Woman Hollering Creek and Other Stories

Woman Hollering Creek and Other Stories


Sandra Cisneros

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My Lucy Friend Who Smells Like Corn Quotes

I’m sitting in the sun even though it’s the hottest part of the day, the part that makes the streets dizzy, when the heat makes a little hat on the top of your head and bakes the dust and weed grass and sweat up good, all steamy and smelling like sweet corn.

I want to rub heads and sleep in a bed with little sisters, some at the top and some at the feets. I think it would be fun to sleep with sisters you could yell at one at a time or all together, instead of alone on the fold-out chair in the living room.

Related Characters: The Lucy Narrator (speaker), Lucy Anguiano
Page Number: 4
Explanation and Analysis:
Eleven Quotes

This is when I wish I wasn’t eleven, because all the years inside of me—ten, nine, eight, seven, six, five, four, three, two, and one—are pushing at the back of my eyes when I put one arm through one sleeve of the sweater that smells like cottage cheese, and then the other arm through the other and stand there with my arms apart like if the sweater hurts me and it does, all itchy and full of germs that aren’t even mine.

That’s when everything I’ve been holding in since this morning, since when Mrs. Price put the sweater on my desk, finally lets go, and all of a sudden I’m crying in front of everybody. I wish I was invisible but I’m not. I’m eleven and it’s my birthday today and I’m crying like I’m three in front of everybody. I put my head down on the desk and bury my face in my stupid clown-sweater arms. My face all hot and spit coming out of my mouth because I can’t stop the little animal noises from coming out of me, until there aren’t any more tears left in my eyes, and it’s just my body shaking like when you have the hiccups, and my whole head hurts like when you drink milk too fast.

Related Characters: Rachel (speaker), Mrs. Price, Sylvia Saldívar
Page Number: 8
Explanation and Analysis:
Salvador Late or Early Quotes

Salvador inside that wrinkled shirt, inside the throat that must clear itself and apologize each time it speaks, inside that forty-pound body of a boy with its geography of scars, its history of hurt, limbs stuffed with feathers and rags, in what part of the eyes, in what part of the heart, in that cage of the chest where something throbs with both fists and knows only what Salvador knows, inside that body too small to contain the hundred balloons of happiness, the single guitar of grief, is a boy like any other disappearing out the door, beside the schoolyard gate, where he has told his brothers they must wait.

Related Characters: Salvador
Page Number: 10
Explanation and Analysis:
Barbie-Q Quotes

Yours is the one with mean eyes and a ponytail. Striped swimsuit, stilettos, sunglasses, and gold hoop earrings. Mine is the one with bubble hair. Red swimsuit, stilettos, pearl earrings, and a wire stand. But that’s all we can afford, besides one extra outfit apiece. Yours, “Red Flair,” sophisticated A-line coatdress with a Jackie Kennedy pillbox hat, white gloves, handbag, and heels included. Mine, “Solo in the Spotlight,” evening elegance in black glitter strapless gown with a puffy skirt at the bottom like a mermaid tail, formal-length gloves, pink chiffon scarf, and mike included. From so much dressing and undressing, the black glitter wears off where her titties stick out. This and a dress invented from an old sock when we cut holes here and here and here, the cuff rolled over for the glamorous, fancy-free, off-the-shoulder look.

Every time the same story. Your Barbie is roommates with my Barbie, and my Barbie’s boyfriend comes over and your Barbie steals him, Okay? Kiss kiss kiss. Then the two Barbies fight. You dumbbell! He’s mine. Oh no he’s not, you stinky! Only Ken’s invisible, right? Because we don’t have money for a stupid-looking boy doll when we’d both rather ask for a new Barbie outfit next Christmas.

Page Number: 14
Explanation and Analysis:
One Holy Night Quotes

About the truth, if you give it to a person, then he has power over you. And if someone gives it to you, then they have made themselves your slave. It is a strong magic. You can never take it back.

Related Characters: Chaq Uxmal Paloquín (“Boy Baby”) (speaker), Ixchel
Page Number: 27
Explanation and Analysis:

I’m not saying I’m not bad. I’m not saying I’m special. But I’m not like the Allport Street girls, who stand in doorways and go with men into alleys.

All I know is I didn’t want it like that. Not against the bricks or hunkering in somebody’s car. I wanted it come undone like gold thread, like a tent full of birds. The way it’s supposed to be, the way I knew it would be when I met Boy Baby.

But you must know, I was no girl back then. And Boy Baby was no boy. Chaq Uxmal Paloquín. Boy Baby was a man. When I asked him how old he was he said he didn’t know. The past and the future are the same thing. So he seemed boy and baby and man all at once, and the way he looked at me, how do I explain?

Related Characters: Ixchel (speaker), Chaq Uxmal Paloquín (“Boy Baby”)
Page Number: 28
Explanation and Analysis:

The truth is, it wasn’t a big deal. It wasn’t any deal at all. I put my bloody panties inside my T-shirt and ran home hugging myself. I thought about a lot of things on the way home. I thought about all the world and how suddenly I became a part of history and wondered if everyone on the street, the sewing machine lady and the panadería saleswoman and the woman with two kids sitting on the bus bench didn’t all know. Did I look any different? Could they tell? We were all the same somehow, laughing behind our hands, waiting the way all women wait, and when we find out, we wonder why the world and a million years made such a big deal over nothing.

I know I was supposed to feel ashamed, but I wasn’t ashamed. I wanted to stand on top of the highest building, the top-top floor, and yell, I know.

Related Characters: Ixchel (speaker), Chaq Uxmal Paloquín (“Boy Baby”)
Page Number: 30
Explanation and Analysis:
Woman Hollering Creek Quotes

They want to tell each other what they want to tell themselves. But what is bumping like a helium balloon at the ceiling of the brain never finds its way out. It bubbles and rises, it gurgles in the throat, it rolls across the surface of the tongue, and erupts from the lips—a belch.

If they are lucky, there are tears at the end of the long night. At any given moment, the fists try to speak. They are dogs chasing their own tails before lying down to sleep, trying to find a way, a route, an out, and—finally—get some peace.

Page Number: 48
Explanation and Analysis:
Never Marry a Mexican Quotes

I guess she did it to spare me and Ximena the pain she went through. Having married a Mexican man at seventeen. Having had to put up with all the grief a Mexican family can put on a girl because she was from el otro lado, the other side, and my father had married down by marrying her. If he had married a white woman from el otro lado, that would’ve been different. That would’ve been marrying up, even if the white girl was poor. But what could be more ridiculous than a Mexican girl who couldn’t even speak Spanish, who didn’t know enough to set a separate plate for each course at dinner, nor how to fold cloth napkins, nor how to set the silverware.

Related Characters: Clemencia (speaker), Clemencia’s Mother, Clemencia’s Father
Page Number: 69
Explanation and Analysis:

I paint and repaint you the way I see fit, even now. After all these years. Did you know that? Little fool. You think I went hobbling along with my life, whimpering and whining like some twangy country-and-western when you went back to her. But I’ve been waiting. Making the world look at you from my eyes. And if that’s not power, what is?

Related Characters: Clemencia (speaker), Drew, Megan
Page Number: 75
Explanation and Analysis:
Eyes of Zapata Quotes

We drag these bodies around with us, these bodies that have nothing at all to do with you, with me, with who we really are, these bodies that give us pleasure or pain. Though I’ve learned how to abandon mine at will, it seems to me we never free ourselves completely until we love, when we lose ourselves inside each other. Then we see a little of what is called heaven. When we can be that close that we no longer are Inés and Emiliano, but something bigger than our lives. And we can forgive, finally.

You and I, we’ve never been much for talking, have we? Poor thing, you don’t know how to talk. Instead of talking with your lips, you put one leg around me when we sleep, to let me know it’s all right. And we fall asleep like that, with one arm or a leg or one of those long monkey feet of yours touching mine. Your foot inside the hollow of my foot.

Related Characters: Inés Alfaro (speaker), Emiliano Zapata
Page Number: 89
Explanation and Analysis:
Little Miracles, Kept Promises Quotes

Dear San Antonio de Padua,

Can you please help me find a man who isn’t a pain in the naglas. There aren’t any in Texas, I swear. Especially not in San Antonio.

Can you do something about all the educated Chicanos who have to go to California to find a job. I guess what my sister […] says is true: “If you didn’t get a husband when you were in college, you don’t get one.”

I would appreciate it very much if you sent me a man who speaks Spanish, who at least can pronounce his name the way it’s supposed to be pronounced. Someone please who never calls himself “Hispanic” unless he’s applying for a grant from Washington, D.C.

Can you send me a man man. I mean someone who’s not ashamed to be seen cooking or cleaning or looking after himself. In other words, a man who acts like an adult.

[…] I’ll turn your statue upside down until you send him to me. I’ve put up with too much too long, and now I’m just too intelligent, too powerful, too beautiful, too sure of who I am finally to deserve anything else.

Page Number: 118
Explanation and Analysis:

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Page Number: 122
Explanation and Analysis:
Bien Pretty Quotes

“Who dresses you?”
“What’s that? A store or a horse?”
“Neither. Silver Galindo. My San Antonio cousin.”
“What kind of name is Silver?”
“It’s English,” Flavio said, “for Silvestre.”

I said, “What you are, sweetheart, is a product of American imperialism,” and plucked at the alligator on his shirt.
“I don’t have to dress in a sarape and sombrero to be Mexican,” Flavio said. “I know who I am.”
I wanted to leap across the table, throw the Oaxacan black pottery pieces across the room, swing from the punched tin chandelier, fire a pistol at his Reeboks, and force him to dance. I wanted to be Mexican at that moment, but it was true. I was not Mexican. Instead of the volley of insults I intended, all I managed to sling was a single clay pebble that dissolved on impact—perro. “dog.” It wasn’t even the word I’d meant to hurl.

Page Number: 151
Explanation and Analysis:

And in my dreams I’m slapping the heroine to her senses, because I want them to be women who make things happen, not women who things happen to. Not loves that are tormentosos. Not men powerful and passionate versus women either volatile and evil, or sweet and resigned. But women. Real women. The ones I’ve loved all my life. If you don’t like it lárgate, honey. Those women. The ones I’ve known everywhere except on TV, in books and magazines. Las girlfriends. Las comadres. Our mamas and tías. Passionate and powerful, tender and volatile, brave. And, above all, fierce.

Page Number: 161
Explanation and Analysis:
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