Marin is saving money to see her secret boyfriend, who is in Puerto
Rico. She also wants to get a job downtown, though, so that she can wear
expensive clothes and meet a rich man who will want to marry her. She
sits on her front steps with Esperanza. They talk a little, but mostly
they wait for boys to go by, so they can see and be seen.
Marin is an exotic figure in Esperanza's young life. She has beautiful
green eyes and big dreams, is always singing mysterious songs, and has
many secrets: her cigarettes, her boyfriend, and all the little things
she knows about sex and dating. Her friendship with Esperanza is very
much based on Marin imparting her secrets to her young, impressionable
friend.
Esperanza is disdainful of people who come into her neighborhood by
mistake and are afraid, thinking they will be robbed or killed. However,
she admits that when she and her friends go to other neighborhoods, they
are afraid themselves. Yeah, she says. That is how it goes and goes.
Esperanza says outright what the entire book implies: people whose lives
are closed off enough that they only know a certain way of life are afraid
when they are confronted with people who are not like them. Her own neighborhood
is an example of this: all brown all around, we are safe, she says.
She points out that even her own friends and neighbors, who are likely
to be feared by non-Hispanic people, are afraid themselves when they leave
the neighborhood. She is intelligent to the point of cynicism: her observations
about prejudice are wry and ridicule everyone, including herself.
Rosa Vargas's husband left her, and she has too many kids, all of them
disobedient. The children get into trouble so often that people give up
trying to take care of them, and don't react when they injure themselves--even
when one of them learn[s] to fly and falls from high above to the ground.
Rosa Vargas's life is typical of many women from the neighborhood: her
situation is so difficult that everyone almost gives up, and when a young
child either dies or is seriously injured--it is unclear which at the
time--no one even looks up, according to Esperanza. Indeed, the way his
fall is described (like a sugar donut, just like a falling star) has
such a lack of gravity--it almost feels like a nursery rhyme--that the
fall itself is all the more striking. The reader is unsure what has actually
happened, and doesn't know exactly how to feel: we know nothing about
this child, and there are so many Vargases that he hardly seems significant.
This is, perhaps, what Cisneros wants us to understand: the Vargas children,
unprotected by their family and community, are far more prone to attack
or accident, and more expendable, than any child should be.
Alicia is Esperanza's friend. Her mother died and she has had to take
her place as her father's servant, cooking and cleaning all the time.
But he is smart and ambitious, taking two trains and a bus to study at
a University. She sees mice all the time, even though her father tells
her they aren't there. She is afraid of the mice--and her father.
Alicia is perhaps the opposite of Marin: her dreams are practical, and
she is realizing her ambition. The images of mice, which appear in the
corners of her eyes, are sinister, because they are unexplained, and their
skittishness suggests Alicia's own persistent cowering fear of her father.
Esperanza mourns the lack of beauty around her, saying, You can never
have too much sky. She says Darius, who usually says foolish things or
nothing at all, said something wise: he pointed up to the sky and said
that one of the pillowy clouds was God. When a younger child questioned
him, he just repeated himself.
In discussing how little beauty there is to be found in her neighborhood,
Esperanza exposes the beauty that lies hidden. Darius is usually stupid,
but even he can say something profound. And even though there aren't many
flowers or butterflies where they live, all they have to do is look up
and they can see God, in the simplest things.
Clapsaddle, Diane. "TheBestNotes on A Long Way Gone".
TheBestNotes.com.
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