...Laura Halperin Abstract In this article, Laura Halperin reads Chicana writer Sandra Cisneros’s The House on Mango Street as a disidentificatory, revisionist, and intersectional collection of fairy tales. Halperin builds on critical scholarship about The House on Mango Street and fairy tales...

..., scholars, the news media, and Hollywood. These films are in multiple genres, including documentaries, dramas, educational films, cartoons (Ray 2010), and even fairy tales (McCormick 20n), and they address trafficking in countries around the globe, including Eastern Europe, Southeast Asia (Cambodia, Burma...

... in her essay, “Not No Rapunzel: The House on Mango Street’ s Revised Ever After.” Here, Halperin deploys José Esteban Muñoz’s theorization of Latino dissemblance along with “Third World feminist analysis” to make the case that Sandra Cisneros’s The House on Mango Street “engages with the fairy-tale...

.... A few villages down, an old woman sits beside the fire. Having grown into her old-woman skin, she has tales to tell. Tonight, her story is about the water-fairy and her little prince. How body, bones and all, they walked into the river and flowed into the sea. ...

... that dissolves difference or contention. This is no utopia, no fairy-tale rendering of happily ever after. Corpi does not shy away from pointing out conflict and prejudice-and their consequences-but offers the possibility for building and inhabiting a world that refuses to perpetuate models of inequality...

... allows Trenka to analyze how adoptees' identities do not fit into any neatly definable category. She thus "frames her life in terms of 'facts' and reality just as much as she frames it in terms of fairy tales or dreams and no framework is 'truer' than the other" (153). "Truth" as defined by official...

... communicants at an altar, taking in . . . the fairy tale of how we met you, your right to do the things you did, how beautiful you were, are, and always will be” (Kincaid 1988 : 42). Kincaid’s complicated feelings are evidence of her migrant-writer position in the passage describing the library. Appreciative...

... with storytelling by admitting that she “did not grow up with a whole lot of Disney or fairy tales” but, rather, with the yarns her peasant mother told her, including “folk legends such as that of the Ciguapa” (Pichardo 2019 ; translated from the original Spanish). 10 Espaillat mentions mastering Greek...