Personal Note On Familial Values

In the book each of the Poh Poh’s are seen as old and wise but as well as have a deep sense of culture they are the heart of the home. Suk-Lung and Jung-Sum both had a relatively good relationship with their grandmother as they were cared for dearly”Suk-Lung and his illness. The concept of grandmother was seen throughout all three stories demonstrating their importance in Chinese culture as well as the characters lives.

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.

An-Mei spent her childhood without her mother. After her father passed, An-Mei’s mother became the third concubine to a rich man and was excommunicated from the family. An-mei proceeded to live with her uncle. That is, until her grandmother, Popo, began to die. An-Mei’s mother returned, and once Popo passed, An-Mei left to live with her mother. Her uncle called her “‘Swanle!’ -Finished!- ‘She is already changed’” (Tan 243). An-Mei living without her mother can be

Jook-Liang looks at the mirror and tries to think that she is Shirley Temple after Poh-Poh reprimands that she is useless and ugly. Conversely, she finds that she is not that beautiful as Shirley Temple and it makes her feel uncomfortable. Actually, Grandmother’s rebuke makes her realize her inadequacies. Because of point of view, the traditional Chinese thinking that a girl is useless deeply affects Jook-Liang’s thought about the people around her and herself.

Liang the family’s only daughter says, “Because of her age, the wiry ancient lady was the one person Father could never permit for any of us to defy” (Choy 147). Even though the Grandma in the novel was following her ancient rules and regulations the Father of the Family and the son of the grandma never, let his kids with any opportunity to disobey the olden ways. He did not stop them from trying to be modern but also wanted them to be aware of their background and their cultural values. In an article written by Citizen's Compendium it was said that the elder people in the family played an important role because they were considered as people who would guide the family, during their dark times. This article supports how the elderly people were given all the authority to order the family, the way they wanted to. Because the children knew the elderly had gained a lot of wisdom and experience in the past that they could drive the family in the right direction, during hard times, they were assumed to give full respect to them. The Chinese culture is very strict about the relationship expectation of the family. The first wife of a husband was irreplaceable. Even if the husband remarried, the second wife would not be treated with the same respect and honour as the first wife. In the novel, the elderly people were teaching the kids how Stepmother was an appropriate way to describe the second wife. “’ Stepmother’ was a ranking

In the novel, The Joy Luck Club, the author, Amy Tan, employs various rhetorical devices at numerous points in the story to achieve a specific purpose, whether the aim is to expand a character’s development, to further the evolution of the plot, or to suggest a certain theme to the reader. In particular, one of the most common rhetorical devices exploited by Tan throughout the story is perhaps the anecdote, which forces the reader to analyze the hidden significance of it as its contents are much longer and more elaborate than other rhetorical devices which typically consist of a mere sentence or two. Each anecdote in the book carries substantial importance and yet, it seems that the fact that there are so many of them in the novel does not undermine each one’s individual magnificence. The most poignant anecdote in the book may in fact be the story of An-Mei’s mother of how she lost herself and became a concubine-against her will-to a notorious mogul named Wu Tsing. An-Mei’s mother ultimately chooses to commit suicide in hopes that it will save her two children from the neglect and wrath of her husband, who initially cares very little about An-Mei and her family but is convinced by Chinese myth to improve their standards of living, “Seeing her this last time, I threw myself on her body. And she opened her eyes slowly… I shut her eyes with my fingers and told her with my heart: I can see the truth too… Because we both knew this: that on the third day after someone dies, the soul comes back to settle scores… He (Wu Tsing) promised her visiting ghost that he would raise

A family consists of a group of interacting individuals related by blood, marriage, cohabitation, or adoption who interdependently perform relevant functions by fulfilling expected roles. (Edelman, Kudzma, & Mandle, 2014, p. 150)

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

Jing-mei realized that she was an ordinary individual and that she would not let her mother’s expectations change that. She no longer believed that she “could be anything [she] wanted to be, [rather she] could only be [herself]” (Tan 44). In using a limited, first-person point of view, Tan is able to show Jing-mei’s emotional progress of following her mother’s dreams to finally realizing her own dream.

Our mothers have played very valuable roles in making us who a we are and what we have become of ourselves. They have been the shoulder we can lean on when there was no one else to turn to. They have been the ones we can count on when there was no one else. They have been the ones who love of us for who we are and forgive us when no one else wouldn’t. In Amy Tan’s “Two Kinds,” the character Jing-mei experiences being raised by a mother who has overwhelming expectations for her daughter, causes Jing-mei to struggle with who she wants to be. “Only two kind of daughters,” “Those who are obedient and those who follow their own mind!”(476). When a mother pushes her daughter to hard the daughter rebels, but realizes in the end that their mothers

between the first generation, American daughter and her immigrant mother. At this point of the

She considers that “some man had commanded her to lie with him and be his secret evil.” (Kingston 6). Kingston writes her initial version of the “No Name Woman,” who was raped, raided, and died an outcast, but Kingston determines that this telling does not fit her understanding of China. Therefore, Kingston entertains another hypothetical, that her aunt took a lover and saved him from shame by giving “silent birth” and not revealing the lover’s identity (Kingston 11). Here, Kingston critically examines the inherited talk-story of her mother to determine the meaning she should obtain from the death of her aunt. Her mother’s conclusion is that she must not become pregnant, but Kingston is uncertain about the simplicity of her mother’s story. In the “No Name Woman,” Kingston introduces the fictitious memoir structure that she utilizes through the variety of interpretations of her aunt’s story. Consistently through the memoir, Kingston writes contrasting accounts of the same stories and imagines the stories of others to further her themes about silence, authenticity, and identity formation.

In the collection of anecdotes, Record of the Listener, Hong Mai used his stories to reinforce the Chinese tradition of respect for one’s ancestors and to demonstrate the notion of favorable or unfavorable reactions to a person’s character. In Mai’s collection, unexplainable events are commonplace and are linked to a root cause in either a person’s character or to another deceased entity. In the tale of “The Wife of Xie Seven”, the daughter-in-law seals her fate by her lack of empathy towards her elderly mother, and the zealous Buddhist monk. As the daughter did not distribute the white rice adequately, her transformation into a cow was not described as being a terrible experience. The transformation is displayed in a way that it was a justifiable

Sex-role expectations were a very important issue in the relationship between An-Mei and her daughter. Throughout the mother's life, she was expected to

An-Mei tells her daughter that even though she did not grow to believe in the Chinese customs such as the wife being completely subservient to the husband and living to please those who are supposedly of higher rank her daughter seems to live under those principles. She encourages her daughter to move away from that system, because it denies her the happiness she shared with her husband. An-Mei and her daughter strayed from the codes of their heritage to find something that “works” for them and may become a new culture over time if it continues to “work”. This idea may be pertinent to women even more so, because many cultures have placed them as inferiors and if it does not “work” for them they should know that it is possible to find another way- their own