Kingston's Speech In No Name Woman

In “No Name Woman”, Maxine Kingston’s ancestral line serves as a life lesson, whereas in “In Search of Our Mothers’ Gardens”, Alice Walker inherits culture and hope. Kingston recounts the first time hearing of her aunt “who killed herself” due to the fact that she was pregnant, and “could not have been pregnant… because her husband had been gone for years”; the mom adds a reminder: “Don’t humiliate us. You wouldn’t like to be forgotten as if you were never born”. Kingston’s aunt disrespected the honor of her family and her village by her lack of faith to her husband, and creating another person dependent on the village for food, which is always scarce. Her ancestry and aunt serve as a lesson to always respect family and their well being, or risk being forgotten

In a world where showing a bit too much shoulder was forbidden, came Susan Glaspell. Glaspell was an American playwright, born in the cruel times of oppression. This influenced women’s opinions on certain subjects which caused them to be silenced by fear of rejection from society. “A Jury of Her Peers” was based on an era where women felt as though it was unreasonable to speak up if they felt it was not absolutely dire. Harboring these pent up feelings could cause a person to act antagonistic. Minnie Wright was an example of this. She killed her husband and was subjected to the judgement of her peers. As the group investigated Mr. Wright’s death, there were two stories unraveling. The in depth explanation that the women figured out and the simplistic version the men had seemed to pick up (Glaspell). People would benefit from reading this story to begin to understand the struggle of what this and other women had gone through. Penn Manor American Literature students would benefit from having Susan Glaspell’s story “A Jury of Her Peers” in their curriculum because of how she expressed feminism through her writing at a time when it was new and discouraged; her ability to emphasize the themes with her settings and characters; and her literature that follows a protagonist that navigates through a sexist world.

Furthermore, Kingston uses her aunt as a symbol or model of what the Chinese fear becoming. Paragraph 21 states “…the feelings playing about in one’s guts [must] not be turned into action,” which means the Chinese believe fantasies and sinful behavior must be suppressed instead of expressed. Kingston’s aunt broke this rule by digging a freckle out of her face, ripping stray hairs out of her head, and spending large amounts of time fixating on her looks in order to seduce a man as stated in paragraphs 26 and

”Wha’s the matter with me?’ she cried. ‘Ain’t I got a right to talk to nobody? Whatta they think I am, anyways?” (Steinbeck 87) In the novella Of Mice and Men by John Steinbeck, Curley’s wife is discriminated against because she is a woman living in the 1930s when few females could live economically independent of men. By choosing not to name her, Steinbeck reinforces her insignificance on the ranch and her dependence on Curley. While a misfortunate victim of isolation, Curley’s wife exerts unexpected power attempting to mask her pain.

Finally, the files of people who walked in a zigzag direction across their land, represents how they ruined and destroyed their crops and livestock during the raid. This quotation represents how Kingston used the occasion of when they disturbed her ancestor’s home to kill her aunt as an example of one of her aunt’s mistake. She uses this mistake as a reminder of the establishment of her good morals in America.

“I loved them both. The one I called auntie and the one I called uncle.”, Langston exclaims at the end of the story. Reminiscing on how important those two have been and always will be to him. At the dinner table the night before the revival, Mary notices something is the matter with Langston and inquires as to why his whole mood as changed. Why it is not the one he normally has, especially during dinner time. Langston fails to respond. As if he does not quite know the word choice in which he would use to explain to his aunt the cares and concerns he has. James responds, “He’s afraid of what you said. He’s afraid of being saved.” Mary Reed, distraught, replies to this theory by confronting Langston. “Is that right boy? I thought you were looking forward to it.”, she says with disappointment in her voice. Langston immediately tries to mend the situation, “I am auntie! It’s just…I…nothing.”. Bring himself to tell her the truth and how he felt, he could not. It can be inferred that Langston had the burden of possibly disappointing and letting down his aunt, someone he loved dearly. A burden he could not

Outside forces do not have any long-lasting influence on how someone perceives themself. This is a notion that some individuals may choose to believe. However, through the events of one story, we come to realize that the prior statement is false. The nameless protagonist of Boys and Girls (1964) showed that as people, we can be created as somebody other than ourselves at our core because we fall back on the opinions of people whose views we regard too highly. Canadian author Alice Munro’s short story displays how an individual’s identity and realization of self is molded by the prominent role adversity plays throughout the course of their life because the contrasting values and ideologies of those around them conflict with their own moral compass.

The Grandmother identifies herself as having the best values. She completely overdresses for the trip in a "navy straw hat and collars and cuffs, so that if there was an accident, people would know she was a lady" (368). The narrator points out that she looks down upon other people as well. In the beginning of the story, she criticizes the mother for "not taking the children to different parts of the world and being broad" (367), and tells John Wesley that he "should be more respectful of his native state and his parents" (368). Despite being so judgmental, the Grandmother never criticizes her own dishonesty, hypocrisy, and selfishness. When she criticizes John Wesley about the state, she calls a little black boy "a cute pickaninny" (368) in the same sentence. She later says that little black kids do not have things like they do and that "if she could paint, she would paint that picture" (368). The Grandmother paints this picture later with a romantic story of the good old days on the Southern plantations. Her definition of a good man is even flawed. The narrator says she would have married Edgar Teagarden because "he was a gentleman who bought Coca-Cola stock, making him a rich man" (369). In the end, when the Misfit is killing her family members one by one, she tells him to pray for himself. But she never once prays for her own family or begs the Misfit to spare them. She is even dramatic when she pulls a handkerchief out to fan herself and tells the Misfit "you wouldn't kill a lady would you" (373), effectively trying to save herself instead of her family.

In “No Name Woman,” the theme of silence starts with the elementary words of the memoir stating you must not tell anyone. This statement is ironic because Kingston is in fact telling everyone, giving voice to Chinese customs and the lives that are foregone. As written in her memoir, she states, “You must not tell anyone,” my mother said, “what I am about to tell you. In China your father had a sister who killed herself. She jumped into the family well. We say that your father has all brothers because it is as if she had never been born.” (Deshazer 308). It is especially notable and ironic that the memoir begins with the phrase “You must not tell anyone.” Her effort in No Name Woman is to write about that which is never said; her unnamed dead aunt, and the outrageous behaviors in her mother’s Chinese village. Kingston was not necessarily silenced direct by a male figure; however, the words said by her mother “You must not tell anyone” is a representation of Kingston father’s authorization voice through her mother’s explanation. Kingston’s effort is also about discovering a voice, as both a Chinese-American

The old man's response to his niece is similar to Sonny's response to his elder brother in that they detach themselves from them. The protagonists are misunderstood by their own family members and interestingly react the same way to this conflict.

In The Woman Warrior, Maxine Hong Kingston crafts a fictitious memoir of her girlhood among ghosts. The book’s classification as a memoir incited significant debate, and the authenticity of her representation of Chinese American culture was contested by Asian American scholars and authors. The Woman Warrior is ingenuitive in its manipulation of the autobiographical genre. Kingston integrates the value of storytelling in her memoir and relates it to dominant themes about silence, cultural authenticity, and the cultivation of identity. Throughout her work, Kingston reaches a variety of conclusions about the stories her mother told her by writing interpretations of her mother, Brave Orchid’s, “talk-story”. Brave Orchid’s talk-story is a form

In a novel set in 1920’s patriarchal society dominated by the obsession of wealth, power, chasing dreams and an enigmatic narrator, just how independent can a woman really be? This is the context for the characters in ‘The Great Gatsby’ where, in the aftershock of a world war, there is celebration and the incarnation of women left at home into ‘flappers’, but it is debatable how far they have really changed from traditional housewives. For Jordan this is an exciting transition but more traditional characters such as Tom cling to the past. When a threatening situation looms over them will they run and hide or confront the problem head on, the only way they know, as in ‘No Country for Old Men’? These contrasting reactions could be a result

The first talk-story told to Kingston by her mother deals with the suicide of one of her aunts, who remains nameless throughout the tale. After

An example of this notion is shown in Hope Leslie when Governor Winthrop, the landlord, reacts to Hope, the tenant, coming home late and refuses to reveal her reason why: “...Winthrop was not accustomed to have his inquisitorial rights resisted by those in his own household, and he was more struck than pleased by Hope’s moral courage” (184). Evidently, Winthrop’s reaction proves that women with “moral courage” are unladylike because moral courage is a manly trait. On the other hand, Esther Downing, another character in Hope Leslie, embodies the cult of true womanhood. Esther’s mere look at her love interest Everell is described as “a look of...pleased dependence, which is natural... and which men like to inspire, because --perhaps -- it seems to them an instinctive tribute to their natural superiority” (219). So, “Esther’s look … of dependence” confirms that the expectation that all women are supposed to have the same behavior, gestures and personality is meant to not only please men but to also hide their true form. Therefore, the cult of true womanhood presents an internal battle in female writers and Sedgwick presents this womanly struggle through the contrast between Hope and Esther. Society wants women to be quaint housewives but publishing a book defies the cult of true womanhood. Thus, defying the qualities rooted in the cult of true womanhood causes high risk of

In this story we have a lot of great characters to be drawn to. The narrator who is assumed to be Maxine Kingston talks about her Aunt that was never discussed about. The aunt who the author claims is haunting her because she states at the end "I am telling on her, and she was a spite suicide, drowning herself in the drinking water." (Kingston, 12). I'm going to focus on the crowd. The are a collective character that I'm drawn to. This is such an intense seen and the shame that is felt by the aunt seems to stem from what the collective will think about her and her baby. The family is dishonored by the aunt because of what the villagers may think. These are some raging villagers. The story almost comes across as to