In the story, Never Marry a Mexican, Clemencia learns to subconsciously develop power because “not a man exists who hasn’t disappointed [her]” (69). Through the actions of the male sex, she achieves this notion of power. Since men have failed her, she gains the power to choose to “…never marry. Not any man” (68). Given that she prefers not to marry, her power grows to a sense of independence. She is “…amphibious… a person who doesn’t belong to any class” (71). What Clemencia denotes by being “amphibi

ous” is her ability to associate with various classes of society. Eventually, she proclaims this developed “power” while speaking to Drew when she says: “I paint and repaint you the way I see fit, even now…Making the world look at you from my eyes. And if that’s not power, what is?” (75). Thus, Clemencia’s power starts from displeasure in men, yet finishes with the manipulation of the cause.

The last variation of power to be exemplified by Cisneros is located in her story, La Fabulosa: A Texas Operetta. The character in this story is Carmen and she has a power much different from Felice and Clemencia. Her power would be labeled as authority or even as being youthful. She was a “take-it-or-leave-it type of woman. If you don’t like it, there’s the door” (61). Contrary to the previous characters, Carmen seems superior to men, toying with their emotions. She even had her own “guaranteed love slave” (62) out of a corporal from Fort Sam Houston. She was never serious about this corporal named Jose Arrambide, in fact “First chance, she took up with a famous senator who was pavi

Some topics in this essay:
Hollering Creek’s, Mexican Clemencia, Jose Arrambide, Sandra Cisneros, Felice Clemencia, Felice Carmen, , Texas Operetta, Sam Houston, “male superiority”, type woman, texas operetta, woman hollering, marry mexican, la fabulosa, la fabulosa texas, fabulosa texas operetta, fabulosa texas, call “power”, La Fabulosa,