Selling-Out the Asian-American Community in The Joy Luck Club
i wish i could join in the universal praise for amy tan and her best-selling novel "the joy luck club." i wish i could find the latest chinese-american literary dish as appetizing as the rest of the american public does. but i can't. before amy tan entered the scene, public images of asian america had not developed since the middle of the century. the asian american male did not exist except as a barbaric japanese or vietcong soldier. the asian american female remained the adolescent suzy wong pipe dream, toyed with for a while and then deserted.
amy tan, a gifted writer, had the chance to change those images, to dispel the public's misconceptions and to forge a new asian american identity. instead, she copped out on her obligations, meekly reinforcing every conceivable stereotype.
if you believe tan's first novel "the joy luck club," asian amerca is some mystical oddity, conforming to the mascot-culture view of the white thirtysomething women who predominated at tan's reading. san francisco chinatown is filled with hysterical chinese women playing secret mah jong games. china itself is a dreamlik landscape, filled with secrets and traditions, all exuding a delicate, storybook aura.
chinese mothers are all one-dimensional, superstitious and ignorant. their chinese phrases are delightful italics with quaint meanings. of course, what chinese comedy would be complete without a couple of garbled english words? when tan was late for her berkeley reading, her white husband directed the audience to mimic her mother's amusing syntax: "why so late?" rimshot.
amy tan's heroines are the white mother-in-law's dream come true. these china dolls talk and have strong feminine sympathies. as one of tan's heroines admits, "i used to push my eyes on the sides to make them rounder." futile self-denial, but, oh, isn't it cute?
tan's heroines gain identity by separating themselves from and looking down on their culture. when the heroine in "the kitchen god's wife" hears about her grand auntie's "spirit money," she sneers are her aunt's attempt to "bribe her way along to chinese-heaven" immediately suggests a negative contrast to the "truer" western heaven.
the same dichotomy is used with men as well. asian american men are inadequate -- they're either bothersome brothers or unsuccessful lovers who lead to "apathetic boredom."
love with a white male, however, is different.
Many women find that their mothers have the greatest influence on their lives and the way their strengths and weaknesses come together. In Amy Tan’s The Joy Luck Club, the lives of four Chinese mothers and their Chinese-American daughters are followed through vignettes about their upbringings and interactions. One of the mothers, An-Mei Hsu, grows up away from her mother who has become the 4th wife of a rich man; An-Mei is forced to live with her grandmother once her mother is banned from the house, but eventually reunites and goes to live in the man’s house with her mother. Her daughter, Rose, has married an American man, Ted, but their marriage begins to end as he files for divorce; Rose becomes depressed and unsure what to do, despite her mother’s advice. An-Mei has strengths and weaknesses that shape her own courageous actions, and ultimately have an influence on her daughter.
"The Joy Luck Club" is a sage about several Chinese mothers and their American-born daughters. It is also about the mothers' experiences with immigrating, and/or their upbringing. It depicts the relationship between the mothers' and their daughters and how this relationship affects the daughters lives. Emphasis is placed on historical references and the struggle of women. All of the mothers were born between the mid 1920's and the late 1940's. The political and social histories of China were important factors in the character building youth of these women. Between 1931 and 1945 China was occupied by the Japanese, which led to their immigration to the United States. Chinese cultural traditions such as arranged marriages, different religions, and superstitious notions, all which repress women, also influenced their character. A great deal of importance is placed on the variety of traditions that were placed on them. The theme of tradition being passed down from mother to daughter is also stressed. This particular tradition is not explicitly expressed. In order for it to be preserved and handed down it is to be observed, absorbed, and understood. Yet one of the main (ideas) points of the novel is to show that these traditions were not imposed on the American-born daughters as they were on their mothers. In turn, this leads to the vast differences and conflicts between the mothers and their daughters. Some of the differences and conflicts are good while others are not.
Throughout Asian American literature there is a struggle between Asian women and their Asian American daughters. This is the case in The Joy Luck Club, written by Amy Tan and also in the short story "Waiting for Mr. Kim," written by Carol Roh-Spaulding. These two stories are very different, however they are similar in that they portray Asian women trying to get their American daughters to respect their Asian heritage. There are certain behaviors that Asian women are expected to have, and the mothers feel that their daughters should use these behaviors.
Growing up in California, Tan continued to embrace the typical values of Americans. She had taken on American values as her own identity, completely ignoring most of her Chinese heritage. In fact, young Amy Tan would answer her mother’s Chinese questions in English (Miller 1162). Teenage Amy Tan lost both her father and sixteen-year-old brother to brain tumors. Soon after that, she learned that she had two half-sisters in China from her mother’s first marriage (“Amy Tan Biography”). In 1987, Tan made a trip to China to meet those very same ...
The American Dream is not fruitful for immigrants of color because they are misnomered as model minorities, despite the fact they still suffer from racial prejudice. While there was still racial tension in China, Suyuan Woo remarks that, “If it hadn’t been for the Japanese, there would have been plenty of reason for fighting to break among the different people,” describing the state of limbo before the Japanese invade Kweilin (Tan 22). Some Chinese Americans find that racial discrimination prevails more in America than in their homeland. Meghan Lee, a teenage Korean American, laments on ignorance surrounding her race she encounters on an almost daily basis. Being asked “What kind of Asian are you?” or “Where are you really from?” when she states the state of her birth,Virginia, epitomizes the inconsideration of Americans for those of non-native American descent. In The Joy Luck Club Rose Hsu Jordan encounters a similar situation when her significant other’s mother assu...
Maxine, being of the first generation of her family to be born in America, only knows about China from what she hears in her mother’s “talk-stories.” These stories are told to act as lessons on how the Chinese people were and should be, and are often vary critical. In “No Name Woman,” the tale of Maxine’s aunt who was shunned from her family for having an affair shows how careful young women must be when growing up in Chinese culture. “My aunt haunts me—her ghost drawn to me because now, after fifty years of neglect, I alone devoted pages to her…” (17). Maxine feels remorse and can relate to her aunt because she too feels a sense of alienation from her traditional Chinese and seemingly narrow-minded heritage.
Amy Tan struggled with many issues caused by her dual cultures, which she expressed thoroughly in her works. Daisy and John Tan were post war immigrants and the parents of Amy Tan (Amy Tan). Tan was given the Chinese name An-Mei, which stands for blessings from America (McCarthy). To them she was the blessing that they had received after their own struggles. Tan’s father came to America after WWII to become a minister (Amy Tan). Even though it seemed like Tan’s life was running smoothly tragedy struck. Both Tan’s father and older brother died of a brain tumor when Tan was only fifteen years old (Wiener 27). In her works, Amy Tan focuses on the struggles that Chinese-American women face in mother-daughter relationships, their struggles to control their cultural identity and the tragedy that accelerates the broken relationship.
Interestingly, the other dominant media depiction of Asian women, to a certain extent, is the opposite of the China doll/geisha girl stereotype. The dragon lady stereotype often features cunning, powerful, icy, merciless yet sexually aggressive Asian female characters. This line of stereotyping is said to originate from the fear of the inscrutable East and from Yellow Peril (Biswas, Kim, Lei, &Yang, 2008; Prasso, 2005). The history of competition for jobs in the frontier rationalizes people in the U.S. to distort the representations of Asians as evil, profit- seeking aliens feeding on the innocent White, which gives rise to the negative stereotype of the dragon lady.
These are the two questions that I get asked regularly by non-Asians. I always reply “Well I was born and raised in America but my family comes from Hong Kong.” I grew up constantly being told to take pride in being Chinese, however, I was also consistently told by my family to be proud that I even have the opportunity to grow up in America. There was never a definite answer as to what I was, so I learned to accept both. I am Asian American. Many people have questions about what “Asian American” really means and their questions brought on questions of my own. It was not until recently that Asian American influences became more prominent in my life. I was able to find books,
Cheng states how she enjoys the imagery and ability Tan has to describe what the setting of her novel is. “It helps us to see what life truly is like through the eyes of a Chinese immigrant.”(2 Cheng) I agree with Cheng on this. There are many quotes and details that will help to clarify this. One is a quote from the novel, and it says “It was one of those Chinese expressions that means the better half of good intentions.” This supports the critic in that it shows how she was raised in a primarily chinese household. Another quote from Joy Luck Club “They see daughters who grow impatient when their mothers talk in Chinese.” This is an example of the previous point that Tan incorporated her feelings towards her mother in her youth into her works. The last supporting point from the work is an example of imagery. “I could see why my mother was fascinated by the music. It was being pounded out by a little Chinese girl, about nine years old, with a Peter Pan haircut. The girl had the sauciness of a Shirley Temple. She was proudly modest like a proper Chinese child. And she also did this fancy sweep of a curtsy, so that the fluffy skirt of her white dress cascaded slowly to the floor like the petals of a large carnation.” This amazing use of imagery help to see why the critic thought so highly of Tan’s
One of the central themes in writing of the second generation Asian Americans is the search of identity and individual acceptance in American society. In the last few decades, many Asian Americans have entered a time of increased awareness of their racial and cultural identity built on their need to establish their unique American identity. In the book The Joy Luck Club, which revolves around four mother-daughter Asian American families whose mothers migrated from China to America and raised their daughters as Americans, we see the cultural struggle and differences by looking at their marriages, suffering and sacrifice, and their use of language in the novel.
Is it fair to judge someone by their sex? In traditional Chinese culture, many judgments were made about a person just by observing their sex. The women was looked upon as an inferior being. They had little or no status in society, and little was expected from them. They were discriminated against when they tried to stand up for themselves. Chinese culture was customarily male dominated. The male was expected to do most of the work, and the woman was expected to stay at home with their mouth shut. This custom leaves an unwelcome feeling in a woman's heart. They feel like nobody cares, and it makes it much harder to live with an optimistic view on life.
In Mother Tongue, Amy Tan talks about how language influenced her life while growing up. Through pathos she explains to her audience how her experiences with her mother and the Chinese language she came to realize who she wanted to be and how she wanted to write.
Tan was born to a pair of Chinese immigrants. Her mother understood English extremely well, but the English she spoke was “broken.”(36) Many people not familiar with her way of speaking found it very difficult to understand her. As a result of this, Tan would have to pretend to be her mother, and she called people up to yell at them while her mother stood behind her and prompted her. This caused Tan to be ashamed of her mother throughout her youth, but as she grew, she realized that the language she shares with her mother is a “language of intimacy” (36) that she even uses when speaking with her husband.
In the Joy Luck Club, the author Amy Tan, focuses on mother-daughter relationships. She examines the lives of four women who emigrated from China, and the lives of four of their American-born daughters. The mothers: Suyuan Woo, An-Mei Hsu, Lindo Jong, and Ying-Ying St. Clair had all experienced some life-changing horror before coming to America, and this has forever tainted their perspective on how they want their children raised. The four daughters: Waverly, Lena, Rose, and Jing-Mei are all Americans. Even though they absorb some of the traditions of Chinese culture they are raised in America and American ideals and values. This inability to communicate and the clash between cultures create rifts between mothers and daughters.