Battle Hymn Of The Tiger Mom, By Amy Tan

In Amy Tan’s story “The Joy Luck Club,” Jing-mei recalls the struggles she is burdened by in not understanding the extensive sacrifices her mother made and the guilt she carries of never living to be her mother’s swan.

The book The Joy Luck Club is a novel written by Amy Tan, who is very famous in writing about mother-daughter relationships. There are four pairs of mothers and daughters whose stories are told in The Joy Luck Club. All of the mothers were born in China and came to America because of some kind of problem, but their daughters were born in the United States. Due to the fact that the daughters were born in the United States, they are extremely Americanized. Consequently, they do not value the Chinese heritage which their mothers valued dearly. As the daughters are growing up, this conflict between them increases. Suyuan Woo and her daughter, June or Jing-mei, two characters from the book, had major conflicts over the Chinese belief system of

Several years ago, Amy Chua’s book: Battle Hymn of the Tiger Mother has triggered a lively debate about the strict parenting style. In the book, it is mentioned that Chua sets rules and restrictions, such as no sleepovers, practising music instruments every day, etc. As a result, her daughters achieve excellent grades in schools (Goodin ¶2-3). Chua’s parenting style is categorized as authoritarian. In Hong Kong, Chua’s style is popular. Parents put a lot of pressure on their children. Starting from primary level, children are asked to attend extra tutorials. From the parents’ eyes, “Practice makes perfect”. Hence, children will become more competitive. However, westerners oppose her methods. Some believe that giving no freedom to children is not conducive to one’s academic performance.

In the article, “Adapted From Battle Hymn of the Tiger Mother,” Amy Chua, the author, gave some very valid points about how Western children and Chinese children are raised very diversely. Chinese parents are more strict and Western parents are more laid back. Most of the authors points that she made were backed up with statics so they were reliable and valid. There were just a few she didn't back up it was just her opinion. The statements about how the Chinese mothers raise their children are not agreeable or realistic. In all the authors article was valid and had some great points.

She was my mother,” (31).  Jing-Mei says this to her aunts after her mother had died, and she had to take your position in joy luck.  She felt like she never really knew her mother because of their miscommunication.  Suyuan Woo, Jing-Mei’s mother, had many hopes and good intentions for her daughter. While Jing-Mei wanted to be herself and still please her mother, Suyuan wanted her daughter to be a child prodigy. Always wanting the best for her daughter, Suyuan hoped Jing-Mei would one day become an extraordinary pianist.  Although Jing-Mei played the piano, she never put forth much effort into the music because her best was not good enough for her mother.  Nonetheless, she stopped playing the piano.  “I could only be me,” (154).  She could not be something that she was not; she could not live up to her mother’s expectations.  This symbolized one of Jing-Mei’s songs, “Pleading Child.”  Suyuan continues to put all the pressure on Jing-Mei so that she will not become like her mother for all the reasons she had come to America; hopes for a better life.

Amy Tan’s The Joy Luck Club is a well-known novel that discusses the difficulties that Chinese American immigrants face especially in the second generation. This novel specifically focuses in on the stories of the mothers and their daughters, their sufferings and triumphs. Due to both the generational and cultural differences between the mothers and daughters are extreme and these differences cause their relationship to be strained. I think that one of the critical themes from the book comes from Jing-mei’s chapter. “Only two kinds of daughters. . . those who are obedient and those who follow their own mind!”(Tan 1989 142)

Furthermore, Jing-mei discovers, “Old Chong’s eyes were too slow to keep up with wrong notes [she] was playing,”(472). As a result, Jing-mei performs “Pleading Child” miserably at the talent show her parents and all of the members of the Joy Luck Club attended. Jing-mei saw the disapproval and shame on her mother’s face, and decided to stop practicing piano. If Jing-mei’s mother wouldn’t have looked so disappointed and been proud of her daughter Jing-mei wouldn’t have been so discouraged. Jing-mei would’ve still had faith in herself like she did before her performance. “When my turn came, I was very confident. I remember my childish excitement. It was as if I knew, without a doubt, that the prodigy side of me really did exist. I had no fear whatsoever, no nervousness. This is it!” (474). After seeing the dismay in her parents eyes Jing-mei changed her whole outlook on the situation, which weakened Jing-mei’s pride, causing her to fully rebel from being a prodigy. Furthermore, encouraging her to be who she wanted to be.

Couple go through a discussion on how they should raise their children. Parenting style in countries such as China, Japan, and Korea have different views than Western’s parenting style in the United States. In recent years, a term Tiger Mother has brought an idea that these mothers have a strict parenting philosophy that incorporates firm parental control and high standards for excellence (Chua, 2011). Parents everywhere agree that raising a child is a complex and daunting task, in which, parents have encompassed both their beliefs and practiced into their own parenting style. Both stories, Mother Inferior was written by Hanna Rosin and Why Chinese Mothers are Superior was written by Amy Chua, explore the different parenting styles and methods. Mother Inferior focuses on allowing children to freely express themselves, while Why Chinese Mothers are Superior

Jing-Mei feels differently though, “Unlike my mother, I did not believe I could be anything I wanted to. I could only be me,” (359/80) and she was correct for she had no natural musical talent. Jing-Mei has a desire to please her mother, but an even stronger one to choose her own life. She pacifies her mother by going to piano lessons but puts in no effort. Jing-Mei is “…determined to put a stop to her blind foolishness,” (356/48) but her mother’s desire to create a prodigy to compete with Aunt Lindo’s daughter, keeps her focused on the impossible. That is, until Jing-Mei escalates this conflict to its breaking point in rebellion. Stunning her mother, she shouts “Then I wish I’d never been born! I wish I were dead! Like them,” (359/77) referring to the twin daughters her mother lost in China. Sadly, the mother’s desire to have Jing-Mei conform to her expectations creates a constant battle between mother and daughter, and, in rejecting those expectations, seeing disappointment in her mother’s face all too often causes Jing-Mei to feel, “something inside me began to die” (353/18).

Chua’s daughter, Lulu, felt like she was always being criticized by her mother when playing the violin.

In The Joy Luck Club by Amy Tan, Jing-Mei and her mother have a very rocky relationship. Tan develops a relationship between Suyuan and Jing-Mei that is distant in the beginning due to culture differences and miscommunication, but gradually strengthens with time and understanding. Both of them have different backgrounds and have been influenced by two different cultures. Suyuan grew up in China and behaves according to the Chinese culture and her American-born daughter Jing-Mei is influenced by the American culture that surrounds her and wants to become part of it.  Their relationship is also shaped by the pressure Suyuan puts on Jing-Mei. She wants her to be a perfect

   In Amy Tan's novel, Joy Luck Club, the mother of Jing-mei recognizes only two kinds of daughters: those that are obedient and those that follow their own mind. Perhaps the reader of this novel may recognize only two types of mothers: pushy mothers and patient mothers.  The two songs, "Pleading Child" and "Perfectly Contented," which the daughter plays, reinforce the underlying tension in the novel. These songs represent the feelings that the daughter, Jing-mei, has had throughout her life.

At the end of the story, Jing Mei switches her narration from that of a child to that of the adult allowing the reader to see the "adult" perspective on her life. No longer is the relationship between Jing Mei and her mother antagonistic. With the offering of the piano, the mother tells her, "You have natural talent. You could have been genius if you want to" (Tan 1). Jing Mei states that she couldn’t. Then her mother states, "You just not trying" (Tan 1). Her mother bore her no anger or sadness when she made these statements and Jing Mei gave no argument in return.

In addition to setting, the author uses symbols to strengthen the theme of the story. In the story, the mother buys Jing-mei a piano on which to practice. The mother and Jing-mei have different perspectives on what this symbol means. To Jing-mei, the piano symbolizes her mother trying to change her into something other than herself; however, the piano symbolizes the American dream to her mother. Eventually as Jing-mei ages, she could see her mother’s idea on what the piano means and learns to appreciate the piano. When Jing-mei is a woman, “[she] realized that [“Pleading Child” and “Perfectly Contended”] were two halves of the same song” (Tan 9). As Critic Cynthia Becerra states, “the self-realization completes this rich vignette, it is not without pain and loss.(Becerra)” This realization shows how she learns that her mother only has high aspirations for her. The symbolical piano helps the theme by showing the contrasting views between the mother and the daughter in their relationship.

Both stories Battle Hymn of the Tiger from the excerpt The Violin, and The Joy Luck Club from the excerpt Jing Mei Woo Two Kinds, are both about mother daughter relationships. The Violin is from Amy Chua’s point of view as a mother, while Jing Mei Woo Two Kinds is from a daughter’s point of view. Both stories are about two daughters who are practicing an instrument, while their mother’s lecture them. Although the relationship with Chau and her daughter, Lulu is very stressful, the relationship with Tan and her mother is far worse.