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Happily Ever After
Fairy Tales and Rescue in Sandra Cisneros' The House on Mango Street
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118 b
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Within The House on Mango Street, Cisneros weaves several subtle literary allusions, mostly from fairy tales, into many of her vignettes. These subtle allusions help Cisneros create a portrait of expected feminine roles, mostly women as victims, within the patriarchal community, which, when juxtaposed with Esperanza's ideals for herself and her inner strength and drive, help distinguish her as different from those around her. Because she is different and stronger than the other women in her community, Esperanza will be able to reject the other female role models presented by both the women in her community and the women in the fairy tales she has been inundated with her entire life. The rejection of the models that have been presented to her will allow her to instead create her own story where she will be able to 'live happily ever after' on her own terms and not to rely on waiting for someone else to save her. Her escape will allow her to finally escape the poverty and oppression of her community, but will also give her the strength to return to save the other women from similar trappings, thereby becoming their figurative Prince Charming.
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