When I hear or read the word vignette, I think of short stories that are not related to each other, like the vignettes in the movie “Paris, je t’aime” where the only thing tying the stories together is the city itself. Reading “The House on Mango Street” broadened my perception of vignettes.
The ending to “The First Job” surprised me. How bold of that man to kiss Esperanza! That was the last thing I was expecting to read after she recounts her mediocre first day at a new job.
I was intrigued by “Elenita, Cards, Palm, Water.” Elenita represents a very specific and mysterious aspect of Latino culture I have always been curious about- brujeria. I remember my religious Grandmother from Honduras walking very quickly past Botanicas because she deemed the products in those stores evil. I like how Cisneros portrays Elenita as a witch and a mother cleaning up after her child spills kool-aid, giving her realistic and mystical qualities simultaneously.
I was initially puzzled by “Geraldo, No Last Name.” This story of a hit and run came unexpectedly and I found myself almost disoriented when I started to read it the first time. I had to go back in the story to remind myself who Marin is in order to make a connection between this story and Esperanza’s community. I am a bit perplexed as to why Cisneros uses racist terminology in this vignette, and it is written in the style of a rushed conversation. I wonder if this is coming from Esperanza’s perspective or someone else’s perspective.
4 thoughts on “Victoria Santagato Discussion 16”
Hello Victoria, I completely agree with your interpretation of “The House on Mango Street.” The vignettes in this book are not just unrelated short stories, but they also provide a deep insight into the Latino culture and the experiences of Esperanza and her community. The ending of “The First Job” was definitely unexpected, and it added a layer of complexity to Esperanza’s experience of starting a new job. “Elenita, Cards, Palm, Water” was also fascinating because it delves into the mysticism of Latino culture and the interplay between realistic and mystical qualities.
I agree with your perspective on vignettes. “The House on Mango Street” is made up of vignettes but in some way they complete/tell the story. They give sort of an insight or background to the story of who Esperanza is and where she came from. I was also surprised with the racist remarks Cisneros uses. The relation to witchcraft was also intriguing to me as well. Growing up hispanic, brujeria was something that everyone would always beware of and worry about. I related to a few things in the story but this was one that actually made me kind of nostalgic.
Hi Victoria,
It’s intriguing that “Elenita, Cards, Palm, Water” sparked your interest since it depicted brujeria, a cultural phenomenon that peaked your curiosity. Elenita is portrayed by Cisneros as a mother and a witch, a fascinating combination of reality and mysticism that gives the character and her cultural customs more depth. It’s also reasonable that “Geraldo, No Last Name” initially confused you. The abrupt introduction of a hit-and-run incident can be confusing, and the vignette’s use of racial slurs begs issues about its intent and point of view.
Victoria, thanks for the comments about your new appreciation of the form of vignettes. I think they work powerfully in this case to present a full picture of a young girl’s life.