Themes are the fundamental and often universal ideas explored in a literary work.

The Power of Language

Throughout The House on Mango Street, particularly in “No Speak English,” those who are not able to communicate effectively (or at all) are relegated to the bottom levels of society. Mamacita moves to the country to be with her husband, and she becomes a prisoner of her apartment because she does not speak English. She misses home and listens to the Spanish radio station, and she is distraught when her baby begins learning English words. His new language excludes her. Similarly, Esperanza’s father could not even choose what he ate when he first moved to the country, because he did not know the words for any of the foods but ham and eggs. Esperanza’s mother may be a native English speaker, but her letter to the nuns at Esperanza’s school is unconvincing to them in part because it is poorly written.

Esperanza observes the people around her and realizes that if not knowing or not mastering the language creates powerlessness, then having the ability to manipulate language will give her power. She wants to change her name so that she can have power over her own destiny. Her Aunt Lupe tells her to keep writing because it will keep her free, and Esperanza eventually understands what her aunt means. Writing keeps Esperanza spiritually free, because putting her experiences into words gives her power over them. If she can use beautiful language to write about a terrible experience, then the experience seems less awful. Esperanza’s spiritual freedom may eventually give her the power to be literally free as well.

Read more about the power of narrative and voice in Alice Walker’s The Color Purple.

The Struggle for Self-Definition

The struggle for self-definition is a common theme in a coming-of-age novel, or bildungsroman, and in The House on Mango Street, Esperanza’s struggle to define herself underscores her every action and encounter. Esperanza must define herself both as a woman and as an artist, and her perception of her identity changes over the course of the novel. In the beginning of the novel Esperanza wants to change her name so that she can define herself on her own terms, instead of accepting a name that expresses her family heritage. She wants to separate herself from her parents and her younger sister in order to create her own life, and changing her name seems to her an important step in that direction. Later, after she becomes more sexually aware, Esperanza would like to be “beautiful and cruel” so men will like her but not hurt her, and she pursues that goal by becoming friends with Sally. After she is assaulted, she doesn’t want to define herself as “beautiful and cruel” anymore, and she is, once again, unsure of who she is.

Eventually, Esperanza decides she does not need to set herself apart from the others in her neighborhood or her family heritage by changing her name, and she stops forcing herself to develop sexually, which she isn’t fully ready for. She accepts her place in her community and decides that the most important way she can define herself is as a writer. As a writer, she observes and interacts with the world in a way that sets her apart from non-writers, giving her the legitimate new identity she’s been searching for. Writing promises to help her leave Mango Street emotionally, and possibly physically as well.

Read about the related theme of individualism in James Joyce’s A Portrait of the Artist as a Young Man.

Sexuality versus Autonomy

In The House on Mango Street, Esperanza’s goals are clear: she wants to escape her neighborhood and live in a house of her own. These ambitions are always in her mind, but as she begins to mature, the desire for men appears in her thoughts as well. At first, the desire to escape and the desire for men don’t seem mutually exclusive, but as Esperanza observes other women in the neighborhood and the marriages that bind them, she begins to doubt that she can pursue both. Most of the women Esperanza meets are either trapped in marriages that keep them on Mango Street or tied down by their children. Esperanza decides she does not want to be like these women, but her dire observations of married life do not erase her sexual yearnings for neighborhood boys.

Esperanza decides she’ll combine sexuality with autonomy by being “beautiful and cruel” like Sally and the women in movies. However, Esperanza finds out that being “beautiful and cruel” is impossible in her male-dominated society when she experiences sexual assault. In her dreams about being with Sire, Esperanza is always in control, but in her encounter with the boys who assault her, she has no power whatsoever. The assault makes Esperanza realize that achieving true independence won’t be possible if she pursues relationships with the men in her neighborhood. She puts aside her newfound sexual awareness, rejoins Lucy and Rachel, her less sexually mature friends, and spends her time concentrating on writing instead of on boys. She chooses, for the present, autonomy over sexuality, which gives her the best chance of escape.

Read about the related theme of love versus autonomy in Charlotte Brontë’s Jane Eyre.

Women’s Unfulfilled Responsibilities to Each Other

Early in the novel, Esperanza says that boys and girls live in different worlds, and this observation proves true of men and women in every stage of life. Since the women’s world is often isolating and grants women so little power, Esperanza feels women have a responsibility to protect and make life easier for each other. However, on Mango Street, this responsibility goes unfulfilled. The boys and men in The House on Mango Street are consistently violent, exploitative, or absent, but their world is so foreign to the women that no woman rebels against the men or calls for them to change. Esperanza may call out for women to help each other in the face of the unchanging male world, but no one answers.

Esperanza accepts more responsibility for women as she matures, and as she does, she confronts other women’s indifference more directly. At first Esperanza is responsible only for her younger sister, Nenny, but her responsibilities grow when she befriends Sally. Esperanza tries to save Sally from having to kiss a group of boys in “The Monkey Garden.” However, when Esperanza tries to enlist one of the boys’ mothers to help her, the mother refuses. Later, Sally abandons Esperanza and leaves her vulnerable to male attackers in “Red Clowns.” Esperanza expects female friends to protect each other, and Sally does not fulfill this responsibility. Ultimately, Esperanza understands that even if and when she leaves Mango Street, she will continue to take responsibility for the women in her neighborhood. She feels the responsibility deeply and will not forget it.