As Cisneros grew older, these phantasies transformed intensely into daydreams of a young girl living a life that mirrored her own experiences. However, as an adult, Cisneros continues to suppress these phantasies due to shame. Although these phantasies are figments of Cisneros' imagination and temporarily relieve her suppression, "[she is] ashamed of [her] phantasies" because it is inappropriate for a woman of her age to continue playing (4). In order to cope with this suppression, Cisneros needed an outlet to discharge of her emotions in a healthy manner. According to Freud, "If a person who is at loggerheads with reality possesses an artistic gift he can transform his phantasies into artistic creations instead of into symptoms" (Lectures 56). For Cisneros this artistic gift was writing. By using writing as her outlet, Cisneros was not only able to cope with her suppression, but she was also able to sublimate inappropriate wishful impulses/phantasies into a socially acceptable form.
Cisneros' search for her literary identity caused her phantasies to give birth to Esperanza. While at the Iowa Writers' Workshop, Cisneros felt out of place and did not like the work of her peers so she resorted to developing her own style. She wanted to write about something she knew that no one else could write about. Hence, in an interview with Martha Satz, Cisneros admits "I was going through some traumatic experiences at the time, I chose to write about my past-my childhood experiences, my mother, and especially the women in the community" (3). These traumatic experiences had determined her vocation as a writer because "a strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to the childhood) from which there now proceeds a wish which finds its fulfillment in the creative work. The work itself exhibits elements of the recent provoking occasion as well as of the old memory" (Freud, Day-Dreaming 151).