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Americanism in literature
Racism in american literature
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In Sui Sin Far’s “Mrs. Spring Fragrance”, she illustrates how new Chinese immigrants adapt and assimilate to American culture during the 20th century. Far portrays the dealings that the Chinese characters in the story experience as they steadily acknowledge the American society as their own. She demonstrates how they are immersed in the American culture, yet indicates how they are still established in their Chinese custom. In the beginning of the story, Mr. and Mrs. Spring Fragrance are embracing the American way of life, but still manage to hold onto their Chinese heritage. However, as the story progresses Far depicts the deterioration of their Chinese traditions in place of American ones. Ultimately, seen when Mr. Yuen allows Laura to marry that man that she loves, opposed to having it …show more content…
This is exhibited through Mr. Spring Fragrance’s discussion with Young Carman, which was in San Francisco. However, what occurs in San Francisco with Mrs. Spring Fragrance remains enigmatic to me. It is likely that a comparable case of misconception emerges in her circumstance as she endeavors to understand a sprawling, integrated, American city. What I find most intriguing about this bit of the text is her willingness to acknowledge her newly discovered country as free of any flaws, asking Mr. Spring Fragrance to simply disregard racial profiling and the detainment of his own sibling for no other explanation than he is not Caucasian. Furthermore, Mrs. Fragrance is also eager to go against Chinese marriage tradition by helping Laura succeed in marrying her true love. Moreover, she readily accepts American ways quite suddenly, and all without any evidence of serious thought. Possibly, she assumes that in order to become wholly American, she must blindly follow all of what is merely suggested to
Although Mrs. Spring Fragrance has only lived in America for a short amount of time, her husband states “There are no more American words for her learning” (865). It is obvious through reading this statement that Mrs. Spring Fragrance has become quickly acquainted with not only the English language, but also with American customs and traditions. However, not every character in Mrs. Spring Fragrance adjusts to American culture as easily as Mrs. Spring Fragrance; some characters have a difficult time leaving their Chinese traditions of marriage and accepting that in America, love comes before marriage. Throughout Mrs. Spring Fragrance, Sui Sin Far describes the process that the Chinese characters experience as they slowly begin to alienate traditional Chinese culture and becoming Americanized through accepting American culture as their own.
The transition from childhood to adulthood can be challenging. There are many things to learn and let go. Sometime teenagers can dramatize certain events to make themselves seem defenseless. Amy Tan, Chinese-American author, makes her Chinese Christmas seem insufferable. In Tan’s passage “Fish Cheeks”, Tan uses diction and details to exemplify the indignity caused by her Chinese culture.
Thru-out the centuries, regardless of race or age, there has been dilemmas that identify a family’s thru union. In “Hangzhou” (1925), author Lang Samantha Chang illustrates the story of a Japanese family whose mother is trapped in her believes. While Alice Walker in her story of “Everyday Use” (1944) presents the readers with an African American family whose dilemma is mainly rotating around Dee’s ego, the narrator’s daughter. Although differing ethnicity, both families commonly share the attachment of a legacy, a tradition and the adaptation to a new generation. In desperation of surviving as a united family there are changes that they must submit to.
A Pair of Tickets”, by Amy Tan, is a brief narrative about the conscience and reminiscence of a young Chinese American woman, Jing-Mei, who is on a trip to China to meet her two half-sisters for the first time in her life. Amy Tan is an author who uses the theme of Chinese-American life, converging primarily on mother-daughter relationships, where the mother is an emigrant from China and the daughter is fully Americanized --yellow on the surface and white underneath. In this story, the mother tries to communicate rich Chinese history and legacy to her daughter, but she is completely ignorant of their heritage. At the opening of the story "A Pair of Tickets" Jandale Woo and her father are on a train, the are destined for China. Their first stop will be Guangzhou, China where father will reunite with his long lost aunt. After visiting with her for a day they plan to take a plane to Shanghai, China where Jandale meets her two half-sisters for the first time. It is both a joyful time and yet a time of contrition, Jandale has come to China to find her Chinese roots that her mother told ...
In “Princess of Nebraska” the author exemplifies the disenchantment of America when she writes, “If only her baby were a visa that would admit her into this prosperity, Sasha thought, saddened by the memories of Inner Mongolia and Nebraska, the night skies of both places black with lonely stars”(79). Although America is unique in certain rights and freedoms, these freedoms just as anything else have limitations. Sasha feels unchanged by her new environment, still feeling unable to grow her sense of self or escape the problems she attempted to abandon in her old world. The prosperity of America does not keep Sasha from the loneliness and troubles that consume her life, thus making the “night skies” of America and China comparable. In “A Thousand Years of Good Prayers”, Mr. Shi has similar struggles coping with the anticlimactic realities of true America and his inability to provoke change within his relationship with his daughter. The narrator highlights the lack of communication and distance that still exists between them when stating, “He feels disappointed in his daughter, someone he shares a language with but with whom he can no longer share a dear moment”(194). Although Mr.Shi feels America should serve him the liberties to be a better
When an immigrant from a foreign land comes to America, immigrants hope to fulfill their golden dreams in the land of the free; however, as they quickly learn shortly after they arrive in America, their new lives are filled with hardships and disillusions. A picture bride, who arrives in America with a dream of living with a wealthy, successful, and handsome young man, is frequently disappointed to discover the realities such as the appearance and lifestyle of her future husband. When Hana first meets Taro, she discovers that “[Taro] no longer resemble[s] the early photo [his] parents sent [Hana]…he was already turning bald” (Uchida, 12). This shock of reality is not uncommon to picture brides, in fact, “many men in America send pictures to picture brides of themselves from when they were ten to twenty years younger…next to a beautiful car—owned by their boss” (Bunting, 1). Picture brides and immigrants arrive in America filled with hopes for a better life for themselves and their children and a wonderful new life in America. The shock and dissatisfaction immigrants and picture brides experience when they first arrive in America greatly contribute to their change in attitude from an optimistic mindset to a cowardly, hesitant behavior. Furthermore, picture brides quickly discover that their husbands were not wealthy business owners, as the men claimed in their letters, but their husbands were rather poor men, trying to scrape a living, and this reality check contributes further to immigrants’ hopeless outlook to their new life. Hana is stunne...
Traditionally, Twinkies are usually thought of as cream-filled yellow sponge cakes. To Chinese Americans, a different image is conjured. When Chinese Americans integrate with the American culture so much that their Chinese culture is much less apparent, they are known as “Twinkies”: yellow on the outside and white on the inside. In Amy Tan’s essay “Mother Tongue” and Elizabeth Wong’s essay “The Struggle to be an All-American Girl”, both girls are Chinese American trying to fit in with the American society while their Chinese mother’s are very traditional at home. Tan and Wong are trying to please their image in America and their mothers at the same time. While these essays are similar because they focus on the native languages used in America and the struggles of being a Chinese American in America, they differ in both their attitudes toward their mothers and personal reflections of being Chinese American.
June-May fulfills her mother’s name and life goal, her long-cherished wish. She finally meets her twin sisters and in an essence fulfills and reunites her mother with her daughter through her. For when they are all together they are one; they are their mother. It is here that June-May fulfills the family portion of her Chinese culture of family. In addition, she fully embraces herself as Chinese. She realizes that family is made out of love and that family is the key to being Chinese. “And now I also see what part of me is Chinese. It is so obvious. It is my family. It is in our blood.” (Tan 159). Finally, her mother’s life burden is lifted and June-May’s doubts of being Chinese are set aside or as she says “After all these years, it can finally be let go,” (Tan 159).
The second and third sections are about the daughters' lives, and the vignettes in each section trace their personality growth and development. Through the eyes of the daughters, we can also see the continuation of the mothers' stories, how they learned to cope in America. In these sections, Amy Tan explores the difficulties in growing up as a Chinese-American and the problems assimilating into modern society. The Chinese-American daughters try their best to become "Americanized," at the same time casting off their heritage while their mothers watch on, dismayed. Social pressures to become like everyone else, and not to be different are what motivate the daughters to resent their nationality. This was a greater problem for Chinese-American daughters that grew up in the 50's, when it was not well accepted to be of an "ethnic" background.
In analyzing these two stories, it is first notable to mention how differing their experiences truly are. Sammy is a late adolescent store clerk who, in his first job, is discontent with the normal workings of society and the bureaucratic nature of the store at which he works. He feels oppressed by the very fabric and nature of aging, out-of date rules, and, at the end of this story, climaxes with exposing his true feelings and quits his jobs in a display of nonconformity and rebellion. Jing-Mei, on the other hand, is a younger Asian American whose life and every waking moment is guided by the pressures of her mother, whose idealistic word-view aids in trying to mold her into something decent by both the double standards Asian society and their newly acquired American culture. In contrasting these two perspectives, we see that while ...
Amy Tan’s “Fish Cheeks” describes Tan’s upbringing as a Chinese-American caught in between two cultures. In “Fish Cheeks” Tan’s crush Robert and his family were invited to Tan’s house for Christmas, Amy was embarrassed of Robert’s impression of her Chinese relatives, cuisine, and culture (Tan 110). Tan’s situation is not uncommon as millions of first generation Americans encounter similar situations while living within two cultures. Albeit the extreme embarrassment Tan endured throughout the encounter, she contends that her mother taught her a valuable lesson in appreciating her Chinese culture (111). Ultimately, Tan's purpose was to implore first generation Americans to embrace both of their cultures, in spite of its unique traditions (Tan
Sui Sin Far portrays the effects of "Americanization" on the Chinese who arrived in America during the early 1900's, in her story of "Mrs. Spring Fragrance". She describes the processes that the Chinese characters in the story undergo as they slowly begin to accept the American culture as their own. She shows how they become "Americanized", yet shows how they are still rooted in the Chinese tradition. The piece is presented in a lighthearted tone yet deals with issues of national and cultural identity.
Oftentimes the children of immigrants to the United States lose the sense of cultural background in which their parents had tried so desperately to instill within them. According to Walter Shear, “It is an unseen terror that runs through both the distinct social spectrum experienced by the mothers in China and the lack of such social definition in the daughters’ lives.” This “unseen terror” is portrayed in Amy Tan’s The Joy Luck Club as four Chinese women and their American-born daughters struggle to understand one another’s culture and values. The second-generation women in The Joy Luck Club prove to lose their sense of Chinese values, becoming Americanized.
Spring Fragrance embodies characteristics completely opposite of the stereotypes of Chinese woman at the time; Mrs. Spring Fragrance is neither quiet, subservient, nor a traditionalist (Gudykunst 188). This contrast is most apparent when she makes the decision that she will stay in San Francisco for another week in order to help Laura Chin Yuen. While Mrs. Spring Fragrance asks for permission from her husband to stay another week, she uses her intelligence and personal agency to frame her extended stay such that it would sound appealing to her husband (Far 8). Rather than explaining that she needs to help Laura Chin Yuen solidify her relationship with Kai Tzu—which would subsequently end Laura Chin Yeun’s arranged engagement—Mrs. Spring Fragrance claims that she needs to stay in San Francisco due to other cultural obligations. She offers the following explanation to her husband: “My honorable cousin is preparing for the Fifth Moon Festival, and wishes me to compound for the occasion some American ‘fudge’, for which delectable sweet, made by my clumsy hands, you have sometimes shown a slight prejudice,” (Far 8). Again, Mrs. Spring Fragrance frames the extended trip in a way that appeals to Mr. Spring Fragrance, both through the connection to their culture and to a sweet that he enjoys (the fudge). So despite the fact that Mrs. Spring Fragrance asks her husband for permission to stay longer, her cunning explanation emphasizes her intelligence, agency, and ability to assert her independence while maintaining a positive relationship with her husband. Thus, while it may seem as though Mrs. Spring Fragrance follows gender roles instead of challenging them, the letter highlights her intelligence and her power in her relationship with her
Lindo Jong provides the reader with a summary of her difficulty in passing along the Chinese culture to her daughter: “I wanted my children to have the best combination: American circumstances and Chinese character. How could I know these two things do not mix? I taught her how American circumstances work. If you are born poor here, it's no lasting shame . . . You do not have to sit like a Buddha under a tree letting pigeons drop their dirty business on your head . . . In America, nobody says you have to keep the circumstances somebody else gives you. . . . but I couldn't teach her about Chinese character . . . How to know your own worth and polish it, never flashing it around like a cheap ring. Why Chinese thinking is best”(Tan 289).