Amy Tan is a Chinese American novelist, whose short stories portray the theme that it is not always easy to find the balance between culture, identity and heritage. This is seen through Amy Tan’s own life experiences and through The Joy Luck Club, The Kitchen God’s Life and The Bonesetter’s Daughter. Many of the conflicts her characters experience transcend cultural differences and speak to the universal struggles of a wide and diverse audience (“Amy Tan”)
The second of three children, Amy Ruth Tan, whose Chinese name is Anmei (Blessing from America), was born in Oakland, California, on February 19, 1952. Her father, John Yuehhan Tan, an electrical engineer and Baptist minister; her mother, Daisy Tu Ching Tan, a vocational nurse, immigrated to the United States . Although her parents were Chinese immigrants, Tan grew up as an assimilated Asian American. When she was fifteen, both her father and older brother Peter died of malignant brain
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In addition, visiting China helps her better understand and appreciate being Chinese. However, this visit also shows the reader how June May have been influenced by American culture and beliefs. For example, June May could not believe that China of all places has a magnificent hotel with all the necessities of modern day items. She keeps on saying, “This is communist China?” (Tan 269). In addition to her misplaced ethnocentrism, while she happened to understand the Chinese language she could not speak it very well due to American influence. “In returning to the significant geographic place of her mother and finding the twin half-sister who share her mother’s foundational stories of loss and survival, June May understands how both loss and hope inform her own unique identity” (Wood
Living as a Chinese-American, the narrator had to take on American attributes in order to be accepted -- for example, while normal Chinese women spoke with strong and assertive voices, the narrator adopted a whisper in order to appear “American-feminine. ”(1) As a result, however, her shy demeanor caused her to be an unpopular outcast. She saw herself in another Chinese-American girl at her school, as they had certain, negative similarities. “I hated the younger sister, the quiet one.
Even as a young child, she was incredibly observant and noted that other Chinese girls did not speak either, and so she drew the conclusion that “the silence had to do with being a Chinese girl” (166). Kingston does not say that all Chinese children found themselves in silence – only the girls did. She does not only have to find her identity as a Chinese American, but as a girl, and to figure out how these two facets of her identity work together to define her. Brave Orchid’s cutting her daughter’s tongue resulted in a physiological change; however, Kingston’s issue with speaking proves to be more psychological.
In the 1960’s, China was overrun by the idea that everybody must be equal, and those who are superior should be punished for their “wrongdoings”. Ji-li Jiang grew up in this unfortunate era, and her novel, Red Scarf Girl, describes the struggles that people in China faced every day of their lives during the Cultural Revolution. This unfair treatment of upper and middle class citizens is depicted by the author’s own memories of the Chinese Cultural Revolution. Ji-li Jiang recounts childhood experiences in order to elucidate how her family’s political situation affected her education, her family’s financial stability, and her basic freedoms in life, providing readers with a deeper analysis and more personal communication of the Chinese Cultural Revolution.
The experiences related and recorded in the novels The Joy Luck Club by Amy Tan, Monkey Bridge by Lan Cao, and Obasan by Joy Kogawa give great insight to the internal and external struggles East-Asian immigrants face in the Western World, specifically Chinese-Americans, Vietnamese-Americans, and Japanese-Canadians. Although the situations have certainly improved since the mid twentieth century, many of the issues and struggles the characters in the novels face are still real and ever-expanding for over five percent of the U.S. population. To
Amy Tan’s Joy Luck Club is an amazing representation of what Chinese immigrants and their families face. The broad spectrum of the mothers’ and daughters’ stories all connect back to a couple of constantly recurring patterns. These patterns are used to show that how the mothers and daughters were so differently raised affected their relationships with each other, for better and for worse. To begin with, the ever-present pattern of disconnect between the two groups of women is used to show how drastically differently they were raised.
The language barrier causes Jing-Mei to not understand her mother's true meanings and intentions, while her mother understands everything she says but cannot communicate with her in a way that she would understand. Translations are never accurate, and so the mother and the daughter know how to word their intentions properly so it can be interpreted. Another example of the emotional distress going on between the daughters and the mothers is when Suyuan’s daughter Jing-Mei goes to see her half sisters in China. This represents the biggest battle of culturally different countries. June (Jing-Mei) sees this constant battle that her mother has gone through, and is upset that Suyuan died before ever seeing her twins.
For instance, her famous novel ‘The Joy Luck Club’ depicts the Chinese mother and her American daughter relationship where they go through various circumstances trying to understand each other including the evolvement that comes in their relationships as the daughters know more about their mother’s life stories. Secondly, Tan considers the theme of identity in terms of Chinese immigrants and their life experiences as an immigrant in the United States. She reveals how the children born to the immigrants strive in an environment which is a mixture of American and Chinese influence. Moreover, Tan is found to have explored identity issues through her fictive creations and tackled the issue of authorial identity (Becnel, 2010). Similarly, romantic love is another subject included in the literary artworks of Amy Tan which considers the relationships and romance an important aspect of human’s life.
The prejudice Ying Ying Saint Clair feels for American culture causes her to have a difficult time understanding and communicating with her daughter. Because Ying Ying Saint Clair was raised in China, she views western ways as valuing worthless material items and ignoring critical traditions and values. As she watches her daughter mature and make her
The first part June doesn’t take where she is from and who she is, but as the story goes on she learns more about her mother and realizes who she is. Growing up in America, June was used to the western civilization. While June was in school she "..denied that I had any Chinese whatsoever below my skin.."(302). She didn’t think she was in fact Chinese. Identifying she doesn’t have any Chinese was in fact her saying that she doesn’t identify with this other side of her.
The book and the movie possess similar qualities. First, in both the movie and the book, all the mothers left their old lives in China for a new one in America. ” My mother could sense that the woman of these families also had
Thesis Statement about theme of literary work- In Amy Tan’s The Joy Luck Club, expressions of love and hatred are shown in multiple mother-daughter relationships resulting in negative impacts such as pain, bitterness, and regret because of their differing opinions. Support Point #1- Suyuan Woo guiltily leaves her twin daughters on the ground in China as she walks away in tears.
Throughout the entire novel, the mothers and daughters face inner struggles, family conflict, and societal collision. The divergence of cultures produces tension and miscommunication, which effectively causes the collision of American morals, beliefs, and priorities with Chinese culture which
Mother knows best. And yet so many daughters in Amy Tan’s The Joy Luck Club feel slighted by what the matriarchal figures in their lives have in mind for them, or rather, what they believe their mothers have in mind for them. A perfect storm of expectation, true and false, about love, about success, about being Chinese. The souring of mother-daughter relationships in The Joy Luck Club stem from unrealistic or ill conceived expectations that both parties hold for the other.
Amy Tan is a Chinese-American author who was born on February 19, 1952, in Oakland, California. In Tan’s early life she had many struggles because her parents desired for her “to hold onto Chinese traditions and her own longings to become more Americanized” (Encyclopedia). While she wanted to become a writer when she was still young, her parents wanted her to become a neurosurgeon. When she got older and went to college she majored in English then started her career in the 1970’s. She was a technical writer and then started writing fiction stories.
In her novel, The Joy Luck Club, Amy Tan focuses on the fact that the bond between a mother and daughter can overcome any ethnic barrier. Despite there being many disagreements and arguments about the ways to live their lives, Tan defies this issue by creating a bond that is unbreakable even though the experienced different upbringings. Certain disagreements keep the novel interesting and create a conflict depicting the problems stemming from this barrier. Through her use of similes, metaphors, and flashbacks, Tan shows how the bond between a mother and daughter can withstand even the strongest cultural differences.