Summary Of Two Kinds By Amy Tan

Our second character is Jing-Mei. Jing- Mei lives with both her mother and father. Her mother wants her to be a child prodigy, "a Chinese Shirley

Under the influence of different cultures, different identities are formed. Jing-Mei Woo (June), similar to Waverly, also lives in between two worlds. June, since young, is accustomed to two sets of culture and beliefs. Jing-Mei’s mother has lost everything when she comes to the United States, and she has all her hopes on her daughter, therefore she wants to train her daughter to be a genius. As the mother presses all the homeworks on June, June loses heart and cries “I won’t let her change me, I promised myself. I won’t be what I’m not” . By crying and shouting out loud, June wants to declare her self identity, which ultimately reflects on the American individualism, which is one of the most integral parts of the U.S. value. Being raised in

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.

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.

Even the hotel she stays in looks like "a grander version of the Hyatt Regency" and the Chinese feast she had envisioned was replaced by "hamburgers, french fries, and apple a la mode." It is not until she finally meets her twin sisters, in modern Shanghai, that she realizes that she is Chinese because of "blood" and not face or place. Within this story, however, is her mother's story, set in another time and place. Fleeing from the Japanese invasion, during World War Two in 1944, Jing-Mei's mother is forced to abandon her twin daughters on the road between Kweilin and Chungking. Upon hearing her mother's story Jing-Mei Woo is able to understand a great deal more about her mother and their relationship, as well as her own past.

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.

When she looked herself in the mirror (pg 407) she saw just an ordinary face and began to cry. She then saw what seemed to be the prodigy side of her self. She saw an angry powerful girl that only wanted to use that energy to resist her mother hopes for her. Through out the story Jing Mei seems to be a complicated character having many inner and outer conflicts. The mother comes across as being controlling and constant on push her daughter to become famous.

When Jing Mei recognizes the similarities between her mother and herself she begins to understand not only her mother but herself as well. There are subtle connections and likenesses from the beginning between Jing Mei and her mother that Jing Mei does not see. The book commences with Jing Mei taking her mother's place at the mah jong table, creating a similarity between them from the beginning. Suyuan dies two months before the start of the book, and therefore is not able to tell the stories. Jing Mei has learned and must tell her stories in her place, forming another parallelism between mother and daughter. Because Suyuan is dead, Jing Mei must act in place of her mother when she goes to meet her Chinese sisters in China. Throughout the book Jing Mei takes the place of Suyuan, showing she and her mother

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).

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,

Some may see the mother trying to live her life through her daughter. She invests time trying to make her daughter a prodigy because she was her last hope. The mother lost two children in China and moves to a new country. Coming to America, she felt that immigrants have to prove that they are as talented as or more talented than Americans. This belief is supposed to be the basis for the determination, that the mother has, for Jing-mei to become a prodigy.

Jing-mei’s rebellion against her mother is about how her mother wants her to be famous and successful. She is forcing her thoughts on Jing-mei, which Jing-mei doesn’t like nor she wants to follow her mother’s order. She believes her mother is wanting her to be what she is not, a genius, and she feels like she cannot live up to her mother’s orders, “You want me to be someone that I’m not! I sobbed. I’ll never be the kind of daughter you want me to be!’(1128)”.

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.

However years later, she was grown up enough to understand and realize her mother's love for her. In the last sentence of story, she wrote ,“[a]nd after I played them both a few times, I realized they were two halves of the same song” (105) Jing-Mei understood and rediscovered why her mother gave pressure on her.

The daughter is bored with her mother's dreams and lets her pride take over. She often questions her self-worth, and she decides that she respects herself as nothing more than the normal girl that she is and always will be. Her mother is trying to mold her into something that she can never be, she believes, and only by her futile attempts to rebel can she hold on to the respect that she has for herself. The daughter is motivated only to fail so that she may continue on her quest to be normal. Her only motivation for success derives from her own vanity; although she cannot admit it to herself or her mother, she wants the audience to see her as that something that she is not, that same something that her mother hopes she could be.