Unit 5
from
A House on Mango Street
Fiction by Sandra Cisneros
In textbook on page: 703
Found online @ http://campuses.fortbendisd.com/campuses/documents/Teacher/2007/teacher_20070910_0233.pdf (Chapter 1)
http://theliterarylink.com/mangostreet.html (My Name)
Audio Reading: http://growinguponmango.weebly.com/audio.html
Essential Question: What stories will you tell your children?
Common Core Standards: RL1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the
text. RL. 3 Analyze how complex characters develop over the course of a text.RL.4 analyze the cumulative impact of specific word choices on meaning and tone
L.5a L. 5a Interpret figures of speech in context and analyze their role in the text.
Introduction: Whether it’s a story about your first love or a devastating loss, you have important stories to tell. These stories will be the next
generation’s legacy – stories, values, and traditions handed down from one generation to the next.
Making the Connection: With a classmate, talk about some of the stories you may tell your own kids someday. Think about things that have
happened to you personally, as well as major events that took place during your lifetime and how they impacted your life and way of thinking.
When you have jotted some ideas down, pick your favorite story – the one you think will be crucial to share with the next generation. In a small
group take turns telling your stories. Share why this is an important story to share with the next generation. Are any of the stories the same?
Evaluating the Text – Author’s Perspective
Your experiences influence the way you think about things, and the same is true for writers. There personal experiences influence the way they
approach a topic. When you analyze an author’s perspective or point of view, you want to ascertain how the writer looks at the subject they are
writing about. As you read three chapters from Sandra Cisneros’s novel, The House on Mango Street, strive to think perspective on the narrator’s (
a girl named Esperanza), circumstances. Two ways to find the author’s perspective are:
 A writer’s choice of details. In these vignettes, Cisneros describes a rundown house in vivid detail. What do her descriptions of its small
windows, crumbling bricks, and tiny yard help to emphasize to the reader?
 Think about the narrator’s thoughts and feelings. What kind of person is she?
As you read, contemplate what these details and statements tell about Cisneros’s perspective to grow up in a place like the house on Mango
Street. It’s important to think about the author’s tone, or attitude, about her subject when trying to figure out the author’s perspective.
Skills for Reading – Inferences about Characters
Good authors usually don’t tell you everything their characters are thinking and feeling. They leave it up to the reader to figure out who the
characters are by analyzing what they say and do. When readers analyze a character carefully, they are able to make inferences about the things
that are not told directly to the reader. As you read, keep a record about the narrator’s background and history, personality, and feelings.
Details from the Text
The narrator has moved to many addresses; she isn’t happy about
having to move or about living on Mango street.
My Inferences
The narrator, Esperanza, most likely wants to find one home and stay
put for the remainder of her childhood.
Sandra Cisneros is a famous Mexican American author. Her childhood
provided several experiences she would later portray as a writer: she
grew up as the only daughter in a family of six brothers, which often
made her feel isolated, and the constant migration of her family between
Mexico and the USA imparted in her the sense of "always straddling two
countries ... but not belonging to either culture. Cisneros's work often
involves the formation of her Chicana identity, exploring the challenges
of being caught between Mexican and Anglo-American cultures,
confronting the misogynist views present in both these cultures, and
experiencing extreme poverty as she grew up.
About the Author
Mexican American author Sandra Cisneros's novella The House on
Mango Street is the story of a Latina girl named Esperanza Cordero who
grows up on the mean streets of an inner-city neighborhood. Originally
published in 1984, the novel enjoyed immediate critical acclaim, winning
the Before Columbus Foundation's American Book Award in 1985. Now
in its 25th year of publication, The House on Mango Street has sold over
2 million copies and is required reading in many middle schools, high
schools, and universities across the country.
For more on this author, visit her webpage found at:
http://www.sandracisneros.com/index.php
Or watch an interview with Cisneros @:
http://www.youtube.com/watch?v=0Pyf89VsNmg
T
The House on Mango Street is a collection of connected vignettes which creates a whole novel. A vignette is a short scene that
focuses on one moment or gives an impression about a character, an idea, or a setting.
Vignettes from A House on Mango Street
Analyze Visuals:
What does this mural suggest about the
characters in the novel The House on Mango
Street? What details from the mural give you
that impression?
Chapter titled, A House on Mango Street
A House on Mango Street
We didn’t always live on Mango Street. Before that we lived on
Loomis on the third floor, and before that we lived on Keeler. Before
Keeler it was Paulina, and before that I can’t remember. But what I
remember most is moving a lot. Each time it seemed there’d be one more
of us. By the time we got to Mango Street we were six—Mama, Papa,
A Close Read
Carlos, Kiki, my sister Nenny and me.
The house on Mango Street is ours, and we don’t have to pay rent to
anybody, or share the yard with the people downstairs, or be careful not to
make too much noise, and there isn’t a landlord banging on the ceiling
with a broom. But even so, it’s not the house we’d thought we’d get.
We had to leave the flat on Loomis quick. The water pipes broke
and the landlord wouldn’t fix them because the house was too old. We had
to leave fast. We were using the washroom next door and carrying water
over in empty milk gallons. That’s why Mama and Papa looked for a
house, and that’s why we moved into the house on Mango Street, far
away, on the other side of town.
They always told us that one day we would move into a house, a real
house that would be ours for always so we wouldn’t have to move each
year. And our house would have running water and pipes that worked.
And inside it would have real stairs, not hallway stairs, but stairs inside
like the houses on T.V. And we’d have a basement and at least three
washrooms so when we took a bath we wouldn’t have to tell everybody.
Our house would be white with trees around it, a great big yard and
grass growing without a fence. This was the house Papa talked about when
he held a lottery ticket and this was the house Mama dreamed up in the
stories she told us before we went to bed.
But the house on Mango Street is not the way they told it at all. It’s
small and red with tight steps in front and window so small you’d
think they were holding their breath. Bricks are crumbling in places,
and the front door is so swollen you have to push hard to get in. There is
no front yard, only four little elms the city planted by the curb. Out back is
a small garage for the car we don’t own yet and a small yard that looks
smaller between the two buildings on either side. There are stairs in our
house, but they’re ordinary hallway stairs, and the house has only one
washroom. Everybody has to share a bedroom—Mama and Papa, Carlos
and Kiki, me and Nenny.
Once when we were living on Loomis, a nun from my school
passed by and saw me playing out front. The laundromat downstairs had
Making Inferences: Reread the bolded lines. What might
readers be able to infer about the family’s economic
situation? Explain your inference.
Common Core L.5a
Language Coach – Fixed Expressions
A fixed expression offers a ready-made way of saying
something. Reread the bolded lines. How does the fixed
expression of “holding their breath” help the reader “see” a
picture of the windows?
been boarded up because it had been robbed two days before and the
owner had painted on the wood YES WE”RE OPEN so as not to lose
business.
Where do you live? She asked.
There, I said pointing up to the third floor.
You live there?
There. I had to look to where she pointed—the third floor, the paint
peeling, wooden bars Papa had nailed on the windows so we wouldn’t
fall out. You live there? The way she said it made me feel like nothing.
There. I lived there. I nodded.
I knew then I had to have a house. A real house. One I could point
to. But this isn’t it. The house on Mango Street isn’t it. For the time
being, Mama says. Temporary, says Papa. But I know how those things
go.
Make an Inference: Think about the way the narrator
reacts to the nun’s remark about her home. What does her
reaction help you to understand about the narrator’s
feelings?
Chapter titled, My Name
My Name
In English my name means hope. In Spanish it means too many letters.
It means sadness, it means waiting. It is like the number nine. A muddy
color. It is the Mexican records my father plays on Sunday mornings when
he is shaving, songs like sobbing.
It was my great-grandmother's name and now it is mine. She was a
horse woman too, born like me in the Chinese year of the horse--which
is supposed to be bad luck if you're born female-but I think this is a
Chinese lie because the Chinese, like the Mexicans, don't like their
women strong.
My great-grandmother. I would've liked to have known her, a wild,
horse of a woman, so wild she wouldn't marry. Until my great-
Reread the first paragraph. What works jump out at you?
What tone does Cisneros’s words choice express?
Support your answer.
grandfather threw a sack over her head and carried her off. Just like
that, as if she were a fancy chandelier. That's the way he did it.
And the story goes she never forgave him. She looked out the
window her whole life, the way so many women sit their sadness on an
elbow. I wonder if she made the best with what she got or was she
sorry because she couldn't be all the things she wanted to be.
Esperanza. I have inherited her name, but I don't want to inherit her
place by the window.
At school they say my name funny as if the syllables were made out of
tin and hurt the roof of your mouth. But in Spanish my name is made out
of a softer something, like silver, not quite as thick as sister's name
Magdalena--which is uglier than mine. Magdalena who at least- -can come
home and become Nenny. But I am always Esperanza. would like to
baptize myself under a new name, a name more like the real me, the one
nobody sees. Esperanza as Lisandra or Maritza or Zeze the X. Yes.
Something like Zeze the X will do
Chapter titled, Mango says Goodbye Sometimes
Mango Says Goodbye Sometimes
I like to tell stories. I tell them inside my head. I tell them after the
mailman says, Here’s your mail. Here’s your main he said.
I make a story for my life, for each step my brown shoe takes. I say,
“And so she trudged up the wooden stairs, her sad brown shoes taking her
to the house she never liked.”
I like to tell stories. I am going to tell you a story about a girl who didn’t
want to belong.
We didn’t always live on Mango Street. Before that we lived on Loomis
Reread the bolded paragraphs. What cultural expectations
and values does the author expose in these paragraphs?
on the third floor, and before that we lived on Keeler. Before Keeler is was
Paulina, but what I remember most is Mango Street, sad read house, the
house I belong but do not belong to.
I put it down on paper and then the ghost does not ache so much. I
write it down and Mango says goodbye sometimes. She does not hold
me with both arms. She sets me free.
One day I will pack my bags of books and paper. One day I will say
goodbye to Mango. I am too strong for her to keep me here forever. On
day I will go away.
Friends and neighbors will say, What happened to Esperanza? Where
did she go with all those books and paper? Why did she march so far
away?
They will not know I have gone away to come back. For the ones I
left behind. For the ones who cannot out.
Author’s Perspective – Reread the bolded lines. What
might Cisneros’s be saying about the power of writing?
Explain your answer.
Based on the narrator’s thought, “I am too strong for her to
keep me here forever” what kind of power does the
narrator think Mango street has over her; Why might she
feel this way? Explain your answer.
Common Core L 5a Paradox
A paradox is a statement that contradicts itself. Paradoxes
are often like riddles, with meanings that are difficult to
unravel. In the bolded line, the narrator says she has “gone
away to come back.” She seems to be contradicting herself
with this statement. What do you think she means by this
seemingly contradictory statement?
DIALECTICAL JOURNALS
The term “Dialectic” means “the art or practice of arriving at the truth by using conversation involving question and
answer.” Think of your dialectical journal as a series of conversations with the texts we read during this course. The process
is meant to help you develop a better understanding of the texts we read. Use your journal to incorporate your personal
responses to the texts, your ideas about the themes we cover and our class discussions. You will find that it is a useful way to
process what you’re reading, prepare yourself for group discussion, and gather textual evidence for your Literary Analysis
assignments.
PROCEDURE:
o As you read, choose passages that stand out to you and record them in the left-hand column of a T-chart (ALWAYS
include page numbers).
o In the right column, write your response to the text (ideas/insights, questions, reflections, and comments on each
passage)
o If you choose, you can label your responses using the following codes:
o (Q) Question – ask about something in the passage that is unclear
o (C) Connect – make a connection to your life, the world, or another text
o (P) Predict – anticipate what will occur based on what’s in the passage
o (CL) Clarify – answer earlier questions or confirm/disaffirm a prediction
o (R) Reflect – think deeply about what the passage means in a broad sense – not just to the characters in the
story. What conclusions can you draw about the world, about human nature, or just the way things work?
o (E) Evaluate - make a judgment about the character(s), their actions, or what the author is trying to say
o Complete journal entries for at least two passages each week. You can earn up to 25 points per week for your
journals.
Sample Dialectical Journal entry: THE THINGS THEY CARRIED by Tim O’Brien
Passages from the text
Pg#s
Comments & Questions
“-they carried like
freight trains; they
carried it on their backs
and shoulders-and for
all the ambiguities of
Vietnam, all the
mysteries and
unknowns, there was at
least the single abiding
certainty that they
(R) O’brien chooses to end the first section of
Pg 2 the novel with this sentence. He provides
excellent visual details of what each solider in
Vietnam would carry for day-to-day fighting.
He makes you feel the physical weight of what
soldiers have to carry for simple survival. When
you combine the emotional weight of loved
ones at home, the fear of death, and the
responsibility for the men you fight with, with this
physical weight, you start to understand what
would never be at a loss
for things to carry”.
soldiers in Vietnam dealt with every day. This
quote sums up the confusion that the men felt
about the reasons they were fighting the war,
and how they clung to the only certainty things they had to carry - in a confusing world
where normal rules were suspended.
CHOOSING PASSAGES FROM THE TEXT:
CHOOSING PASSAGES FROM THE TEXT:
Look for quotes that seem significant, powerful, thought provoking or puzzling. For example, you might record:
o
o
o
o
o
o
o
o
Effective &/or creative use of stylistic or literary devices
Passages that remind you of your own life or something you’ve seen before
Structural shifts or turns in the plot
A passage that makes you realize something you hadn’t seen before
Examples of patterns: recurring images, ideas, colors, symbols or motifs.
Passages with confusing language or unfamiliar vocabulary
Events you find surprising or confusing
Passages that illustrate a particular character or setting
RESPONDING TO THE TEXT:
You can respond to the text in a variety of ways. The most important thing to remember is that your observations should be
specific and detailed. You can write as much as you want for each entry. You can use loose leaf paper for your journals or
download the template from the Author Study page on the ESA web site.
Basic Responses
o Raise questions about the beliefs and values implied in the text
o Give your personal reactions to the passage
o Discuss the words, ideas, or actions of the author or character(s)
o Tell what it reminds you of from your own experiences
o Write about what it makes you think or feel
o Agree or disagree with a character or the author
Sample Sentence Starters:
I really don’t understand this because…
I really dislike/like this idea because…
I think the author is trying to say that…
This passage reminds me of a time in my life when…
If I were (name of character) at this point I would…
This part doesn’t make sense because…
This character reminds me of (name of person) because…
Higher Level Responses
o Analyze the text for use of literary devices (tone, structure, style, imagery)
o Make connections between different characters or events in the text
o Make connections to a different text (or film, song, etc…)
o Discuss the words, ideas, or actions of the author or character(s)
o Consider an event or description from the perspective of a different character
o Analyze a passage and its relationship to the story as a whole
Variations on the Dialectical Journal Format
o Metacognitive Journal – what I learned/how I figured it out (incl. pg. #s)
o Synthesis Journal – at the end of a weekly cycle, consider your Dialectical Journal entries, group work & participation in
class discussion. Analyze your overall progress as a reader & writer.
Dialectical Journal Template
In this template, one quote have been added for you. You need to add 4more. Your goal is two find quotes that help you to understand
the writer’s tone and perspective.
Passage from the text
“But the house on Mango Street is not the way they told it at all. It’s small and read with
tight steps in front and windows so small you’d think they were holding their breath.”
Chapter
Chapter
1
Comments and Questions
I wonder who “they” are. The
narrator seems very
disappointed in her new home
based on how “small”
everything is. She seems to feel
trapped by the house.
After Reading Questions
Common Core Standards: RL.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from
the text. RL. 3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other
characters, and advance the plot or develop the theme. RL..4 Determine the meaning of words and phrases as they are used in the text, including figurative and
connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone
1.
2.
3.
4.
(Recall) Describe Esperanza’s house on Mango Street.
(Recall) What does Esperanza’s name mean in English?
(Clarify) What does Esperanza mean when she refers to her home as “the house I belong but do not belong to”?
(Inferences) Review inference chart that you created before reading and filled out as you read. Based on the
inferences you were able to make, what can conclusions can you draw about this character? Provide three
adjectives that you would use to describe the narrator and cite evidence to support your conclusions.
Adjectives to describe Esperanza, the narrator
Evidence from Text
5. (Understanding Tone) How would you describe the writer’s tone in these three vignettes? Choose two words to
describe the tone and then provide evidence in the chart below.
Words to Describe Tone
Evidence from the Text
6. (Interpret the Text) Think about Esperanza’s sentiments about her legacy. She says she doesn’t want to inherit her
great-grandmother’s “place by the window.” What does she mean by this statement? What else does she not want
to inherit? Explains your ideas.
7. (Crafting Conclusions) Cisneros’s says she wants to “write stories that have never been written.” Based on what you
know about the author, why do you think she decided to write The House on Mango Street, and share Esperanza’s
stories? Explain your ideas.
8. (Evaluating the Author’s Perspective) Think about the details in three vignettes you just read and connect it to the
Cisneros’s own background. What do you think Cisneros’s perspective is on growing up poor? Use evidence from the
author’s biography and text from the story to support your ideas.
9. (Text Criticism) Cisneros says when writing The House on Mango Street she “was trying to write something that was a
cross between fiction and poetry.” In your opinion, are these vignettes more like verse or more like fiction? Consider
the author’s diction (word choice) and the details that she provides in each vignette. Defend your answers with
evidence from the text.
10. (Enduring Understanding) Revisit the essential question. Why is it important to share our life experiences with the next
generation? Now that you have read these texts, has it changed your mind about what stories you will tell your own
children?