She feels she doesn't really belong to that house because that is not the house of her dreams. That is what prompts her to start writing. Her creative pursuits help her stay sane so she doesn't feel so trapped by the "ghost" of the sad red house. "I put it down on paper and then the ghost does not ache so much. I write it down and Mango says goodbye sometimes. She does not hold me with both arms. She sets me free" (p. 101). It is highly interesting that house in this novel doesn't only represent the physical house but also the imaginary dwelling in the mind that Esperanza escapes to in order to alleviate the anguish. The house is thus a place of escape for her. When the reality becomes too unbearable, Esperanza seeks another dwelling. This dwelling exists in her mind and produced by her creative skills. Writing then provides her with the solace and comfort that she had hitherto desired from having a house of her own. As she becomes more interested in writing, the reality becomes much easier to bear. This signifies her departure from the house on Mango Street to pursue her creative dreams: "They will know I have gone away to come back. For the ones I left behind. For the ones who cannot get out." (p. 102)

As Esperanza turns to writing, her desire for a house attains a more mature flavor. She still wants a house similar to the one her father worked in but she wants that house to affirm her social thinking. People who lived in bigger houses had always humiliated Esperanza; so she naturally feels that if she once had her own house, she would treat others with respect. For her, this new house would help her teach people a lesson in how others, especially underprivileged, should be treated. "One day I'll own...

Passing bums will ask, Can I come in? I'll offer them the attic, ask them to stay, because I know how it is to be without a house" (p. 81).
The house thus attains immense significance for Esperanza. As she grows older however, the house starts taking on new meanings. She realizes that a beautiful house of one's own could be a heaven to dwell in or a hell to burn in. even though her idea of a house basically remains the same, she is no longer naive enough to associate a house with complete happiness. Esperanza has seen far too many cases around to remain wide-eyed about owning a house. She has seen Sally being locked up insider her house because her husband doesn't trust her. Rafaela goes through similar experiences as she, "gets locked indoors because her husband is afraid [she] will run away since she is too beautiful to look at" (p. 76).

The 'house' thus comes to occupy an important place in Esperanza's consciousness. She knows she wants one but she also comes to understand that she could not possibly have one on someone else's terms. Esperanza wants a house on her own terms. She associated feelings of happiness and love with a house and thus violence, hatred and abuse are just too much to bear. Sad stories taint her image of a house but she does eventually come to the realization that having a house is important only if it radiates love. She understands that it's acceptable to live on the Mango Street if her sad red house gives her love. There is no point in having a big house that doesn't offer peace or happiness.

Reference:

Sandra Cisneros, The House on Mango Street (Houston: Arte Publico Press, 1985).