The House on Mango Street

by

Sandra Cisneros

The House on Mango Street: Imagery 2 key examples

Definition of Imagery
Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines from Robert Frost's poem "After Apple-Picking" contain imagery that engages... read full definition
Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines from Robert Frost's poem "After... read full definition
Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines... read full definition
Chapter 2: Hairs
Explanation and Analysis—Hair:

Esperanza uses a series of similes to describe her and her family's hair, culminating in rich imagery that conveys the sweet smell of her mother's hair:

My Papa’s hair is like a broom, all up in the air. And me, my hair is lazy... my mother’s hair, like little rosettes, like little candy circles all curly and pretty because she pinned it in pincurls all day, sweet to put your nose into when she is holding you, holding you and you feel safe, is the warm smell of bread before you bake it, is the smell when she makes room for you on her side of the bed still warm with her skin, and you sleep near her, the rain outside falling and Papa snoring.

By describing the hair of Esperanza's family members through increasingly abstract similes, Cisneros highlights difference amongst similarity. In many ways, this is one of the novel's through-lines, and it highlights the differences between the Chicano characters who are all a part of a broader community.

The specific similes Cisneros uses both call back to Esperanza's culture and create a visceral image of what her mother's hair smells and looks like. Rosettes are rose-shaped ornaments or decorations, as well as a term for a popular desert in many cultures, including Spanish and Mexican holiday celebrations. Regardless of what precisely Esperanza is referring to with her simile, it conveys both what the hair looks like and what it smells like: warm bread and candy circles. Her mom's hair becomes warmth, love, and sweetness. These things represent her personality and role in Esperanza's life more than a literal description of how her hair looks. Ultimately, Cisneros's similes create a connection between Esperanza's physical heritage and her cultural heritage and memories. 

Chapter 28: Sire
Explanation and Analysis—Little Pink Toes:

Cisneros paints a vivid picture of Lois, the girlfriend of Esperanza's first crush, describing in detail how her toes appear: 

And once when she was standing next to me at Mr. Benny’s grocery she was barefoot, and I saw her barefoot baby toenails all painted pale pale pink, like little pink seashells, and she smells pink like babies do. She’s got big girl hands, and her bones are long like ladies’ bones, and she wears makeup too. But she doesn’t know how to tie her shoes. I do.

Cisneros describes how Lois's toes look and smell, creating a visceral image of her physical appearance. The alliteration of the /p/ sounds in the phrase "painted pale pale pink" contributes to the imagery, highlighting what Lois's toes look like. Esperanza's confusion of smell and sight—Lois "smells pink like babies do"—further contributes both to the scene's imagery but also to the reader's sense of Esperanza's jealousy, as Esperanza becomes dizzied by Lois's physical appearance.

The quotation portrays Esperanza's growing in maturity, as she develops crushes and admires the appearance of the older women around her. At the same time, Esperanza's present innocence is evident even as she begins to mature, as this passage plays on the gendered stereotype that young girls love pink. To that end, it's clear that Esperanza seems to associate pink with womanhood, since her comments about the color lead directly into the assertion that Lois has "big girl hands, and her bones are long like ladies’ bones, and she wears makeup too." In this way, the visual imagery in this passage helps illuminate the way Esperanza is looking at the world (and the people) around her.

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