Liminal Spaces In Sandra Ciseneros's The House On Mango Street

Sandra Ciseneros’ The House On Mango Street showcases a theme of confinement specifically towards female characters. Throughout the novel, Esperanza gives naive accounts of the isolated and trapped lives of a select few of her neighbors and friends. This recurring theme in the book is connected to the symbolism presented in liminal spaces, windows, and inside vs. outside. Liminal spaces are places of transitions. These are spaces where one has not taken on what lies ahead, but have moved away from the past. “She (Marin) can’t come out - gotta baby-sit with Louie’s sisters - but she stands in the doorway a lot...” (Ciseneros 23, 24). In this context, the doorway is the liminal space. Marin is stuck in this transition point, torn between the curiosity and wonder of adolescence

This quote reinforces the significance windows have. Sally is prevented this escape and is confined and trapped by her husband. Sally’s husband does not want her to realize the life that she is missing on the outside and potentially come to her senses about their marriage. Both Rafaela and Sally are confined by their husbands. Rafaela’s husband is worried that she is too beautiful and will run away while Sally’s husband limits her contact with the outside world. Windows gave these girls a peek into the life they wish they lived. One of the biggest symbols of confinement shown in The House On Mango Street was inside vs. outside. This comparison directly equates to confinement vs. freedom. Throughout the text, there are examples of characters (specifically, female characters) being confined and stuck indoors. “...And even then she (Marin) can only stay out in front.” (Ciseneros 27). Marin is confined to her home and is only given the chance to step out when her aunt returns. She is confined by her responsibilities. She is allowed only a minute amount of freedom (outside) whilst being tied and confined to her