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Narrative essay on silence
An essay on silence
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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.
The author conveys silence using irony at the start of the book when she mentions “You must not tell anyone.” In reality, Kingston is telling the story to everyone, or in this case, the audience. At the same time, several of the lessons Brave
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Orchid teaches the author is rooted in telling. Telling provides a voice to the Chinese customs, traditions and the lives of the past that did not receive as much recognition as it does now. Brave Orchid, Kingston’s mother, is voiceless in America even though she has lived in America for many years. Brave Orchid’s story of the woman warrior displays how stories of traditional Chinese culture can alternatively give voice to those who feel oppressed in a domination patriarchal society. Just how her mother experiences a struggle of finding her identity in a new country, so does the narrator. Examples of how the narrator feels restricted include when she could not tell her “ghost” teacher that her father had run a gambling house and when she is not allowed to ask questions about “anything that is really important.” Silence is not something she alone expresses. She explains that the emigrants often avoid talking to the police and involving themselves with the authority even for crimes Based on the first chapter of the memoir, No Name Woman, Kingston realizes that if she acts against the community’s standards of suitable behavior like her aunt, she too will replace her nameless aunt, who remains silent her entire life. By going against her mother’s warning of keeping her nameless aunt a secret, Kingston tells everyone the story of her aunt and even gives a voice to the silence woman. In giving her aunt a voice, Kingston is able to remove her aunt’s guilt and strengthen her identity as a Chinese-American woman. She feels that remaining silent about her aunt would be the same as rejecting her own voice and identity. Furthermore, the act of naming the nameless aunt “No Name Woman” is symbolic as it honors a forgotten ancestor’s story. Even though the women of traditional Chinese culture have no voice, the stories and myths passed down generation by generation can inspire girls who feel voiceless.
The legend of Fa Mu Lan convinces then narrator that it is possible to overcome societal obstacles. Kingston describes how even at a young age she dreamt of overcoming an insignificant life. Another story, “A Song for a Barbarian Reed Pipe” singles out the process of finding her own voice which Maxine Kingston accomplishes by writing her story as a way of finding her voice. In this chapter of the novel, Kingston focuses on herself and her own search for a voice. In order to assimilate in American society, she finds her voice hidden away from society. The silent girl she bullies as a child is a parallel to herself as Kingston is a voiceless girl. She fears of becoming even more voiceless like this silent girl who she constantly bullies. When the narrator bullies the quiet girl in school, she takes her anger out at the whole
community. The chapter, “At the Western Palace”, shows how costly remaining silence can be and the cost is revealed through Moon Orchid, Kingston’s aunt. In the story Moon Orchid tells, the woman’s loss of speech is the deciding factor in her husband’s decisions that she does not have a part in American society. Through the telling of this story, Kingston also provides Moon Orchid with an individual voice. At the conclusion of her memoir, Kingston tells the story of a poet to depict the possibility of unity among the two cultures of America and China. In The Woman Warrior, Kingston employs the different stories to depict the restriction in voice of Chinese-American women in America. Through these different stories told my herself, her mother, and her aunt, she is able to express her own feelings and experiences. Kingston’s memoir shines light on the struggle of immigrants and how the reoccurring theme of silence played a role in strengthening her voice as an individual. The writing of this memoir serves as an outlet for the narrator to explore her past and ultimately, find her voice.
For Kingston, The Woman Warrior signifies more than five chapters of talk-stories synthesized together. Within each chapter of the memoirs, Kingston engraves the method in which she undertook to discover her discrete voice. The culture clash between her mother and Kingston accumulated her struggles and insecurities, resulting in Kingston’s climax during her tirade. However, what Kingston accentuates the most is that the a breakthrough from silence requires one to reject a society’s
In Maya Angelou’s Champion of the World and Amy Tan’s Fish Cheeks both convey their struggles with identity. Both authors are from minority cultures, and describe the same harsh pressures from the dominant culture. They share situations of being outcasts, coming from different racial backgrounds and trying to triumph over these obstacles. Tan and Angelou speak about the differences between their childhood selves and white Americans. Tan talks about the anxiety of a teenage girl who feels embarrassed about her Chinese culture, and who wants to fit in with American society. Angelou’s explains the racial tension and hostility between African and white Americans.
The structure of the memoir immerses the reader in African culture by incorporating anecdotes, poems, proverbs, and songs. These elements combine to emphasize the importance of oral institutions and to convey the significance of understanding them, "One must learn proverbs a proverb is regarded as the horse' that carries words to a different level, investing them with meanings, enrobing the user with the garment of wisdom" (Falola 53). "As in this case and others that I witnessed, the leader must be gifted with language, making extensive use of proverbs, idioms, and cross-references" (Falola 133). While the verses add depth to the story, they often become cumbersome and superfluous. For example, when discussing the need to keep quiet in order to conceal the location of their musical group, the addition of the proverb, "You cannot light a fire when in hiding," is unnecessary seeing as the reader already has a clear understanding of the meaning of the text (Falola 243).
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.
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.
“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.
Chinese-Americans authors Amy Tan and Gish Jen have both grappled with the idea of mixed identity in America. For them, a generational problem develops over time, and cultural displacement occurs as family lines expand. While this is not the problem in and of itself, indeed, it is natural for current culture to gain foothold over distant culture, it serves as the backdrop for the disorientation that occurs between generations. In their novels, Tan and Jen pinpoint the cause of this unbalance in the active dismissal of Chinese mothers by their Chinese-American children.
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.
The author also tends to add a lot of descriptive adjectives to her writing. For example, “A telephone call makes my throat bleed and takes up that day's courage. It spoils my day with self-disgust when I hear my broken voice come skittering out into the open. It makes people wince to hear it.” The descriptive words: self-disgust, spoil, and wince provide the needed explanation to the reader for how the narrator feels. As the reader gets deeper into the essay more examples of these descriptive adjectives become present, “It was when I found out I had to talk that school became a misery, that the silence became a misery. I did not speak and felt bad each time that I did not speak. I read aloud in first grade, though, and heard the barest whisper with little squeaks come out of my throat.” This line is full of unique adjectives about how the narrator feels about speaking English. Words like: misery, barest, whisper, and the phrase “little squeaks” all add to Kingston’s style of writing and show her descriptive language used when writing. Although the essay does not lack detail or description, the essay is particularly
Fa Mu Lan is a changing character who grows from a little girl to a renowned warrior to a kind mother. On the other hand, Abigail Williams remains stubborn, selfish, and influential throughout her story. Their external circumstances either shape them or don’t. While they are alike because they both face challenges, Fa Mu La challenges adversity causing her to gain strength as a character and for Abigail, it is others disagreeing and conflicting with her.
In reference to the title of the novel, the silence that Dilsey tenderly urges is profound; if ". life. is a tale told by an idiot, full of sound and fury." then Dilsey beckons Benjy to a peace -- ultimate and eternal.
For my March book I read the book Speechless by Hannah Harrington. This book is about a girl who loves drama and tends to cause it. However, one night at a party, Chelsea witnesses something and ends up telling her friends. This causes a boy to be beaten in a gas station parking lot to the point of hospitalization. After she learns of this, she takes a vow of silence, vowing to never speak again due to the trouble she caused. Throughout this book we witness a theme much like chapter 11 of Thomas C. Foster's book How to Read Literature like a Professor. In this chapter, Foster talks about how violence can be symbolic and how it can effect characters for a long time. In Speechless, violence is symbolic for a rebirth, renewal and hatred.
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.
In Maxine Hong Kingston’s autobiographical piece “Silence”, she describes her inability to speak English when she was in grade school. Kindergarten was the birthplace of her silence because she was a Chinese girl attending an American school. She was very embarrassed of her inability, and when moments came up where she had to speak, “self-disgust” filled her day because of that squeaky voice she possessed (422). Kingston notes that she never talked to anyone at school for her first year of silence, except for one or two other Chinese kids in her class. Maxine’s sister, who was even worse than she was, stayed almost completely silent for three years. Both went to the same school and were in the same second grade class because Maxine had flunked kindergarten.
It is as though Asian Americans are succumbing to the thought that America is the only place to be and that they should be grateful to live here. On the other hand, keeping silent due to pressures from the white population means being shunned by the members of the Asian American population. I disagree with Chin’s assertion that “years of apparent silence have made us accomplices” to the makers of stereotypes (Chin 1991, xxxix). I agree with Hongo’s argument that the Chin viewpoint “limits artistic freedom” (Hongo 4). Declaring that those writers who do not argue stereotypes of the good, loyal, and feminine Chinese man or the submissive female, are in any way contributing to or disagreeing with them is ridiculous.