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Beginning with a section named “No Name Woman,” Maxine Hong Kingston places a dead, ostracized aunt at the center of her conflict with being a young Chinese-American woman living between two vastly different cultures. When thinking about her Chinese ancestry, she reflects on the differences between the voices when she writes: The immigrants I know have loud voices, unmodulated to American tones even after years away from the village where they called their friendships out across the fields. I have not been able to stop my mother’s screams in public libraries or over telephones [...] speaking in an inaudible voice, I have tried to turn myself American-feminine. Chinese communication was loud, public. Only sick people had to whisper. But at
Deborah Tannen’s essay, “There Is No Unmarked Woman”, explores the idea of “marked” and “unmarked” words, styles, titles, and how females have no ability to choose an unmarked position. She also posits that “The unmarked forms of most English words also convey ‘male’” (88). Tannen is incorrect in her premise because females are able to choose unmarked hair and clothing styles, many unmarked forms of words no longer convey “male,” and men are marked just as often as women.
Deborah Gray White was one of the first persons to vigorously attempt to examine the abounding trials and tribulations that the slave women in the south were faced with. Mrs. White used her background skills acquired from participating in the Board of Governors Professor of History and Professor of Women 's and Gender Studies at Rutgers University to research the abundance of stories that she could gather insight from. It was during her studies that she pulled her title from the famous Ain’t I A Woman speech given by Sojourner Truth. In order to accurately report the discriminations that these women endured, White had to research whether the “stories” she was writing about were true or not.
Imagination is a quality that everyone has, but only some are capable of using. Maxine Hong Kingston wrote “No Name Woman” using a great deal of her imagination. She uses this imagination to give a story to a person whose name has been forgotten. A person whose entire life was erased from the family’s history. Her story was not written to amuse or entertain, but rather to share her aunts’ story, a story that no one else would ever share. The use of imagination in Kingston’s creative nonfiction is the foundation of the story. It fills the gaps of reality while creating a perfect path to show respect to Kingston’s aunt, and simultaneously explains her disagreement with the women in her culture.
In the short story “No One Is a Mystery” by Elizabeth Tallent the reader is introduced to a nameless female character. Throughout the story there are various descriptions that has great subtext to the relationship between the narrator and her lover Jack. One of the best descriptions in the short story is when the narrator is staring at Jack’s boot. The description Tallent uses makes the reader use one of their five senses, she makes the reader focus on the sense of touch. Tallent writes of boot’s frayed thread and scuffed toes. Another good description of the sense was muddy manure. The last part of the description is when the narrator gives a telling detail about the relationship between the two. She mentions that Jack has been wearing the
“Whenever she had to warn us about life, my mother told stories that ran like this one, a story to grow up on. She tested our strengths to establish realities”(5). In the book “The Woman Warrior,” Maxine Kingston is most interested in finding out about Chinese culture and history and relating them to her emerging American sense of self. One of the main ways she does so is listening to her mother’s talk-stories about the family’s Chinese past and applying them to her life.
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.
Amy Tan’s ,“Mother Tongue” and Maxine Kingston’s essay, “No Name Woman” represent a balance in cultures when obtaining an identity in American culture. As first generation Chinese-Americans both Tan and Kingston faced many obstacles. Obstacles in language and appearance while balancing two cultures. Overcoming these obstacles that were faced and preserving heritage both women gained an identity as a successful American.
Have you ever judge a book by the cover or made a bad first impression without getting to know the person first? Human beings need to come to the realization that everyone come from different walks of paths. We need to stop labeling people as "the other." No-Name Woman, Kingston 's aunt experienced Edward Said 's concept through the people in her village by them looking at her situation through a one-sided lens. The village that Kington 's family lived in had a preconceive notion on what the people should behave like and adultery was like a sin and a crime no matter of the circumstances.
Deborah Tannen’s essay, “There Is No Unmarked Woman”, explores the idea of “marked” and “unmarked” words, styles, titles, and how females have no ability to choose an unmarked position in life. She posits that “The unmarked forms of most English words also convey ‘male’” (88). Tannen is incorrect in her premises because females are able to choose unmarked hair and clothing styles, men are marked just as often as women, and many unmarked forms of words no longer convey “male.”
Cultures can shape the identities of individuals. Kingston identity was shape by Chinese and Chinese American culture. "No Name Woman," begins with a talk-story, about Kingston’ aunt she never knew. The aunt had brought disgrace upon her family by having an illegitimate child. In paragraph three, “she could not have been pregnant, you see, because her husband had been gone for years” (621). This shows that Kingston’s aunt had an affair with someone and the result was her pregnancy. She ended up killing herself and her baby by jumping into the family well in China. After hearing the story, Kingston is not allowed to mention her aunt again. The ideas of gender role-play an important role in both cultures. Kingston in her story “No Name Woman” describes some of the gender roles and expectations both women and men had to abide. Some of the gender roles in Kingston story have a semblance with the contemporary American culture.
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).
A central theme in The Woman Warrior by Maxine Kingston is silence. As the book progresses and the author opens up more about her past, she cures her silence and finds a way to stand out as a Chinese-American woman in the community. The different stories in the novel focus on the conflict between silence and communication to a person’s loved ones and refer to both emotional and physical struggles. She also uses her own frustration as a restricted Chinese American woman to break through the wall of silence that separates her from not only her loved ones but also from the rest of society. The theme of silence in The Woman Warrior displays the lack of a voice the author feels in asserting independence from her own Chinese community.
Maxine Hong Kingston uses silence as an important concept in the book The Woman Warrior. As soon as the chapter “No Name Woman” starts it states, “You must not tell anyone” (1). The theme of silence is shown through the first sentence in this chapter. Kingston writes about her experience as being the first generation of Chinese in America. Kingston uses silence as a theme throughout this chapter to show how the Chinese are silent in their community so they do not disturb it or humiliate their family.
Both men and women bring so much to offer in creating and maintaining society. “The question of gender differences and roles has baffled and angered us, delighted and confused us, in life as well as in literature” (Shea 347). Society tends to look at men and women a certain way by determining how each gender should act, what kind of job they should have, and their lifestyle. For example, the way some people think that women should take on the profession of a hairdresser and only a man should become a plumber. In all reality, the world we live in needs both men and women and the qualities that they bring with them.
“No Name Woman” by Kingston opens with the phrase “You must not tell anyone” which shows that whatever the narrator has to say is a secret and the reader must remain silent about it (3). The fact that the narrator is telling this story when they were supposed to keep it a secret and never speak of it is hypocritical because she warned he reader to never speak of it. The Chinese culture frowns upon he telling of this story because it is involves adultery. Since the narrator was the daughter of immigrants and not directly from China, she disobeys her mother’s commands because secrecy is not as respected in America as it is in China.