Bonds Between Mothers and Daughters in Amy Tan’s Joy Luck Club

   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.

The Joy Luck Club is the first novel by Amy Tan, published in 1989. The Joy Luck Club is about a group of Chinese women that share family stories while they play Mahjong. When the founder of the club, Suyuan Woo, died, her daughter June replaced her place in the meetings. In her first meeting, she finds out that her lost twin sisters were alive in China. Before the death of Suyuan, the other members of the club located the address of June’s half-sisters. After that, they send June to tell her half-sisters about her mother’s life. In our lives there are events, and situations that mark our existence and somehow determine our life. In this novel, it shows how four mothers and their daughters were impacted by their tradition and beliefs. In the traditional Asian family, parents define the law and the children are expected to follow their requests and demands; respect for one’s parents and elders is critically important. Traditions are very important because they allow us to remember the beliefs that marked a whole culture.

    Of the many stories involving the many characters of "The Joy Luck Club", I believe the central theme connecting them all is the inability of the mothers and their daughters to communicate effectively.

The Joy Luck Club is Amy Tan's first novel. It consists of four sections with sixteen short stories. One of the main issues of the novel is the relationship between Chinese mothers and their Chinese – American daughters. ‘‘Your mother is in your bones.’’ (Tan 1998, 30) There is a cultural chasm between them because of the difference in the way they were brought up and different influences of the environment.

Suyuan rejects the women-repressive Chinese traditions when she tells her daughter that she "believed you could be anything you want to be in America" (Tan 141). Suyuan continually tells Jing Mei her "Kweilin story" as a child, the story of the origins of the Joy Luck Club as well as her mother's past hardships. Yet despite the importance of the story and the events constituting the story to Suyuan, Jing Mei "never thought [her] mother's Kweilin story was anything but a Chinese fairy tale" (Tan 12). The story would have the same meaning to Jing Mei as if she were being told the story of Sleeping Beauty, or some other American bedtime story.

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.

Traditions, heritage and culture are three of the most important aspects of Chinese culture. Passed down from mother to daughter, these traditions are expected to carry on for years to come. In Amy Tan’s The Joy Luck Club, daughters Waverly, Lena, Rose and June thoughts about their culture are congested by Americanization while on their quests towards self-actualization. Each daughter struggles to find balance between Chinese heritage and American values through marriage and professional careers.

 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

Communication between generations has always been an issue and with that, a misunderstanding of the past and culture comes along. In Amy Tan’s novel The Joy Luck Club, she shows the stories of four Chinese mothers and their American born daughters. Throughout the novel, the characters encounter both external and internal conflicts in order to contrast the different relationships held by the mothers and daughters with their past and where they came from. The mother-daughter pair of Lindo and Waverly Jong shows the gap between the generations very clearly. Everything is different, from language to name to marriage.

This is what Suyuan believed and lived by, whereas Jing-mei believed that she is an independent individual and is capable of making her own choices. Consequently, Jing-mei believed her mother was simply trying to push Jing-mei into someone she was not, and could never be.

However, once Jing-mei stepped off the plane and saw her sisters, she was able to embrace them with "all hesitations and expectations forgotten"(331). The rapport between Jing-mei and her sisters demonstrates the capability of Jing-mei to forget her fears and have faith that she can do anything. Both Suyuan and Jing-mei worked through their problems by remaining strong and willful, making their lives much easier in the end.

    The commonly known phrase “like mother, like daughter” holds very true with all the pairs of mothers and daughters in The Joy Luck Club.  Rose posses important characteristics that were passed on by her mother, An-mei.  Uniquely with this couple, the trait can also be traced back to An-mei’s mother.  All three of these women have difficulty

Also, their relationship is shaped by the pressure Suyuan puts on her daughter. When Jing-Mei was growing up, her mother had the need for her daughter to be smart, talented, and a respectful Chinese daughter. This pressure put on Jing-Mei resulted in misunderstanding between mother and daughter. Jing-Mei constantly believed, “that she was disappointing her mother,” because she felt as if she failed at everything her mother wanted her to do. She believed she could never be as perfect as her mother was. Therefore she doesn’t think she is worthy enough to take her mother’s place at the Joy Luck Club “They must wonder now how someone like me can take my mother’s place” (Tan, 27). Jing-Mei does not understand that her mother wanted the best for her; Suyuan wanted Jing-Mei to challenge herself because that is how one builds up character. Suyuan thinks her daughter could do anything she proposed to do but never put enough effort into anything “Lazy to rise to expectations” (Tan 31). Furthermore, Suyuan forced Jing-Mei to learn how to play the piano and then perform at a recital. Jing-Mei rebelled against her mother and refused to learn how to play the piano well. So, at the recital she ends up forgetting the music notes. Jing-Mei blames her embarrassment on her mother and states,

As she recalls back on this time by telling her daughter what she calls her Kweilin story, Suyuan describes her feeling during this horrible time as “And inside I was no longer hungry for the cabbage or the turnips of the hanging rock garden. I could only see the dripping bowels of an ancient hill that might collapse on top of me. Can you imagine how it is, to want to be neither inside nor outside, to want to be nowhere and disappear?” (22) At this point in her life Suyuan was separated from her husband who is in the military and eventually is forced to abandon her two young daughters. This aspect of Suyuan’s life parallels the life of Amy Tan’s mother. Daisy tan was also married to a military man during the Chinese Civil War and like Suyuan was forced to abandon her two daughters in Shanghai. This was an experience that would affect her mother for the rest of her life and a story she would continue to tell and never forget. The life of Amy Tan is also a parallel to the life of Jing-Mei Woo of “June”. As a young girl June was forced to play the piano and practice constantly to become the best like Amy Tan was as a child. Along with playing the piano Suyuan also had high expectations for June as far as her future. She wanted her daughter to be the best in her class and go off to medical school to become a well educated doctor, the same expectation’s Amy Tan’s mother had for her. Both daughters decided to follow their dreams and

History, Culture and Identity of Mothers and Daughters in Amy Tan’s The Joy Luck Club