The House on Mango Street Esperanza Cordero Quotes

They never saw the kitchenettes. They never knew about the two-room flats and sleeping rooms he rented, the weekly money orders sent home, the currency exchange. How could they? (25.8)

Here Esperanza imagines what the life of Geraldo must have been like.

His name was Geraldo. And his home is in another country. The ones he left behind are far away, will wonder, shrug, remember. Geraldo – he went north…we never heard from him again. (25.9)

Foreignness, and the experience of exile, is portrayed as a dangerous status in this story. The foreigner is in a precarious position – he's unable even to guarantee the preservation of his own identity, or that anyone will know what happened to him when he dies.

The man saved his money to bring her here. He saved and saved because she was alone with the baby boy in that country. He worked two jobs. He came home late and he left early. Every day. (30.2)

The experience of foreignness and exile motivates Esperanza's neighbor to work extremely hard so that he can be reunited with his family.

I believe she doesn't come out because she is afraid to speak English, and maybe this is so since she only knows eight words. She knows to say: He not here for when the landlord comes, No speak English if anybody else comes, and Holy smokes. (30.6)

For Mamacita, foreignness is an isolating experience. Her inability to communicate with people in her community is the ultimate expression of her foreignness.

My father says when he came to this country he ate hamandeggs for three months. Breakfast, lunch and dinner. Hamandeggs. That was the only word he knew. He doesn't eat hamandeggs anymore. (30.7)

Esperanza's father can relate to Mamacita. His refusal to eat hamandeggs anymore can be read as his way of trying to forget the isolation he felt as an immigrant.

¡Ay! Mamacita, who does not belong, ever once in a while lets out a cry, hysterical, high, as if he had torn the only skinny thread that kept her alive, the only road out to that country. (30.15)

Here Esperanza describes foreignness as a state of not belonging – which is how Esperanza herself feels a lot of the time.

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. (1.1)

At the opening of the novel, Esperanza feels like a vagabond – her family has moved so often that she doesn't feel like she can claim any one place as home.

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. (1.2)

Esperanza sounds relieved to feel like her family actually owns a home – they can call the place they occupy their own.

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. (1.11)

This is where Esperanza's obsession with owning a house is born.

All around, the neighborhood of roofs, black-tarred and A-framed, and in their gutters, the balls that never came back down to earth […] and there at the end of the block, looking smaller still, our house with its feet tucked under like a cat. (9.4).

Seen from above, Esperanza's house looks even smaller than it usually does. Still, Esperanza doesn't describe it here with her usual bitterness. Maybe her changed perspective on the house causes her to feel less disappointed in it for a moment.

Those who don't know any better come into our neighborhood scared […] But we aren't afraid. We know the guy with the crooked eye is Davey the Baby's brother, and the tall one next to him in the straw brim, that's Rosa's Eddie V., and the big one that looks like a dumb grown man, he's Fat Boy, though he's not fat anymore nor a boy. (12.1)

Though Esperanza often says she feels like she doesn't belong on Mango Street, in this paragraph she expresses a sense of ownership or belonging, referring to it as "our neighborhood."

Only thing I can't understand is why Ruthie is living on Mango Street if she doesn't have to, why is she sleeping on a couch in her mother's living room when she has a real house all her own, but she says she's just visiting and next weekend her husband's going to take her home. But the weekends come and go and Ruthie stays. (26.8)

To Esperanza at this point, the idea of a real house in the suburbs sounds like an appealing place to call home. The mention of Ruthie's husband who never comes to get her is a little ominous, however – we suspect that something bad may have happened to Ruthie.

Home. Home. Home is a house in a photograph, a pink house, pink as hollyhocks with lots of startled light. The man paints the walls of the apartment pink, but it's not the same, you know. She still sighs for her pink house, and then I think she cries. I would. (30.9)

Esperanza is able to relate to Mamacita's feelings of isolation and longing for home.

She sits at home because she is afraid to go outside without his permission. She looks at all the things they own: the towels and the toaster, the alarm clock and the drapes. She likes looking at the walls, at how neatly their corners meet, the linoleum roses on the floor, the ceiling smooth as wedding cake. (40.3)

Sally's new house doesn't feel much like a home – it feels more like a cage.

No, this isn't my house I say and shake my head as if shaking could undo the year I've lived here. You have a home, Alicia, and one day you'll go there, to a town you remember, but me I never had a house, not even a photograph…only one I dream of. (42.3)

Esperanza envies Alicia for at least having the memory of a home to think about.

Not a flat. Not an apartment in back. Not a man's house. Not a daddy's. A house all my own. With my porch and my pillow, my pretty purple petunias. My books and my stories. My two shoes waiting beside the bed. Nobody to shake a stick at. Nobody's garbage to pick up after. (43.1)

Esperanza's dream house, "A House of My Own," recalls Virginia Woolf's feminist treatise, "A Room of One's Own."

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, but what I remember most is Mango Street, sad red house, the house I belong to but do not belong to. (44.4)

The repetition of the first phrase of the novel causes us to pay more attention to the small segment that's different this time around: now what Esperanza remembers most isn't "moving a lot," but the house on Mango Street.

By the time we got to Mango Street we were six – Mama, Papa, Carlos, Kiki, my sister Nenny and me. (1.1)

Esperanza introduces her family in the first paragraph of the first story.

Everybody in our family has different hair. My Papa's hair is like a broom, all up in the air. And me, my hair is lazy. It never obeys barrettes or bands. Carlos' hair is think and straight. He doesn't need to comb it. Nenny's hair is slippery – slides out of your hand. And Kiki, who is the youngest, has hair like fur. (2.1)

Esperanza uses hair to illustrate the differences in her family's physical appearances. But this doesn't seem to be a way of dividing the family – rather, it comes across as a celebration of the differences found in their family unit.

Nenny is too young to be my friend. She's just my sister and that was not my fault. You don't pick your sisters, you just get them and sometimes they come like Nenny. (3.2)

Esperanza's statement seems funny to us, because we can relate – a lot of kids feel this way about their little brothers or sisters.