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Internal and external conflicts of characters inPilon by Sandra Cisneros
In the short story, the author who is also the narrator reflects back on her childhood memories, at a time before she stared receiving her menstrual period. In the title, Cisneros opts to give the reader a small epigraph to illustrate what apilon is in her native language. She defines it XX “XXXX little XXXXXXXXX a Mexican grocer puts into XXXX bag, XXXXX XX appreciation for XXXX patronage.” The XXXXXXXXXX XXXXX XXX-XXXXXXX XXXXXXXX to XXXX a XXXX of what XXX XXXXX XXXX XX the XXXXXX XX like. XXX XXXXXX highlights her early XXXXX XX a XXXX, XXXX a teenager XXX XXXXX an adult XXXXX all XXXXXXXXX various XXXXXXX XXXXXX time. XXX audience XXX XXXX XXXX XXXXX XXXXXX a form of XXXXXXXX within XXX XXXXX which is XXXXXX internal or external.It is by XXXXXXXX XXXX XXX XXXXXXXX and XXXXXXXX XXXXXXXXX XX the XXXXXXXXXX that we learn XXXXX XXX XXXXXX's XXXXX view.
XXX XXXXXXXXXXXX in XXX story XX the XXXXX woman (assumed to XX XXXXXXXX herself) who has become XX age. XXX XXXXXX XXX XXXXXX not XX consider XXX XXXX love that XXX XXXXX when XXXX lose their XXXXX ones, but that XX loosing XXXXXXXXX XX girl in childhood. XXX XXXXX inValenzuela (148), “XXX before my body XXXX’t XX body. I didn’t XXXX a body. I XXX XX being close to XXX spirit XX a spirit. I was a ball XX XXXXX floating across XXX XXXXXX…the me before XXXXXXX.” The writing shows XXX XXXXXXX XX a girl’s movement from childhood to XXXXXXXXX XXXXX is a XXX XXXXXX to XXXXX XXX XXX XXXX of her life.
The antagonist is the XXXXX XXXXXXXX (young Cisneros). She makes XXX XXXXXXXXXXXX XXXX XXXX XXXXX days never passed XXX they XXXXXX forever. XXX XXXX not want XX XXXXXXXX XXXX XXXXX they XXX XXXX XXX XXXX forever. XXX notes, “And I XXX’t know how it is for everyone XXXX, but for me these XXXXXX, XXXX song, that XXXX, XXXX place, are bound together in a country I XX homesick for, XXXX XXXXX’t XXXXX XXXXXXX” (XXX). This demonstrates XXXX XXX narrator is in XXXXXXXX conflict XXXX her XXXX which XXX so good XXX she cannot XXXX it anymore. The move makes the protagonist XXXX XXX XXXX of XXXXXX her XXXXXXXX as XXXX as girlhood. It XXXXXXX the feeling that XXX XXXXXX XX back XX either XX the two XXXXXXXX that XXXX one crosses XXX XXXXXXXX or XXXXXXX, XXXXX is XX XXXXX back.
XXX XXXXXXXX conflict XX XXXX XXX misses her childhood XXXXXX XXXXXXX XXXX XXXXX XXX XXX to XXXXX “the red XXX XXXXX” XXXXXXX. This XXXXXXX that XXX has XX XXXX with XXX XXXXXX of having periods since XXXX XXXX. XXX XXXXXXXX XXXXXXXX XX that she XXX lost her motherland back in XXXXXX XXX XXX knows there is no XXXXX XXXX. XXX XXXXXXXX clarifies to XXX reader that there XX a XXXXX which one XXXXXXX XXX no matter XXXX, “…The XXXXX going back there. To XXXX XXXXXXX I mean.” XXXX as XXX XXX XXXX to go back to Mexico or her XXXXXXXXX, she cannot.
XXX XXXXX XXXXX (antagonist) is causing so much conflict to XXX XXXXXXXXXXX because XXX XXXXXXX all XXX XXXX XXXXXXXX XX her life. She XXXXX what life XXX back when she XXX XXX XXXX how her body XXXXXX. She did not need to look at XXXXXXX in the mirror and XXXXXXX XXX XXX XXXX to XXXX XXXXX her body XXXX. XX the end, XXX antagonist XXXXX the XXXXXXXXXXX to realize there XX XX going XXXX XXX XX such she XXX XX accept the situation irreversible.
The XXXXXX is XXXXXXXXXX the change in her narrative. XXX takes XXXX to illustrate how XXXX XXX crosses a XXXXXXX boundary, XXXXX is not going XXXX XXX XXXX change XX XXXXXXXXXX in XXXX. By XXXXXXXXXX XXXXXXXXXXXX her present against her XXXX XXX XXX XXXX XXX XXXX she XXXXXX XXX XXXX XXX XXXX and the XXXXXXX, yet she cannot go XXXXX XXX to temporal XXX XXXXXXX variations in her inclination. She XX an XXXXX woman in XXXXXXX XXX XXX an XXXXX year XXX girl in XXXXXX. Her message is XXXXX, life XX all XXXXX XXXXXXX.
The XXXXX XXXXXXXX a good XXXXXXX of internal and external XXXXXXXX. XXX narrator while at a XXXXXXX age was happy, there XXXX XXXXX, to XXXXX, XXXXX XXX XXX need XX XXXXX body size and XXXXX XXX all XXX well. However as time moved, XXX has to XXXX with XXXXXXX XXXXXXX, XXX other XXXXXXXXXXXXXXXX that come XXXX womanhood. XXX cannot XX back XX her homeland XXX neither XXX XXX go XXXX XX her childhood.
The makes XXX XXXXX interesting by invoking XXX readers’ XXXXX-XXXXXX XXXXXXX, XXXXXXX gaps, XXXXXXXX imagination XXX XXXXXXXX XXXX XXX XXXXXX can XXXXX what terms mean even when XXXX XXX XXX in XXXXXXX. XXXX XXXXXX the XXXXX XXX XXXXXXXXX the story XXXXXXX it XXXXXXX XX clearly capture the XXXXXXXXXXX XX the XXXXXX.
Works cited
XXXXXXXXXX, XXXXX. Sudden Fiction Latino: Short-XXXXX XXXXXXX from the XXXXXX States and XXXXX XXXXXXX. XX Norton &XXX; XXXXXXX, XXXX.