Meme Ortiz
Summary:
In this chapter we meet the new inhabitant of Cathy's house, Meme Ortiz. Esperanza describes Meme's sheepdogs and, as homes are important to her, paints a verbal picture of Meme's family's new, ramshackle home. Esperanza then focuses on the property's one crowning glory: a giant tree which is both home to a family of squirrels and the sight of the First Annual Tarzan Jumping Contest, which Meme won at the cost of two broken arms.
Analysis:
Meme and his pets are described with humorous similes: "like a man dressed in a dog suit" and "limbs flopping all over the place like untied shoes." So too, Meme's house is given a personality of its own through Esmeralda's original depictions such as its twenty-one steps "jutting like crooked teeth."
This image is compared with the metaphor Esperanza uses to describe her own house "with its feet tucked under like a cat." Indeed, Esperanza sees her home not only as a source of shame, but through an aura of respite and comfort. Just as cats instinctually find their way home, so too will Esperanza.
Louie, His Cousin and His Other Cousin
Summary:
This chapter introduces us to the Cordero boys' friend, Louie, whose cousin Marin from Puerto Rico lives with the family and cares for Louie's little sisters. Louie has another cousin, and although Esperanza cannot remember his name she can never forget the one time she met him. This cousin once pulled into Mango Street in a brand new yellow- and stolen- convertible and takes the neighborhood for a joyride. The sound of sirens soon approaches and Louie's cousin crashes while trying to flee. He is taken into custody as the neighborhood wave him goodbye.
Analysis:
This chapter plays upon the theme of finding the best parts of everyday life or an existence of hardship to enjoy. This is why the neighbors enjoy the ride in the Cadillac without questioning its origins. The fun shared emphasizes too, that the neighborhood functions as a large extended family. Esperanza uses deadpan irony to describe the cousin's crash- "the nose of that yellow Cadillac was all pleated like and alligator's"- and hauling off to prison- "and we all waved as they drove away."
This irony reveals two themes: first, that Mango Street and its inhabitants are weathered to the sights of crime. Secondly, extreme poverty allows people to understand a different side of a situation. Instead of focusing on the theft in her narration, for example, Esperanza tells of the fleeting joy produced by the arrival and ride in that car. Indeed, the moral of this chapter is to take nothing- from the luxuries of a car to an opportunity for fun and laughter- for granted.
Marin
Summary:
This chapter is about Marin, Louie's cousin and a much older and wiser girl in Esperanza's eyes. Marin makes the girls promise not to tell that she is going to marry her boyfriend in Puerto Rico once he gets a job, and seems to have no qualms with leaving her options open and letting her eyes wander while she is in the States. Esmeralda admires Marin's knowledge of beauty and boy secrets, but she does not make her a role model. Already, Esperanza recognizes Marin's making her limited possibilities even smaller by waiting for a man to rescue her.
Analysis:
This chapter explores the theme of the waiting woman, but in this case also offers a perspective on how women are not always completely the victims. Marin's desperation to better her lot in life leads her to manipulative action in her dealings with men. For example, Esperanza's tone of pity lets the reader know she finds Marin's dream of working downtown so she can meet a rich man on the subway very hypocritical.
Indeed, Esperanza sees the irony in Marin's thwarted quests for a man, which is evident in her sarcastic tone and choice of examples. For example, after describing Marin's dream to be taken away to "a big house far away," Esperanza states in a deadpan tone: "But next year Louie's parents are going to send her back to her mother with a letter saying she's too much trouble." The recurring theme of a home of one's home is given a new twist here, as Marin's success or failure at attaining her dream house is determines by the actions of others- her boyfriend, her Aunt, the rich man she has yet to meet. Thus, an ironic contrast is made with Esperanza's dream, which is to find, forge and inhabit a house of her own, all by her lone self.
An important metaphor used in other parts of the book to describe ones trust in chance is "a star to fall." Indeed, Marin's falling star is the car that will stop and take her away, the man who will "change her life." Esperanza recognizes the futility of placing all ones hope in a dream savior that most likely does not exist. So too, she seems to question the ways in which Marin has chosen to sell herself. From standing outside at night armed with a short skirt and a cigarette, to figuratively "dancing by herselfsinging the same song somewhere", Marin puts herself on display like a commodity for sale. Esperanza's somber tone of conviction- "I know"- manifest that Marin's falling star of fortune will never fall to earth.
Those Who Don't
Summary:
In this chapter, Esperanza describes how strangers who accidentally stumble into her neighborhood are afraid of its inhabitants, as if "we will attack them with shiny knives." She admits that security comes from being surrounded by people of ones own race. When she ventures into a neighborhood of a different color, her knees too shake in fear.
Analysis:
Esperanza's observations that security comes from seeing "all brown all around" criticizes both sides of a fear that often results from segregation. No matter who you are, you feel at risk in an unfamiliar neighborhood or if you are the racial minority. "That is how it goes and goes" says Esperanza, indicating that as long as economic and social injustice relegate people to stick with their own for support and safety, then the cycle of fear and prejudice will continue with her generation.
There was an Old Woman
Summary:
This chapter is about the wild Vargas kids, for whom their poor, single mother cannot completely provide nor care. The children's daredevil antics show that they have no respect for their neighbors nor themselves. After a while, the neighborhood begins to ignore the Vargas kids and treat them as a lost cause because of their rude treatment of those who make the effort to help them.
Analysis:
This chapter is a criticism of closing ones eyes to people in need, even to those who refuse to be helped. Through her poignant imagery, Esperanza hints at the dangers of failing to see others as human beings. The "day Angel Vargas learned to fly" is euphemistic imagery symbolizing a fall to his death. Esperanza evokes the image of failed chance that she used for Marin- "a fallen star." The tragedy of his death is how nobody seemed to care, not even the child himself who "exploded down to earth without even an 'Oh'." Indeed, this chapter ends in the tragedy of a child's death; the fact that it happened when people stopped caring is a strong social criticism.
Alicia Who Sees Mice
Summary:
This chapter describes Alicia's fear of the mice she sees when she wakes up early in the morning to prepare the lunchbox tortillas. As her mother is deceased, Alicia performs her domestic duties as well as studies at the university. Although she fears mice, Alicia fears her father more and obeys him. He says a woman's place is rising "with the tortilla star." Alcia does not sleep, however, but studies all night and endures a long commute because "she doesn't want to spend her life in a factory or behind a rolling pin."
Analysis:
Alicia's treatment by her father is an example of the machismo stereotypes that would keep Alicia a servant in her own home like the mother before her. Her father's suggestion that her existence should be sleep and housework manifest the sexist ideal that a higher education is wasted on a woman. Alicia, however, resists the limited possibilities offered to her- symbolized by her inheritance of "her mama's rolling pin and sleepiness"- by studying. The admiration Esperanza has for this "good girl" is immense, for her friend is juggling the dual roles of fulfilling duty to family while pursuing her own dreams.
Darius and the Clouds
Summary:
Darius is considered a very stupid boy by his peers. While he generally acts like a fool and torments the girls, one day the clouds show another side of Darius. He points to a cloud next to a cluster of "popcorn" and calls it "God."
Analysis:
This chapter shows that everyone has their own inner spirituality, and that God can be found in the simple things that even the poor have, such as sky. This chapter is another example of the theme of making "the best of it." They sky is a metaphor for the life's best and most elusive offerings- comfort, beauty, and spirituality. To Esperanza, sky can make you "drunk" with happiness and "keep you safe when you are sad." Sky is a natural defense, and she feels that her neighborhood does not have as much protection as others: "here there is too much sadness and not enough sky." But as Darius points out, even Mango Street, has what it needs- a spirit of protection above them.
And Some More
Summary:
In this chapter we witness the banter normally exchanged by the Esperanza, Nenny, Lucy and Rachel as they hang around the neighborhood together. A random discussion about different names- for people, snow, and even clouds leads into a war of words in which the weapon is wit.
Analysis:
The most important symbol in this chapter is the clouds, which we already know have spiritual meaning for Esperanza. Indeed, the clouds fill many functions, and in this case they are a source of entertainment. Nenny's refusal to stop naming the clouds as the other three match wits maintains a level of friendliness, and the fight is ended when the clouds provide the answer to the retort "Who's stupid? Rachel, Lucy, Esperanza, and Nenny. Indeed, in this chapter the plethora of clouds are a metaphor for the girls' own erratic behavior, as their attitudes and moods are always changing.
