'The House on Mango Street' Side Characters (Most of Them)

                    Minerva, a female character only a bit older than Esperanza, struggles with two children and an abusive husband who continually fades in and out of the picture. In vignette 33, Esperanza mentions that Minerva “...cries because her luck is unlucky” (84). To Esperanza, from her childish and religious viewpoint, it may seem as though Minerva simply has bad luck. Esperanza is only just beginning to recognize the harsh realities of life on Mango Street and the potential paths her own life could take. Minerva writes poems, and occasionally she lets Esperanza read them (84). Despite age, this commonality between Minerva and Esperanza forges a bond between them that allows Minerva to call upon Esperanza in time of need. At the closing of the vignette, Minerva comes to Esperanza’s house asking for advice on what she should do after her husband has visibly beaten her. Esperanza cannot help Minerva (85).  ...

            Vignette 32 describes Sally as a beautiful young girl, approximately the age of Esperanza yet far more experienced in activities specifically relating to the opposite sex. Sally’s father is extremely dedicated to upholding their family’s religion, and his strict and harsh actions appear to be fueled by his fear of Sally growing into her older sisters’ shoes (81). A large portion of vignette 32 is dedicated to Esperanza abstractly asking Sally about her life. Esperanza even recognizes Sally’s change of character when she returns to her home. Esperanza mentions that “You pull your skirt straight, you rub the blue paint off your eyelids” (82). These actions are most likely in response to Sally’s desire to please everyone in a different way. For her father, she must pull down her skirt and rub her makeup off. The descriptions of Sally reveal a much more complex psychology whose foundation is rooted in fear and desire. The reader becomes aware...

                      Vignette 31 describes Rafaela as a beautiful young woman who remains locked behind closed doors by her husband who fears that she is too beautiful (79). Rafaela’s husband consistently plays dominoes at night while not allowing her to interact with others outside of the confines of their home. She is compared to Esperanza’s great-grandmother who also leans out of her window to catch a glimpse of the outside world (11). Similar to previously mentioned characters, Rafaela desires a life different from the one she currently lives. She wishes to take advantage of her youthful years in the world. It is mentioned that “Rafaela wishes she could go there and dance before she gets old” (79). Esperanza and her friends assist Rafaela by buying coconut or papaya juice with dollars that she throws down from her room. While Rafaela is trapped physically, she wanders in her mind to places where she can be free....

            The first of the four skinny trees is Mamacita, a Spanish-speaking woman who takes care of her baby boy all the while dreaming of returning to her true home. Esperanza describes the arrival of Mamacita in vignette 30 and compares her situation to events in the life of her own father. Esperanza recognizes that the reason Mamacita does not come out is that “...she is afraid to speak English” (77). The man residing in Mamacita’s household is often faced with controversy over Mamacita’s desire to return to her home. Similar to Esperanza, Mamacita feels as though she does not belong as part of Mango Street, however, it seems as though Mamacita has a defined location in mind to return to. This confirms Esperanza’s suspicions that there are better, preferred locations outside of the neighborhood she is currently living in. Mamacita desperately holds on to language as a last strand of cultural identity stemming from her original home, which is why ...

  Alicia (who sees mice) is portrayed as a role model for Esperanza in her hopes of leaving Mango Street to begin a new life of her own. Vignette 14 describes Alicia in the place of her deceased mother, as she must take on responsibility in the household that she might not have otherwise had to take on. The common structure of the household and the corresponding responsibilities within the households on Mango Street become evident as Alicia is now the oldest and must make tortillas in place of her mother. Alicia must take “...two trains and a bus” in order to reach the university that she attends. Alicia has taken on her mother’s exhaustion, not as a genetic illness but as an inherited lifestyle. This exhaustion is why Alicia sees mice that do not exist. Esperanza mentions that Alicia continues in this lifestyle in order to perform some kind of escape from the factories that she would otherwise dwell within. Alicia seems to have a deeper and more realistic grasp of the true possi...

  Esperanza views Elenita as a “witch woman” who may provide some kind of insight relating to the future home of Esperanza. Vignette 24 reveals some key aspects of Elenita’s life, such as the balance of taking care of her children as well as serving as a community ‘seer.’ Despite her vague predictions, Elenita is seemingly superstitious as she covers her furniture with plastic and makes Esperanza check the water for spirits before they begin (63). The reader may be able to infer that Elenita does not believe any of it and uses her methods solely in order to accumulate extra change, but her views are not explicitly stated. When Esperanza asks about her home, Elenita states that Esperanza will have “A new house, a house made of heart” (64). Elenita indirectly suggests Esperanza should be content with her current life because she will not leave. Elenita has seen too many females dream of leaving Mango Street but have their dreams crushed by harsh reality. Perhaps even her own dreams...