House On Mango Street Cisneros

The House on Mango Street written by Sandra Cisneros emerges as a piece of literary mastery demonstrated through the multilevel narration and celebration of subjective representation. The author utilizes the unusual practice of thorough weaving of the tapestry containing the main character’s opinions and cognitive processes that exist within the matrix of three levels of narration. Furthermore, the story world level, the level of narration and authorial level appear to execute distinctive functions in explaining the significance of critical thinking for self-identity development. This is exactly what happens to Esperanza, Mexican American teenage girl living in a rough neighborhood while she transitions from childhood world of innocence to
The first philosopher to appraise this method was Jacques Derrida who believed in its “inescapability due to rendering meanings as unstable by their dependence on ultimately arbitrary signifiers” (Derrida 19). He also said:” "Words have meaning only because of contrast-effects with other words...no word can acquire meaning in the way in which philosophers have hoped it might—by being the unmediated expression of something non-linguistic". As a consequence meaning is never present, but rather is deferred to other signs. Hence, I am going to deconstruct Cisneros’ narration levels considering and respecting subjective Truth’s role in explaining her
They think we' re dangerous. They think we will attack them with shiny knives. They are stupid people who are lost and got here by mistake” (28). The significant detail about this chapter is that she uses explicitly “we” and “they” in first and second paragraphs, while combining them with the third one as though she wanted to introduce the whole community’s standpoint. Both literal mastery and composition are little likely to be created by a teenager. Furthermore, there are other important details which make the mode of interaction between the reader and the narrator of additional value in relation to subjective Truth author installed. The narration is kept in present tense, and the dialogues have no quotations: “Next week she comes over black and blue and asks what can she do? Minerva. I don’t know which way she’ll go. There is nothing I can do” (85). This technique is employed to foster the uninterrupted mind flow allegedly walking you inside of the narrator’s head instead of trying to build the objective