Deconstructing the CreekDeconstruction of literary texts points to the idea that there is no meaning other than its relationship to signs and symbols (words). In “Woman Hollering Creek” by Sandra Cisneros, the “here and there” dichotomy is deconstructed by reversing the numerous dualities presented at the end of the novel. The protagonist's preferences regarding her lifestyle and choices change from beginning to end, also changing the reader's opinion. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The text begins by laying the foundation for a traditional narrative of a girl who leaves home for her new married life with expectations of romance and luxury. Before deconstruction can begin, the author must first present the idea to be compared in relation to another idea, or the “here and there” dichotomy. The reader thus encounters the traditional narrative of the protagonist's old life as boring and her new life as exciting, also correlating with the old country (Mexico) and the new country (United States). Her old life is described as one where there isn't much to do except clean up after the men in her family, visit church, and watch soap operas. Cleophila's new life with her husband seems dreamy; they will have money and romance in a city with a nice name. Here, his current reality in Mexico, and there, his future life in Texas. For the first time we are introduced to a deconstruction regarding gender experiences in both cultures. We are introduced to Cleofilas' neighbors, Soledad and Dolores (their names translate to loneliness and sorrow). These women are presented as widows, although Soledad's husband may have left by choice. This presents a contrast to the final narrative, where it is Cleophila (the wife) who leaves her husband. These widow neighbors mourn the loss of their husbands, which contrasts with the violence and death involved in the surrounding marriages that Cleofilas reads about in the newspapers: too many stories of women being mistreated or beaten by men in their lives, as Cleofilas was experiencing. These men do not mourn their dead; just maybe, like Juan does, when he cries tears of remorse after beating Cleofilas, but he never stops. Telenovelas might appear to be fantasy versus reality, but Cisneros deconstructs the dichotomy when the two begin to blend together. At first, it is the fantasy that Cleofilas hopes for, which is quickly shattered during his new life. It is also notable that she is unable to watch novels because she does not have a television, which further isolates her from her fantasy. As her husband's beatings continue, it is clear to Cleophila that the romantic aspect of the novels is no longer an option; instead, she's encountering the hardships that female protagonists endure in these TV soap operas, except with no happy ending in sight. His life seems to be stuck in these scenes of adversity. The only problem was that she was still caught up in the idea of ​​romance she learned from the short stories, “Why suffering for love is good” (2). Ironically, it was this fantasy world that kept her from leaving, but through facing reality she finally found the courage to leave her abusive husband. Although arroyo is thought to be named after a woman who screams due to pain or anger, through After the character of Felix, Cleofilas encounters an entirely different possibility. Felix presents a deconstruction of the here and there dichotomy of women in both places, which for Cleophila was always mother or daughter. Just like the story of La Llorona, a mother who drowns her children due to pain or anger. But.