Answer these questions after reading the entire article attached below.

A. Title of article B. Thesis/argument C. Their definition/idea of rhetoric D. Definitions of key terms E. Main takeaways F. One question you have about the reading

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QUARTERLY JOURNAL OF SPEECH 82 (1996): 142-156 CREATING DISCURSIVE SPACE THROUGH A RHETORIC OF DIFFERENCE: CHICANA FEMINISTS CRAFT A HOMELAND Lisa A. Flores N the novel The House on Mango Street, Esperanza, the main character, recalls being asked by a nun from school where she lived. She remembers the nun's response: There.... You live there? The way she said it made me feel like nothing. There. I lived there. I nodded. I knew then I had to have a house. A real house. One I could point to. (emphasis in original) (Cisneros 5). As the novel progresses Esperanza grows from a child to a teenager and continues to long for a house. The dream house becomes not only one she can "point to," but one in which she can retain her identity and her culture. "One day I'll own my own house, but I won't forget who I am or where I came from," says Esperanza (Cisneros 87). Esperanza's longing for a house and a home stems partly from her feelings of inadequacy, manifested in her interaction with her teacher. She also experiences an awareness of her differences, in culture and class, from those around her, and a sense of how her displacement is evident in spatial relations. Whether remembering the fear she sees in those people who find themselves in her neighborhood by mistake or the conspicuousness she feels when the other students stare at her as she eats her rice sandwich, Esperanza knows she does not belong (Cisneros 45). Esperanza also recalls how the women in her community experience space differently from the men, how Rafaela, locked in because her husband is afraid she will leave, watches the world from her window (Cisneros 79). Esperanza remembers the day at the carnival; others were having fun, but she was sexually assaulted (Cisneros 99-100). She finds that in writing and reading she can create a metaphoric house. Her writing ultimately becomes the tool through which she both escapes and returns living "there" (109-110). "One day," says Esperanza, "I will pack my bags of books and paper. One day I will say goodbye....I am too strong.... One day I will go away.... I have gone away to come back. For the ones I left behind. For the ones who cannot out [sic]" (Cisneros 110). Esperanza's desire for a house of which she can be proud and in which she can feel comfortable mirrors the dream of many Chicana feminists who, feeling alienated and isolated from both Chicano and mainstream culture, long for a space and a home in which they belong. Chicana feminists are not alone in their discussions of space; indeed, the concept of space in relation to public and private spheres is common in feminist works.' Space as it relates to home, however, is a notable theme in the writings of Chicana feminists. Living with the unique experience of being a border culture between Mexico and the Southwest part of the United States, Chicanas/os find themselves with a foot in both worlds. The sense of being neither truly Mexican nor truly American often results in feelings of isolation, where Chicanas/os may find that they do not belong in either land. Such QUARTERLY JOURNAL OF SPEECH 82 (1996): 142-156 CREATING DISCURSIVE SPACE THROUGH A RHETORIC OF DIFFERENCE: CHICANA FEMINISTS CRAFT A HOMELAND Lisa A. Flores N the novel The House on Mango Street, Esperanza, the main character, recalls being asked by a nun from school where she lived. She remembers the nun's response: There.... You live there? The way she said it made me feel like nothing. There. I lived there. I nodded. I knew then I had to have a house. A real house. One I could point to. (emphasis in original) (Cisneros 5). As the novel progresses Esperanza grows from a child to a teenager and continues to long for a house. The dream house becomes not only one she can "point to," but one in which she can retain her identity and her culture. "One day I'll own my own house, but I won't forget who I am or where I came from," says Esperanza (Cisneros 87). Esperanza's longing for a house and a home stems partly from her feelings of inadequacy, manifested in her interaction with her teacher. She also experiences an awareness of her differences, in culture and class, from those around her, and a sense of how her displacement is evident in spatial relations. Whether remembering the fear she sees in those people who find themselves in her neighborhood by mistake or the conspicuousness she feels when the other students stare at her as she eats her rice sandwich, Esperanza knows she does not belong (Cisneros 45). Esperanza also recalls how the women in her community experience space differently from the men, how Rafaela, locked in because her husband is afraid she will leave, watches the world from her window (Cisneros 79). Esperanza remembers the day at the carnival; others were having fun, but she was sexually assaulted (Cisneros 99-100). She finds that in writing and reading she can create a metaphoric house. Her writing ultimately becomes the tool through which she both escapes and returns living "there" (109-110). "One day," says Esperanza, "I will pack my bags of books and paper. One day I will say goodbye....I am too strong.... One day I will go away.... I have gone away to come back. For the ones I left behind. For the ones who cannot out [sic]" (Cisneros 110). Esperanza's desire for a house of which she can be proud and in which she can feel comfortable mirrors the dream of many Chicana feminists who, feeling alienated and isolated from both Chicano and mainstream culture, long for a space and a home in which they belong. Chicana feminists are not alone in their discussions of space; indeed, the concept of space in relation to public and private spheres is common in feminist works.' Space as it relates to home, however, is a notable theme in the writings of Chicana feminists. Living with the unique experience of being a border culture between Mexico and the Southwest part of the United States, Chicanas/os find themselves with a foot in both worlds. The sense of being neither truly Mexican nor truly American often results in feelings of isolation, where Chicanas/os may find that they do not belong in either land. Such QUARTERLY JOURNAL OF SPEECH 82 (1996): 142-156 CREATING DISCURSIVE SPACE THROUGH A RHETORIC OF DIFFERENCE: CHICANA FEMINISTS CRAFT A HOMELAND Lisa A. Flores N the novel The House on Mango Street, Esperanza, the main character, recalls being asked by a nun from school where she lived. She remembers the nun's response: There.... You live there? The way she said it made me feel like nothing. There. I lived there. I nodded. I knew then I had to have a house. A real house. One I could point to. (emphasis in original) (Cisneros 5). As the novel progresses Esperanza grows from a child to a teenager and continues to long for a house. The dream house becomes not only one she can "point to," but one in which she can retain her identity and her culture. "One day I'll own my own house, but I won't forget who I am or where I came from," says Esperanza (Cisneros 87). Esperanza's longing for a house and a home stems partly from her feelings of inadequacy, manifested in her interaction with her teacher. She also experiences an awareness of her differences, in culture and class, from those around her, and a sense of how her displacement is evident in spatial relations. Whether remembering the fear she sees in those people who find themselves in her neighborhood by mistake or the conspicuousness she feels when the other students stare at her as she eats her rice sandwich, Esperanza knows she does not belong (Cisneros 45). Esperanza also recalls how the women in her community experience space differently from the men, how Rafaela, locked in because her husband is afraid she will leave, watches the world from her window (Cisneros 79). Esperanza remembers the day at the carnival; others were having fun, but she was sexually assaulted (Cisneros 99-100). She finds that in writing and reading she can create a metaphoric house. Her writing ultimately becomes the tool through which she both escapes and returns living "there" (109-110). "One day," says Esperanza, "I will pack my bags of books and paper. One day I will say goodbye....I am too strong.... One day I will go away.... I have gone away to come back. For the ones I left behind. For the ones who cannot out [sic]" (Cisneros 110). Esperanza's desire for a house of which she can be proud and in which she can feel comfortable mirrors the dream of many Chicana feminists who, feeling alienated and isolated from both Chicano and mainstream culture, long for a space and a home in which they belong. Chicana feminists are not alone in their discussions of space; indeed, the concept of space in relation to public and private spheres is common in feminist works.' Space as it relates to home, however, is a notable theme in the writings of Chicana feminists. Living with the unique experience of being a border culture between Mexico and the Southwest part of the United States, Chicanas/os find themselves with a foot in both worlds. The sense of being neither truly Mexican nor truly American often results in feelings of isolation, where Chicanas/os may find that they do not belong in either land. Such

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