Joy Luck Club Mother Daughter Relationships

Jing-mei did not want to have anything to do with her mother's plans for her to become a child prodigy, but goes along because she can't quite say no to her mother yet.

I pictured this prodigy part of me as many different images, and I tried each one on for size” (Tan 405). However as the time passes by, the mother’s tests driven by a lack of empathy begins to suffocate and stunt the search for the self within Jing-mei. She recalls, “And after seeing, once again, my mother's disappointed face, something inside me began to die” (Tan 406). As her search for the self is suffocated to its threshold, Jing-mei stands in front of the mirror. Here her search for the self is completely buried and replaced with mantras, “filled with lots of wont’s. I won't let her change me… I won't be what I'm not” (Tan 406).

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.

Furthermore, the author explores the tone of the novel by providing specific details. In An-mei's childhood story, the author chooses to describe the pain An-mei feels as the soup pours over her by providing details of the twinge. She describes it as "the kind of pain [specially] terrible that a little child should never remember it" and how it still remains "in [An-mei's] skin's memory" (Tan 39). By depicting these details of the pain, Tan expresses the feeling of misery An-mei feels, which appends to the melancholy tone. Additionally, in the story of Ying-ying's first marriage, the author presents explicit details of the emptiness Ying-ying feels by portraying details of her as "a tiger that neither pounce[s] nor lay[s] waiting between the trees" and "an unseen spirit" (Tan 285). This emptiness Ying-ying feels seems to indicate the melancholy tone that appears noticeable in the novel. Clearly, the details Amy Tan chooses to describe in the novel seem to specify the somber tone.

Ying-Ying became passive and lifeless after her second son died. She kept the fact that she felt responsible for her second sons death a secret from her husband and daughter, Lena. As shown in this example, Ying-Ying had Chinese cultural values in an American society. This produces the conflict between cultures. Ying-Ying becomes so passive that she lets her husband make all of her decisions for her.

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.

In contrast, during the era of The Story Yingying, the cultural norm for a woman was to be submissive, patient, and passive. Yingying upheld all of these cultural standards. After meeting Zhang for the first time Yingying showed no interest in him at all but overtime Yingying finally gave into Zhang and fell in love and they became engaged. Unfortunately, Zhang had to leave for a year to go take a civil service examination, but he promised her he would come back to her. She waited patiently and after a year, her fiancé returned but shortly after had to leave again to retake the examination. Again she waited patiently for his return, but he never came back. After waiting for years for her fiancé to return, she became eager to

Characterization is a widely-used literary tool in Amy Tan’s The Joy Luck Club. Specifically, each mother and daughter is a round character that undergoes change throughout the novel. Characterization is important in the novel because it directly supports the central theme of the mother-daughter relationship, which was relevant in Tan’s life. Tan grew up with an immigrant mother, and Tan expresses the difficulties in communication and culture in the stories in her book. All mothers in the book are immigrants to America, and all daughters grew up living the American lifestyle, creating conflict between the mothers and daughters due to miscommunication. Characterization of the mothers and daughters in Amy Tan’s The Joy Club creates and

In the chapter “Waiting Between the Trees” Ying-ying’s past in China that she has kept from her daughter is revealed. When she was young she believed that she was too good for any man, however eventually she realized she had to settle and married an indecent man, despite her being extremely vain. She had given up herself for this man, only for him to

A mother and daughter relationship can be either good or bad, but it’s definitely interesting. People say this kind of bond is unbreakable because of what they shared during pregnancy and birth, but others say this bond doesn’t last for long or maybe never really grew. In this short story “A Pair of Tickets” and poem “Hanging Fire” show a difference in each relationship.

The Joy Luck Club is a novel by Amy Tan which tells the individual, cohesive stories of Chinese American daughters and their Chinese mothers. In each story, the cultural differences between mother and daughter acts as a wedge between them. The conflicting cultures of descent and consent causes a conflict between mother and daughter; although they ultimately want to have a relationship with each other, the differences in values make coming together harder. For the mothers, their expectations for their daughters are high, while the daughters are trying to understand how China fits into their American lives. This conflict between values perpetuates until there is an acceptance of each way of life.

As a result of Jing-mei having no self confidence, this causes the relationship between Jing-mei and her mother to be destroyed. After Jing-mei tells her mother, “‘Then I wish I’d never been born!” “I wish I were dead! Like them.” Jing-mei describes her mother’s reaction as, “and her face went blank, her mouth closed, her arms went slack, and she backed out the room, stunned, as if she were blowing away like a small brown leaf, thin, brittle, lifeless” (Tan 231). After saying the one thing that hurt Jing-mei’s mother the most, their relationship changed forever. As Jing-mei ages she realized that her mother was right about her natural talent all along. “And after that, every time I saw it in my parents’ living room, standing in front of the bay windows, it made me feel proud, as if it were a shiny trophy I had won back” (Tan 233). Even though Jing-mei says the one thing that hurts her mother the most, the love and confidence for her daughter was never lost. However, once Jing-mei comes to the realization that her mother was right, it is too

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).

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

The book and the movie, The Joy Luck Club, written by Amy Tan and directed by Wayne Wang, use An-mei’s relationship with her mother and daughter to portray how women break cultural rules to gain power - resulting in the end of a destructive cycle of oppression by the Chinese patriarchy.