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Role of the woman in literature
Narrative essay on immigrants
Role of the woman in literature
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Introduction Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood Among Ghosts, published in 1976, is an assemblage of undisclosed memoirs that put together “talk-stories” and false realities to demonstrate the hardship that a second-generation Chinese-American faces in trying to battle the muting barriers of a home known only through stories and a new nation, America, that is not yet accommodating for Chinese immigrants. The significance of the title is that it is through the lens of a woman warrior to Kingston chooses to see her life. Additionally, the subtitle of the book signals to the reader that this autobiography is not going to be a traditional one, but rather attack issues of foreignness and cultural identity within the reality of life. This autobiographic novel is divided into five chapters and is set in three different places: the New Society Village in China, a medical school in Canton, and Kingston’s American home, Stockton, California. Throughout the novel women are vehemently oppressed by other women due to the cultural view of women are inferior to men and useless. The first chapter, “No Name Women” illustrates the tale of Kingston’s aunt, who gives birth to a bastard child in a pigsty, kills herself and child in a well, and is shunned after her death to the effect that her entire existence is erased and unacknowledged. The second chapter, “White Tigers,” depicts the epic story of Fa Mu Lan, a fierce woman warrior that leads men into battle to overthrow a cruel empire. This story is then contrasted with …show more content…
She does this by stitching together different stories of Chinese women and creates the parallel between speechlessness and the ability to survive in society. As the stories unfold and Kingston matures, she manipulates this concept and ideal into a message by using subthemes of ethnic clashes, misogyny, and distorted
In the novel The Woman Warrior Maxine Hong Kingston uses ghosts to represent a battle between American and Chinese cultures. The two cultures have different views of what a ghost is. The Chinese believe the ghost spirits may be of people dead or alive. Chinese culture recognizes foreigners and unfamiliar people as ghosts because, like American ghosts, they are mysterious creatures of the unknown. Americans view ghosts as spirits of the dead that either help or haunt people. American ghosts may or may not be real. There spirits are there but physical appearance is a mystery.
An Asian-American writer growing up in a tight and traditional Chinese community in California, Kingston is placed by her background and time period to be at the unique nexus of an aged, stale social institution and a youthful, boisterous one. She has had to face life as an alien to the culture of the land she grew up in, as well as a last witness of some scattered and unspeakably tragic old ideals. She saw the sufferings and has suffered herself; but instead of living life demurely in the dark corner of the family room like she was expected to, Kingston became the first woman warrior to voice the plight of the mute females in both Chinese and American societies. The seemingly immeasurable and indeed unconquerable gap between the two fundamentally divided cultures comes together in herself and her largely autobiographical work The Woman Warrior: Memoirs of a Girlhood Among Ghosts.
Since people who have different identities view the American Dream in a variety of perspectives, individuals need to find identities in order to have a deep understanding of obstacles they will face and voices they want. In The Woman Warrior, Maxing Hong Kingston, a Chinese American, struggles to find her identity which both the traditional Chinese culture and the American culture have effects on. However, in The House on Mango Street, Sandra Cisneros clearly identifies herself as a Hispanic woman, and pivots to move up economically and socially to speak for her race. Even though both Kingston and Cisneros look for meanings of their identities, they have different approaches of reaching the full understanding.
The “prodigal” aunt in Maxine Hong Kingston’s essay No Name Woman, was shunned from her family and ultimately ended up taking her life and her bastard child’s, as a result of public shaming. Instead of being heralded as a heroine and champion of women’s rights, the aunt’s legacy is one of shame and embarrassment that has been passed down through generations. While this story’s roots are Chinese, the issue at hand is multi-cultural. Women suffer from gender inequality worldwide.
Amy Tan’s novel, The Joy Luck Club describes the lives of first and second generation Chinese families, particularly mothers and daughters. Surprisingly The Joy Luck Club and, The Woman Warrior: Memoirs of a Girlhood Among Ghosts are very similar. They both talk of mothers and daughters in these books and try to find themselves culturally. Among the barriers that must be overcome are those of language, beliefs and customs.
“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.
Both novel and short story collection reflect the fear of a past being unexplored and left behind. They express deep concern about a lost generation of Chinese-Americans and look desperately for the ignored, shut out past as a result.
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.
...in her essay “No Name Woman”. The Chinese tradition of story telling is kept by Kingston in her books. Becoming Americanized allowed these women the freedom to show their rebellious side and make their own choices. Rebelling against the ideals of their culture but at the same time preserving some of the heritage they grew up with. Both woman overcame many obstacles and broke free of old cultural ways which allowed them an identity in a new culture. But most importantly they were able to find identity while preserving cultural heritage.
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.
The Joy Luck Club, by Amy Tan is a piece of literature that displays the power of femininity. Through the past couple of centuries the role that women play in society has drastically changed. Women in various societies have experienced turmoil due to being discriminated against and looked down upon often. Women were viewed upon as being the house caregiver and leaving majority of the other jobs in society to men. Women have moved up the social ladder, politics, jobs, and in households. Femininity is shown throughout The Joy Luck Club. These women each have their own life experiences and stories but through it all they remained strong. Rules and regulations for women in China were very restrictive. Women had to live up to the ideal model of being obedient, hard working, bearing children, hide her unhappiness, and to not complain about anything. In China the women had little worth and were only seen as valuable to their immediate family members. Most of the mothers left China for the reason of improving their daughter’s lives in America. The novel demonstrates various characteristics of how women are represented. The theme of women is demonstrated through the hardships experienced, ethics and self-worth.
The Woman Warrior by Maxine Hong Kingston portrays the complicated relationship between her and her mother, while growing up as a Chinese female in an American environment. She was surrounded by expectations and ideals about the inferior role that her culture imposed on women. In an ongoing battle with herself and her heritage, Kingston struggles to escape limitations on women that Chinese culture set. However, she eventually learns to accept both cultures as part of who she is. I was able to related to her as a Chinese female born and raised in America. I have faced the stereotypes and expectations that she had encountered my whole life and I too, have learned to accept both my Chinese and American culture.
The early part of the novel shows women’s place in Chinese culture. Women had no say or position in society. They were viewed as objects, and were used as concubines and treated with disparagement in society. The status of women’s social rank in the 20th century in China is a definite positive change. As the development of Communism continued, women were allowed to be involved in not only protests, but attended universities and more opportunities outside “house” work. Communism established gender equality and legimated free marriage, instead of concunbinage. Mao’s slogan, “Women hold half of the sky”, became extremely popular. Women did almost any job a man performed. Women were victims by being compared to objects and treated as sex slaves. This was compared to the human acts right, because it was an issue of inhumane treatment.
The patriarchal repression of Chinese women is illustrated by Kingston's story of No Name Woman, whose adulterous pregnancy is punished when the villagers raid the family home. Cast out by her humiliated family, she births the baby and then drowns herself and her child. Her family exile her from memory by acting as if "she had never been born" (3) -- indeed, when the narrator's mother tells the story, she prefaces it with a strict injunction to secrecy so as not to upset the narrator's father, who "denies her" (3). By denying No Name Woman a name and place in history, leaving her "forever hungry," (16) the patriarchy exerts the ultimate repression in its attempt to banish the transgressor from history. Yet her ghost continues to exist in a liminal space, remaining on the fringes of memory as a cautionary tale passed down by women, but is denied full existence by the men who "do not want to hear her name" (15).
Gish Jen’s In the American Society is, on the surface, an entertaining look into the workings of a Chinese American family making their way in America. The reader is introduced to the life of a Chinese American restaurant owner and his family through the eyes of his American-born daughter. When we examine the work in depth, however, we discover that Jen is addressing how traditional Chinese values work in American culture. She touches on the difference in gender roles, generation gaps between immigrants and their American-born children, and the hesitance of these immigrants to conform to the American way of life.