Analysis
Style and Technique
Through her distinctive narrative style, author Sandra Cisneros crafts stories that delve deeply into themes of cultural identity, personal struggle, and transformation. Exploring her work, one finds an intricate tapestry of narrative techniques, character development, and symbolism that serve to illuminate the Latina experience in America. Cisneros's literary approach is both unique and deeply rooted in her cultural background, contributing to an evocative and resonant voice in contemporary literature.
The Awakening of a Unique Voice
Cisneros began writing during her childhood and adolescence, yet it wasn't until her time at the University of Iowa's Writers Workshop in the late 1970s that she recognized the distinctiveness of her perspective as a Latina woman. This realization led her to focus on crafting narratives that explore conflicts tied to her upbringing, such as cultural loyalties, feelings of alienation, and the struggles associated with poverty. Her acclaimed novel, The House on Mango Street (1983), marked her foray into Latina fiction, where she described her work as a series of vignettes, akin to "a string of little pearls." Each story stands alone and yet forms a cohesive narrative when read collectively.
Cisneros has been recognized among a group of contemporary Latino writers, including Gary Soto, Ana Castillo, Pat Mora, and Luis Rodriguez. Her works often engage in dialogue with these authors, responding to and building upon shared themes. Critics have observed the influence of the Mexican ballad, or romantic song, in Cisneros's writing. This is particularly noted in her use of epigraphic structures, as seen in "Woman Hollering Creek."
Point of View and Style
The narrative style of "Woman Hollering Creek" shifts between third-person omniscient and first-person perspectives. The sections detailing Cleofilas's life in Mexico are imbued with longer, more lyrical sentences, contrasting sharply with the terse and fragmented style that depicts her life in Texas. The opening sentence of the story sets the stage for this stylistic dichotomy: "The day Don Serafra gave Juan Pedro Martinez Sanchez permission to take Cleofilas Enriqueta DeLeon Hernandez as his bride, across her father's threshold, over several miles of dirt road and several miles of paved, over one border and beyond to a town en el otro lado—on the other side—already did he divine the morning his daughter would raise her hand over her eyes, look south, and dream of returning to the chores that never ended, six good-for-nothing brothers, and one old man's complaints."
In these passages, the contrasting styles mirror Cleofilas's sense of nostalgia for her past life in Mexico, which increasingly appears idyllic as her Texas life descends into abuse and isolation. Short, choppy sentences portray the bleakness of her current reality. As she sits by Woman Hollering Creek, the narrative reaches a crescendo where "La Llorona calling to her. She is sure of it. Cleofilas sets the baby's Donald Duck blanket on the grass. Listens. The day sky turning to night. The baby pulling up fistfuls of grass and laughing. La Llorona. Wonders if something as quiet as this drives a woman to the darkness under the trees."
The narrative voice shifts to first person when Graciela, the clinic physician, contacts Felice by phone. This change signals a pivotal moment, where Cleofilas's life, silenced by abuse, finally receives a voice through the intervention of women determined to help her escape.
Setting as a Character
The titular creek in "Woman Hollering Creek" acts as a symbolic and literal borderland, marking the intersections of culture, language, gender, and personal identity. Cleofilas's Mexican hometown, described as "a town of gossips ... of dust and despair," stands in stark contrast to Seguin, Texas, where her environment is fraught...
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with danger. Despite the similarities between the two towns, Cleofilas’s father’s town offers safety from physical harm.
On the Texas side, Cleofilas's surroundings are predominately female, yet perilous due to the presence of her abusive husband, Juan Pedro. The ice house, a predominantly male domain, is especially threatening, having been the site of violence. Even the clinic does not provide refuge, with her husband waiting nearby. Felice’s truck, however, offers a sanctuary where Cleofilas can finally laugh, feeling secure in Felice’s capable hands.
Structure and Episodic Storytelling
Cisneros's "Woman Hollering Creek," much like the telenovelas Cleofilas watches, is episodic in structure. The narrative does not follow a linear progression; instead, it shifts fluidly through time and place, mirroring the disjointed episodes of soap operas. "Cleofilas thought her life would have to be like that, like a telenovela, only now the episodes got sadder and sadder. And there were no commercials in between for comic relief." Each segment focuses on a single moment or setting, echoing the storytelling technique employed by earlier Chicano writers such as Rudolfo Anaya and Tomas Rivera.
This episodic technique allows for a mosaic of experiences, embodying the fragmented and multifaceted nature of Cleofilas's life. As noted by Reed Dasenbrock and Feroza Jussawalla in their interview with Cisneros, "There are some strong continuities between the two generations and groups of writers: both use a mosaic of discontinuous forms in place of a continuous, linear narrative." Cisneros herself likens this meticulous crafting of stories to building small rooms before taking on the task of constructing an entire house.
Symbols and Imagery
Names in "Woman Hollering Creek" are rich with symbolism. Cleofilas's neighbors, Dolores and Soledad, embody "sorrow" and "alone," reflecting Cleofilas's isolation. In contrast, the women who assist her—Graciela and Felice—symbolize "grace" and "happiness." Graciela's explanation of Cleofilas's name, "One of those Mexican saints, I guess. A martyr or something," underscores a cultural reverence for female suffering, akin to the tortured figures in the telenovelas Cleofilas idolizes.
The creek itself serves as a potent symbol, representing the concept of borders, where different cultures and languages intersect. Such borderlands resonate in the works of many Chicana writers, including Gloria Anzaldua. These spaces, while harsh and fraught with loss, also offer opportunities for cultural transformation and self-reinvention. Cleofilas, unprepared for the shifts in her life by Woman Hollering Creek, finds new possibilities in the hands of supportive women like Graciela and Felice.
La Llorona, the Weeping Woman, is another significant image. A fixture in Mexican folklore, La Llorona embodies the ultimate suffering for love, wandering eternally in grief. Her myth intersects with the telenovela "Maria de Nadie," where Maria's fate mirrors that of La Llorona. In some tales, La Llorona is likened to La Malinche, linking historical narratives of betrayal and loss. For Cleofilas, La Llorona's cries by the creek resonate with her own pain and desire for escape.
The transformation of La Gritona, "woman hollering," into a new image of La Llorona reflects a shift from passive suffering to active confrontation. Cleofilas ponders the creek's inexplicable name and begins to interpret the holler as a cry of pain. However, in the borderlands, La Gritona's cry evolves into Felice's exultant yells—filled with the power and freedom Cleofilas yearns for—as they cross the creek. This transformation offers a glimpse into a new life where suffering is no longer the price of love.
Ideas for Group Discussions
Sandra Cisneros first introduced "Woman Hollering Creek" in her 1991 collection titled Woman Hollering Creek and Other Stories. Through the perspective of a young Mexican woman named Cleofilas, Cisneros explores the cultural challenges Mexican women encounter after relocating from Mexico to the United States.
1. Investigate the folklore surrounding the mythical woman, La Llorona. How have Chicana writers reimagined her as a role model for contemporary women?
2. Contrast Gloria Anzaldua's narrative of the Spanish conquest of Mexico with the account found in an encyclopedia or a world history textbook. What defines her perspective? How and why is it unique?
3. Compare the works of Chicano writers (Rudolfo Anaya, Tomas Rivera, Rolando Hinojosa) with those of Chicana writers (Gloria Anzaldua, Denise Chavez, Ana Castillo, Sandra Cisneros). What common characteristics do these works share? In what ways do they differ?
4. Investigate the resources available to abused women, particularly those living on the fringes of society. Does Cleofilas's rescue seem like a realistic outcome for many abused women? Explain why or why not.
Historical Context
Mexico: The Early Years
In the unfolding drama of history, Mexico’s narrative begins prominently with
the rise of the Aztec Empire in the fourteenth century. This formidable
civilization expanded its dominion over what is today known as Mexico through
the conquest of neighboring tribes. The empire flourished under the reign of
Montezuma II from 1502 to 1520, marking its zenith just as the Spanish
conquistadors, led by Hernan Cortes, arrived. On August 13, 1521, Cortes seized
the Aztec capital, Tenochtitlan, a pivotal event that marked the beginning of
Spanish colonization. The aftermath saw Cortes take La Malinche, an Aztec
woman, as both his interpreter and mistress, symbolizing the complex
interweaving of cultures that would shape the region’s future.
Post-Colonial Times
Following three centuries under Spanish rule, Mexico emerged as an independent
nation in 1821. This newfound autonomy, however, was accompanied by territorial
losses. The Treaty of Guadalupe-Hidalgo in 1848 concluded the Mexican-American
War, resulting in Mexico ceding extensive lands north of the Rio Grande and the
Gila River to the United States. This reshaping of boundaries continued with
the Gadsden Purchase in 1853, when Mexican President Antonio Lopez de Santa Ana
sold additional southern territories to the United States. Such shifts in
borders not only altered maps but also left indelible marks on the cultural and
social landscapes of the region.
Changing Borders and Cultural Metaphors
The history of Mexico is not merely a chronicle of battles and treaties; it is
a tapestry of human stories woven through the metaphor of borders and
borderlands, a theme richly explored by Chicana writers like Sandra Cisneros
and Gloria Anzaldua. These borderlands, where the United States and Mexico
collide, are more than just geographical; they represent a space where cultures
meet, clash, and blend, creating new identities. Cisneros’s acclaimed work,
including her 1991 collection Woman Hollering Creek and Other Stories,
captures these nuances. Her stories, such as "Woman Hollering Creek," delve
into the lives of those living on "el otro lado"—the other side—and
highlight the struggle of individuals like Cleofilas, who navigates the
challenges of linguistic isolation, domestic violence, and poverty while living
in the American Southwest.
Chicana literature frequently draws from the historical context of shifting borders, a reality where treaties can redefine nations overnight, yet fail to alter the essence of the people caught within them. These communities, once Mexican and now American by political decree, find themselves in a state of cultural limbo. The Mexican residents of regions like Texas and Arizona, annexed by the United States, are emblematic of this tension. Deprived of an "old country" to return to, and not fully integrated into the new one, they inhabit a twilight zone where hybrid cultures and languages flourish. In this context, Cisneros and her contemporaries articulate the profound dislocation and resilience of those living at the crossroads of nations.
The narratives crafted by Chicana writers explore the persistent theme of identity and belonging against the backdrop of historical upheavals. Through the lens of personal and collective struggle, they give voice to those who live on the margins, illuminating the enduring human spirit amidst changing geopolitical landscapes.
Compare and Contrast
Texas: Based on 1995-96 data from the U.S. Census Bureau, 17 percent of the population in Texas lives below the poverty line, which is set at $16,036 for a family of four.
New Hampshire: The same data indicates that 5.9 percent of New Hampshire's residents live below the poverty threshold.
Texas: In 1996, statistics show that 2.5 million people in Texas speak Spanish, with 714,958 of them classified as "linguistically isolated," meaning they have limited English proficiency.
Maine: According to the same 1996 statistics, 4,527 individuals in Maine primarily speak Spanish.
Texas: The U.S. Census Bureau reports that, as of 1996, nearly 25 percent of Texas residents speak Spanish.
California: Census Bureau data reveals that 30 percent of California's residents speak Spanish, totaling 4 million people, with 2 million of them being "linguistically isolated."
Bibliography
Sources
Anzaldua, Gloria, Borderlands/La Frontera: The New Mestiza, Spinsters/Aunt Lute, 1987.
Campbell, Bebe Moore, "Crossing Borders," in The New York Times Book Review, May 26, 1991, pp. 6-7.
Candelaria, Cordelia, "La Malinche, Feminist Prototype," in Frontiers, Vol 5, No 2, 1980, pp. 1-6.
Candelaria, Cordelia, "Letting La Llorona Go, or Re-reading History's Tender Mercies," in Heresies, Vol 7, No. 3, 1993, pp. 111-15.
Cisneros, Sandra, "Ghosts and Voices: Writing from Obsession," an excerpt from "From a Writer's Notebook," in The Americas Review, Vol 15, No. 1, Spring, 1987, p. 73.
Doyle, Jacqueline, "Haunting the Borderlands: La Llorona in Sandra Cisneros's 'Woman Hollering Creek'," in Frontiers, Vol 16, No. 1, Winter, 1996, pp. 53-71.
Dasenbrock, Reed and Feroza Jussawalla, Interviews with Writers of the Post-Colonial World, University Press of Mississippi, 1992.
Paz, Octavio, Labyrinth of Solitude: Life and Thought in Mexico, translated by Lysander Kemp, Grove Press, 1950.
Prescott, Peter and Karen Springen, "Seven for Summer," in Newsweek, June 3, 1991, p. 60.
Wyatt, Jean, "On Not Being La Malinche: Border Negotiations of Gender in Sandra Cisneros's 'Never Marry a Mexican' and 'Woman Hollering Creek'," in Tulsa Studies in Women's Literature, Vol 14, No 2, Fall, 1995, pp. 243-71.
Further Reading
Chavez, Lorenzo, "Woman Hollering Creek and Other Stories," in
Hispanic, April, 1991, p. 52.
Provides a brief summary of Woman Hollering Creek, highlighting the
collection's language, humor, and authentic portrayal of barrio life.
Ponce, Mernhelen, "A Semblance of Order to Lives and Loves," in Belles
Lettres: A Review of Books by Women, Vol. 7, No. 2, Winter, 1991-92, pp.
40, 44.
A positive review of Woman Hollering Creek, asserting that, unlike
Cisneros's earlier works, this collection "resonates with the voices of wiser
Mexicanas/Chicanas."
"Sandra Cisneros," in Contemporary Literary Criticism, Volume 69,
edited by Roger Matuz, Gale, 1992, pp. 143-56.
Includes reprinted critiques of Cisneros's early writings. The volume features
excerpted essays by Julian Olivares, Barbara Kingsolver, and Bebe Moore
Campbell, among others.