Cisneros seems to project her own life into the character of Cleofilas as Cisneros herself is stated by Doyle (1996) to have entered into a discussion of the difficulties that she herself had known as a Mexican-American "...always straddling the two countries...but not belong to either culture...trying to define some middle ground." (Pillar, 1990; as cited in Doyle, 1996)
This divide of cultures, religion and gender are a type of 'borderlands' as defined in the work of Gloria Anzaldua and these borderlands exist not only geographically but in physic realms as well. According to Doyle, "Woman Hollering Creek" charts "psychological, linguistic and spiritual border crossings." (1996) the work of Candelaria (1986) posits that the meanings held within the story of Hollering Woman Creek have survived due to the multiple meanings and cultural resonance.
Ultimately, Cleofilas flees her husband to return to her father and having returned home it is related by Doyle that Cleofilas "...overcomes the tradition of silence." Doyle additionally states that Cleofilas:
through successive dislocations...relocates herself and her posterity, leaving behind a dusty town 'built so that you have to depend on husbands' and experiences a self-reclamation "in the fluid liminal space of this 'trickle of water' with its 'curious name' this 'muddy puddle' growing in strength to become a musical torrent. If she made her first passage across the Rio Grande in thrall to romantic dreams, she frees herself from this ethos of feminine submission in her passage back."(Doyle, 1996)
III. CISNEROS: PROVIDING a VOICE to the DISPOSSESSED
Matthew Gilbert writes in the work entitled: "Cisneros Gives Voice to the Dispossessed" that Cisneros "is the impassioned bard of the Mexican border, as well as the border between humiliation and rage. With a language that is at once lyrical and sharp, she gives voice to the dispossessed Mexican and Chicano women and children who suffer on either side of both lines. In "Woman Hollering Creek," a collection of stories that is like a series of first-person monologues, Cisneros proves...
The television novel fantasy that she has grown up believing in. Hollering Woman Creek stands in the work of Cisneros as a literal and symbolic representation of Cleofilas 'crossing' from her father's household to that of her husband and then back over again into her father's household.
Cleofilas, while silent in the face of her husband's assaults and abuse, finds her own voice after having 'crossed' back over leaving the chains that bound her to her husband and returning to her father. Cleofilas comes to the realization that love between a man and woman is not sure and neither is it predictable, steady or constant, and realizing however, that a parent's love for their child is steady, sure, and unchanging even over the passage of time. The story of Cleofilas is one in which Cisneros seemingly releases some of her own experiential frustration in relation to her Mexican-American heritage and the associated linguistic and cultural divides that present in her life.
Candelaria, "Letting La Llorona Go," 113; John M. Ingham, Mary, Michael, and Lucifer: Folk Catholicism in Central Mexico (Austin: University of Texas Press, 1986), 110-112; and Edward Garcia Kraul and Judith Beatty, "Foreword," the Weeping Woman: Encounters with La Llorona, ed. Edward Garcia Kraul and Judith Beatty (Santa Fe: The Word Process, 1988), xi. Jose E. Limon surveys other precedents for this identification in "La Llorona, the Third Legend of Greater Mexico," 416.
Cisneros, Sandra (1991) "Woman Hollering Creek," Woman Hollering Creek and Other Stories (New York: Random House, 1991), 55-56
Cisneros, Sandra (nd) Woman Hollering Creek Study Guide. Book Rags. Online available at http://www.bookrags.com/studyguide-womanholleringcreek/intro.html
Doyle, Jacqueline (1996) Haunting the Borderlands: La Llorona in Sandra Cisnero's 'Woman Hollering Creek'. Frontiers Publishing Inc. 1996. ProQuestion Information and Learning Company.
Gilbert, Matthew (1991) Cisneros Gives Voice to the Dispossessed - the Boston Globe 14 May 1991.
Pilar E. Rodriguez Aranda, (1990) "On the Solitary Fate of Being Mexican, Female, Wicked and Thirty-three:…
Woman Hollering Creek," Cisneros create Sandra Cisneros provides a thorough excavation into the psychology of a mistress in her short story "Never Love A Mexican." This prolonged look into the pathology involved in constantly being a secondary, and never the primary, woman in a lover's life, leads the reader to some fairly scary conclusions about what that sort of thing must be like. What is most interesting about this narrative
Sandra Cisneros's "Eyes Zapata," Zakaria Tamer's "Sheep," Nawal al-Saadawi's "In Camera," Hanan The predominant similarity between Sandra Cisneros's short story, "Eyes of Zapata," and Nawal al-Saadawi's "In Camera," is that both narratives deal with the oppression of women who fail to conform to the limited roles that society constructs for their gender. Such oppression takes many forms in each of these tales. In Cisneros' story, the protagonist is ravaged by both
Woman Hollering Creek The real-life Woman Hollering Creek is a small waterway located in Central Texas. It is supposed that the name is a loose translation of the Spanish La Llorana or "weeping woman." This is a folktale of the area wherein a woman drowns her children in order to be with the man that she loves and yet he rejects her. Distraught over all she has lost, the woman (most
Sandra Cisneros's short story "Woman Hollering Creek," and "Still I Rise," a poem by Maya Angelou both make statements about race, power, and gender in America. Cisneros is a Chicano author and Maya Angelou is an African-American author and poet. Brief Text Summaries: "Woman Hollering Creek" touches on issues like domestic violence and the subjugation of women. "Still I Rise" celebrates black female identity in a culture that is both racist and
Zapata Chicana Identity in "Eyes of Zapata" In her 1991 collection of stories entitled Woman Hollering Creek and Other Short Stories, Sandra Cisneros offers some compelling insights into the cultural lives, personal experiences and romantic endeavors of an unrelated selection of Mexican-Americans. Cisneros' compilation of narratives are unrelated in plot but linked together by common themes, specifically themes concerning the female experience in this cultural context. The story entitled "Eyes of Zapata"
Fiction's Come a Long Way, Baby The development of fiction from its nascent stages until today's contemporary works is a storied one. Many features mark contemporary fiction and differentiate it from the classics of the 17th, 18th and 19th centuries: For one, modern writers use different perspectives to narrate: In some works, the narrator switches from third-person omniscient to first person, and in some contemporary works, even the challenging second-person. Experimentation