Gender Roles, Femininity, and Family in The House on Mango Street

Introduction

Sandra Cisneros’ The House on Mango Street follows a transformative year in the life of its protagonist, Esperanza Cordero, as she navigates issues of gender, identity, and personal growth. The novel falls under the Bildungsroman genre, focusing on the protagonist’s journey toward self-awareness and independence. Through Esperanza’s experiences, Cisneros explores the ways in which gender and societal expectations shape relationships, personal aspirations, and family dynamics.

The novel’s central themes—women and femininity, family, and friendship—reflect the cultural and social influences that define Esperanza’s world. As she grows, Esperanza becomes increasingly aware of the limitations imposed on women in her community, prompting her to seek an identity beyond traditional expectations. This essay examines how Cisneros portrays gender roles, familial expectations, and the struggle for independence in The House on Mango Street, highlighting Esperanza’s evolving perspective on what it means to be a woman.

Women and Femininity in The House on Mango Street

Throughout the novel, women are often depicted through the lens of societal expectations, which position them as caretakers, nurturers, and figures of domesticity. Esperanza’s mother embodies this stereotype, representing an image of femininity defined by self-sacrifice and caregiving. In the vignette Hairs, Esperanza describes her mother’s presence in deeply comforting and maternal terms:

“But my mother’s hair, 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” (Cisneros, 1991).

This description reinforces the notion of women as providers of comfort and security, a role that contrasts with Esperanza’s growing desire for independence.

Similarly, Esperanza’s neighbor is depicted as both beautiful and confined to domestic duties, reinforcing the societal expectation that women’s primary responsibility is caregiving. In Louie, His Cousin, & His Other Cousin, Esperanza notes:

“Louie’s girl cousin is older than us. She lives with Louie’s family, her own family is in Puerto Rico… She can’t come out – gotta babysit with Louie’s sisters” (Cisneros, 1991).

Here, beauty and duty are closely linked—while the young woman is admired, her life is still dictated by gendered expectations.

However, Esperanza does not simply accept these societal norms. She recognizes the power associated with beauty, but rather than aspiring to it, she views intelligence as a more reliable means of achieving autonomy. She observes how beauty can serve as an escape, yet she also understands that it does not equate to true independence. In Sire, Esperanza compares herself to Lois, a girl whose beauty grants her attention but little agency:

“And then his girlfriend came. Lois I heard him call her. She is tiny and pretty and smells like baby’s skin… I saw her barefoot baby toenails all painted pale pale pink, like little pink seashells” (Cisneros, 1991).

Esperanza sees how beauty influences a woman’s social mobility, but she remains critical of the idea that it should define a woman’s worth.

Family and Identity: Esperanza’s Journey to Self-Discovery

Family plays a crucial role in Esperanza’s development. Initially, she feels restricted by familial obligations, particularly those associated with her younger sister, Nenny. She longs for deeper friendships but feels tied to her sister in a way that limits her freedom. In Boys & Girls, she describes this dynamic:

“Someday I will have a best friend all my own. One I can tell my secrets to. One who will understand my jokes without my having to explain them. Until then I am a red balloon, a balloon tied to an anchor” (Cisneros, 1991).

The balloon and anchor metaphor captures Esperanza’s conflicting desires—her wish to rise beyond her circumstances while feeling tethered to familial responsibilities.

Despite her initial feelings of isolation, Esperanza eventually builds meaningful connections with new friends, as seen in Our Good Day:

“Down, down Mango Street we go. Rachel, Lucy, me. Our new bicycle. Laughing the crooked ride back” (Cisneros, 1991).

Her newfound friendships offer a sense of belonging, yet Esperanza’s deeper search for identity extends beyond companionship. She struggles with her cultural heritage and questions how much of her family’s past should define her future. In My Name, she reflects on her great-grandmother, a woman she never met but shares a name with:

“My great-grandmother. I would’ve liked to have known her, a wild horse of a woman, so wild she wouldn’t marry” (Cisneros, 1991).

This passage highlights the generational struggle between convention and independence, reinforcing Esperanza’s determination to carve out a new path for herself.

Breaking Free: Esperanza’s Rejection of Traditional Gender Roles

Unlike many women in her community, Esperanza refuses to be confined by traditional roles. Throughout the novel, she becomes increasingly aware of the ways in which women are trapped—by family, by beauty standards, by societal norms. In Laughter, she notes how even though she and her sister Nenny don’t look alike, they share an unspoken connection:

“Nenny and I don’t look like sisters … not right away. Not the way you can tell with Rachel and Lucy… But me and Nenny, we are more alike than you would know” (Cisneros, 1991).

This passage illustrates the intangible bonds that connect family members, even as Esperanza seeks to establish her individuality. Her desire to break free is also evident in her rejection of traditional domestic expectations. She dreams of having a house of her own—not a house dictated by marriage or family duty, but a space that belongs solely to her.

Conclusion

The House on Mango Street is a powerful exploration of gender roles, identity, and self-empowerment. Through Esperanza’s narrative, Cisneros critiques the rigid societal structures that limit women’s independence, while also celebrating the strength found in familial and cultural connections. Esperanza’s journey is one of self-discovery, as she ultimately rejects the roles assigned to her and envisions a future on her own terms.

By the novel’s end, Esperanza emerges as a young woman determined to define herself beyond societal expectations. She understands the complexities of gender and cultural identity, but rather than resigning herself to the fate of many women before her, she chooses to rewrite her own story. In doing so, she offers readers a powerful testament to resilience, independence, and the transformative power of self-belief.