To me the voice of Esperanza was distinctly female, primarily because the subject matter was clearly female oriented. The Boys & Girls chapter tells us out right that Esperanza is female. The activities Esperanza participated in (jump rope, wearing high heels, dancing with her uncle in a pink striped dress, discussing hips, etc.) are all typical female pastimes and things that society associates with female behavior. The emotions she expressed and some of the things she was concerned about can also be considered typically female.
The writing style of Mango Street had many elements of écriture féminine including the free style and lack of “structure” or traditional organization. The chapter on hips is also one that is specifically mentioned in Critical Theory Today as being écriture feminine described as the “unfettered, joyous vitality of the female body”. The form isn’t that of a typical novel. Each chapter jumps from subject to subject without interpretation by a narrator or explanation of time or place, going against “correct methods”.
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My question is in regards to the idea of ecriture feminine. Does a female writer learn this form combining free style and lack of style or organization, or is it too inherint like some other feminine qualities? Also, I was wondering if there is any printed literature that shows a man using this free style and lack of structure; or is it just an idea that women go against the grain of tradition and theorists have identified this behavior with the term: ecriture feminine?
ReplyDeleteThese are just a few wandering thoughts that I had as I read and interpreted the House on Mango Street. I too, like Nicole, agree that the voice of Esperanza is distinctively female and I do see the lack of "traditional" writing form. I just hope that we can answer a few of my thoughts today in class.
Thanks!