanza makes him seem like a mysterious person; especially since there are different women coming into his house. Sandra Cisneros uses a reoccurring olfactory imagery by saying that his house smells of dampness and mold. She uses this imagery twice when describing his apartment. She uses this smell another time when she is describing the endless amounts of records he has and comparing their smell to the smell of his apartment. The mood for this chapter for me was set from the smell of dampness and mold to create an overall gloomy feeling. Although this was the mood I took away, Earl’s sense of simplicity cast a less negative mood on the chapter because he listened to his records and enjoyed the music the records played while he relaxed before his job a night.
Sire
In this chapter, Sire, a boy who lives in Esperanza’s neighborhood attempts to frighten and intimidate Esperanza as she walks by him and his friends.”They didn’t scare me. They did, but I wouldn’t let them know” (Sire 72.) Esperanza is pretending to not be frightened by the way Sire stares at her. Esperanza is taking this and trying to prove to herself that she isn’t scared by any boy’s stare. Sandra Cisneros describes these eyes that Earl has using visual imagery such as “straight into the dusty cat fur of his eyes” (Sire 72) and “It made your blood freeze to have somebody stare at you like that” (Sire 73.) Esperanza begins thinking so much into these encounters with the boy because she becomes excited with the thought of a boy staring at her. Esperanza’s parents warn her about this boy. Her mom tells her not to talk to him; her father calls him a punk. Sire’s girlfriend is a strong example of feminism. Sandra Cisneros describes Lois as being a tiny girl who is very pretty. Esperanza looks up to Lois and sees how perfect she is. The way Esperanza describes Lois makes Esperanza seem as if she wants to be her. “She’s got big girl hands, and her bones are long like ladies’ bones, and she wears makeup too” (Sire 73.) Lois is also unable to tie her shoes as Cisneros describes through Esperanza. This shows a symbol of sexuality where women weren't able to do the things that men can do. This shows the insecurity and powerlessness that Lois has. Esperanza wants to be in Lois' place but she proves to be too strong and independent to do so.
Four Skinny Trees
Esperanza begins this chapter by saying that the four trees in the front of her yard are the only things that understand her. She thinks that these trees do not belong in her front yard but they were placed there and they cannot move. Although Esperanza thinks that these trees don't belong, she finds inner beauty in them and the things around her. She begins to accept things for what they are and starts to appreciate them. "Their strength is secret. They send ferocious roots beneath the ground" (Four Skinny Trees 74.) Esperanza is suggesting that although the tress seem skinny, they have hidden glory and beauty inside them. This chapter has a mood of maturity because she uses these skinny trees as inspiration. "They grow up and they grow down and grab the earth between their hairy toes and bite the sky with violent teeth and never quite their anger" (Four Skinny Trees 74.) Sandra Cisneros uses personification with the four skinny trees to relay the message that they empower the earth although they may seem to be just plants. Esperanza continues to become stronger and these trees are an example of her becoming wiser as a person.
No Speak English
Mamacita, a lady that is married to a neighbor of Esperanza on Mango Street, is a huge woman who spends most of her days inside her apartment. Some of the neighbors on Mango Street believe that the reason she never leaves her apartment is because she is too fat to get down the stairs. Esperanza on the other hand has a different opinion on it. She thinks that Mamacita is afraid of English and the people who speak it. Mamacita is afraid that English has empowered Mango Street. Because Esperanza realizes that Mamacita feels so trapped by her lack of English she realizes the importance of words and how someone can feel so lost with a lack of them. Mamacita spends her days listening to Spanish radio and thinking about her little pink house she left behind in Mexico. Sometimes when Mamacita thinks about living in her pink house her husband gets angry at her. Esperanza and Mamacita are both longing for a home to feel like they belong to. "she still sings for her pink house, and then I think she cries. I would" (No Speak English 77.) Although both Esperanza and Mamacita long for a home to feel like they belong to, they want to work towards their dreams. In this chapter, Esperanza speaks to fear of change and the hopelessness felt by those who feel as if they don't belong.
Rafaela Who Drinks Coconut & Papaya Juice on Tuesdays
In this chapter, Rafaela serves a purpose of being another woman who is trapped. She is being controlled by her husband and when he goes out, she gets locked in the house so she can't run away. Rafaela dreams she is Rapunzel and her house is a tower she is locked up in and she wishes she could escape. When she asks Esperanza to go to the store to get her coconut and papaya, the juice makes her think of islands filled with freedom and sweetness. Rafaela thinks of her house as bitter and boring and longs for getting away from her husband. Rafaela wishes to "dance before she gets old" (Rafaela 79.) Rafaela doesn't as for much, she wishes to do the things she should have the freedom to do. This quote from the chapter articulates that desire well because she spends so much time locked up in her house she isn't able to do the things a normal person should be able to do. Esperanza see Rafaela as a path that she doesn't want to go down. Esperanza has realized that Rafaela gave up her freedom by giving into the desire to be loved. Rafaela has lost all of her confidence and independency after her husband took control of her and Esperanza knows that if she goes out to the bar she wants to go, she'll fall into the trap of another man who is controlling. Esperanza's own voice becomes clearer to her because she realizes that many of the women on Mango Street feel like they don't belong.
Sally
Sally sets an example for Esperanza in a new way that she is intrigued by. Sally represents maturity in a sexual way and Esperanza has great respect for the way she has confidence and individuality. Sally supports herself being independent and free from control. Esperanza notices this quality in Sally and yet Sally is still desirable to boys. Esperanza wants to become friends with Sally because she likes the way she presents herself as having self-worth and dignity. Sally doesn't allow boys to have control over her like we see in the case of Rafaela. In this chapter we also see the reoccurring symbol which are the shoes. Before, in "Sire", Lois wasn't wearing any shoes representing the way women were. Men didn't want women to be able to do things that they can do. But Sally on the other hand wears these black suede shoes that Esperanza notices. These shoes represents sexuality because Esperanza wants to wear the shoes that Sally has. "Sally do you sometimes wish you didn't have to go home? Do you wish your feet would one day keep walking and take you away from Mango Street..." (Sally 82.) This quote shows that Esperanza is intrigued by the way Sally presents herself. She asks Sally if she ever gets the feeling that she wants to get away from Mango Street and go somewhere better. This chapter is written in a childlike tone. This is articulated through the way Esperanza has the desire to be just like Sally; almost like a child wanting to be like an adult. Sally shows to have maturity and Esperanza is trying to gain that but she doesn't understand how complicated that maturity can be.
Four Skinny Trees
Esperanza begins this chapter by saying that the four trees in the front of her yard are the only things that understand her. She thinks that these trees do not belong in her front yard but they were placed there and they cannot move. Although Esperanza thinks that these trees don't belong, she finds inner beauty in them and the things around her. She begins to accept things for what they are and starts to appreciate them. "Their strength is secret. They send ferocious roots beneath the ground" (Four Skinny Trees 74.) Esperanza is suggesting that although the tress seem skinny, they have hidden glory and beauty inside them. This chapter has a mood of maturity because she uses these skinny trees as inspiration. "They grow up and they grow down and grab the earth between their hairy toes and bite the sky with violent teeth and never quite their anger" (Four Skinny Trees 74.) Sandra Cisneros uses personification with the four skinny trees to relay the message that they empower the earth although they may seem to be just plants. Esperanza continues to become stronger and these trees are an example of her becoming wiser as a person.
No Speak English
Mamacita, a lady that is married to a neighbor of Esperanza on Mango Street, is a huge woman who spends most of her days inside her apartment. Some of the neighbors on Mango Street believe that the reason she never leaves her apartment is because she is too fat to get down the stairs. Esperanza on the other hand has a different opinion on it. She thinks that Mamacita is afraid of English and the people who speak it. Mamacita is afraid that English has empowered Mango Street. Because Esperanza realizes that Mamacita feels so trapped by her lack of English she realizes the importance of words and how someone can feel so lost with a lack of them. Mamacita spends her days listening to Spanish radio and thinking about her little pink house she left behind in Mexico. Sometimes when Mamacita thinks about living in her pink house her husband gets angry at her. Esperanza and Mamacita are both longing for a home to feel like they belong to. "she still sings for her pink house, and then I think she cries. I would" (No Speak English 77.) Although both Esperanza and Mamacita long for a home to feel like they belong to, they want to work towards their dreams. In this chapter, Esperanza speaks to fear of change and the hopelessness felt by those who feel as if they don't belong.
Rafaela Who Drinks Coconut & Papaya Juice on Tuesdays
In this chapter, Rafaela serves a purpose of being another woman who is trapped. She is being controlled by her husband and when he goes out, she gets locked in the house so she can't run away. Rafaela dreams she is Rapunzel and her house is a tower she is locked up in and she wishes she could escape. When she asks Esperanza to go to the store to get her coconut and papaya, the juice makes her think of islands filled with freedom and sweetness. Rafaela thinks of her house as bitter and boring and longs for getting away from her husband. Rafaela wishes to "dance before she gets old" (Rafaela 79.) Rafaela doesn't as for much, she wishes to do the things she should have the freedom to do. This quote from the chapter articulates that desire well because she spends so much time locked up in her house she isn't able to do the things a normal person should be able to do. Esperanza see Rafaela as a path that she doesn't want to go down. Esperanza has realized that Rafaela gave up her freedom by giving into the desire to be loved. Rafaela has lost all of her confidence and independency after her husband took control of her and Esperanza knows that if she goes out to the bar she wants to go, she'll fall into the trap of another man who is controlling. Esperanza's own voice becomes clearer to her because she realizes that many of the women on Mango Street feel like they don't belong.
Sally
Sally sets an example for Esperanza in a new way that she is intrigued by. Sally represents maturity in a sexual way and Esperanza has great respect for the way she has confidence and individuality. Sally supports herself being independent and free from control. Esperanza notices this quality in Sally and yet Sally is still desirable to boys. Esperanza wants to become friends with Sally because she likes the way she presents herself as having self-worth and dignity. Sally doesn't allow boys to have control over her like we see in the case of Rafaela. In this chapter we also see the reoccurring symbol which are the shoes. Before, in "Sire", Lois wasn't wearing any shoes representing the way women were. Men didn't want women to be able to do things that they can do. But Sally on the other hand wears these black suede shoes that Esperanza notices. These shoes represents sexuality because Esperanza wants to wear the shoes that Sally has. "Sally do you sometimes wish you didn't have to go home? Do you wish your feet would one day keep walking and take you away from Mango Street..." (Sally 82.) This quote shows that Esperanza is intrigued by the way Sally presents herself. She asks Sally if she ever gets the feeling that she wants to get away from Mango Street and go somewhere better. This chapter is written in a childlike tone. This is articulated through the way Esperanza has the desire to be just like Sally; almost like a child wanting to be like an adult. Sally shows to have maturity and Esperanza is trying to gain that but she doesn't understand how complicated that maturity can be.
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