The Jade Peony by Wayson Choy

The children are unnoticed by others and the mother is the only one that is protecting them. This poem shows the hard times that the mother must face because her children have died. However the mother is coping with them while still protecting her children after they have died, This is the mother's way of coping because she is not yet ready to let go of her children and still wants to care for them. This poem shows this through nature by portraying the mother as a bird who is protecting her nest. Also the poem uses nature by describing the harsh times as a winter wind that has caused harm to the mother and her children.

The first passage reveals the parallel suffering occurring in the lives of different members of the family, which emphasizes the echoes between the sufferings of the father and the narrator. The narrator’s father’s despair over having watched

In the third stanza, the narrator is remembering some details like the broken knuckle of his father (line 10), and that his ear was scraping on his father's belt buckle (line 12). As well in the fourth stanza, the narrator mentions the dirt caked on his father's hand (line 14). These images of the son imply a hard working father who had just come home from the plant and was spending time with his little son before putting him to bed. These images also support my point of view that the author still has pleasant memories of the event, which would not be the case if there was abuse,

The contrast between the son’s first words with his father and his later conversation emphasizes how rapidly he is growing up. At first, the son lovingly exclaims, “not the same story baba, a new one”. However, towards the end, the son’s affectionate speech turns angry, as he shouts,“are you a god, the man that screams?”

At the end of the story, Lae Choo is finally granted the paperwork to collect her son after ten harrowing months. However, her expectations of a perfect reunion would soon be crushed. As the caretaker walks Lae Choo to Kim, she discusses his behaviors at the mission nursery school. She mentioned how difficult he was to manage at first, but how “’children so soon forget, and after a month he seemed quite at home and played around as bright and happy as a bird’” (Far 1727). With this change of behavior, Far draws a parallel between Kim and the American rejection of Chinese culture. His difficult behavior when he arrived at the mission nursery could be seen as his retainment of Chinese culture. However, at the end, he is happy and is compared to a bright and

mother’s death I can remember everyone who was in the stands that day...” This reference to the narrator’s vivid memory and the detailed depiction of the event shows the gravity of the situation and allows the reader to fully grasp the impact that the accident had on both the protagonist and the narrator. This act of bizarre violence is used masterfully in the author’s recount of his life. It shows how hard it is for a young boy to lose the only parent he ever knew and it also shows how hard it is for a child to be implicated in an event where someone close to the child has been unintentionally killed.

“A Sorrowful Woman” features a superficially simple narration style. “Now the days were too short. She was always busy,” Stylistically clipped, with a clear passive, detached, voice the narration style seems to be a banal, unimportant feature of the text. Yet the exact mendacity that prompts this description actually serves as a prerequisite to developing an understanding for the principal character’s mindset, and consequently the theme of the text. The last passage contains numerous examples of detached narration but the clearest occurs when “She was always busy. She woke with the first bird. Worked till the sun set. No time for hair brushing. Her fingers raced the hours.” The concise, third person narration in this segment allows the reader to experience the slightly off viewpoint of ‘the mother.’ Specifically, given the lack of motivation present through the text coupled with the concluding suicide it becomes evident in the text that ‘the mother’ is suffering from depression. Given the societal stigma surrounding mental illness authors generally face an uphill

The narrator was writhing in the misery of the burden of brotherly love. The narrator’s mother, via tasking him with looking after Sonny, asked him to serve as his sibling’s keeper and protector. The narrator was riddled with grief throughout his life right from the burden of brotherly love that was placed upon his shoulder, to the dilapidated living conditions he and Sonny had to endure while shaking up in the projects, to the imprisonment of his younger brother and the death of his own daughter-

Since “Annabel Lee” and “The Highwayman” are both narrative poems, the speakers of each story influence certain features of the plots. The narrator of “Annabel Lee” is also the affected lover who is recalling the catastrophic incident that is his lover’s death. Since he is actually a part of the storyline, he conveys the plot the way he had experienced it as it began “with a love that was more than love” but progressed onward to the “killing [of his] Annabel Lee”. The passionate narrating establishes his reliability as a narrator as the audience can truly sense his pain. However, the narrator of “The Highwayman” is not involved with any aspect of the storyline and, therefore, tells the story from a bystander point of view. Even though the narrator is not directly impacted by the events, they are still able to captivate the audience by utilizing lifelike elements, such as the “tlot-tlot; tlot-tlot” of the horse, to institute their trustworthiness as a narrator. Therefore, both narrators within “Annabel Lee” and “The Highwayman” add different elements of persuasion to their narratives to establish an authentic storyline.

Since “Annabel Lee” and “The Highwayman” are both narrative poems, the speakers of each story influence certain features of the plots. The narrator of “Annabel Lee” is also the affected lover who is recalling the catastrophic incident that is his lover’s death. Since he is actually a part of the storyline, he conveys the plot the way he had experienced it as it began “with a love that was more than love” but progressed onward to the “killing [of his] Annabel Lee”. The passionate narrating establishes his reliability as a narrator as the audience can truly sense his pain for the loss of his lover. However, the narrator of “The Highwayman” is not involved with any aspect of the storyline and, therefore, tells the story from a bystander’s point of view. Even though the narrator is not directly impacted by the events, they are still able to captivate the audience by utilizing lifelike elements, such as the “tlot-tlot; tlot-tlot” of the horse, to institute their trustworthiness as a narrator. Therefore, both narrators within “Annabel Lee” and “The Highwayman” add different elements of persuasion to their narratives to establish an authentic storyline.

The narrator is totally crushed by the gender discrimination. She longed to be seen by her mother and her grandma. The narrator is heartbroken that her mother loved her brother more than her and failed to notice her. “When she went into Nonso’s room to say good night, she always came out laughing that laugh. Most times, you pressed your palms to your ears to keep the sound out, and kept your palms pressed to your ears, even when she came into your room to say Good night, darling, sleep well. She never left your room with that laugh” (190). Her agony can be easily seen by the way of her narrating. She does not get the affection that she deserves. She really needs the affection from her own mother, but she is not getting it. She compares the love which her mother shows to his brother and herself. This is gender discrimination can be seen with her grandmother too. She hated her grandma as she would always support her brother and find fault with her. Even though what the brother did, no matter what crime. Her mother and grandmother always supported her brother and never supported or showed interest towards

This highlights the realistic atmosphere prevailing as well as reflects the true meaning of relationship. The readers are exposed to the mother-son relationship. It can be seen that even if the narrator is a twenty-year old law student, he is still the little boy who needed his neck scrubbed from the point of view of the mother. Whatever good advice the son gives, it is not followed and instead he is given a lecture. This is a typical mother-son relationship which shows that no matter how much a child grows, he always remains a little kid for the mother. Moreover, the readers also notice the routine life of the narrator and his mother. The boy used to accompany his mother to work and help her which makes a four-hour job becomes two. There is solidarity, strong family bond and understanding between them because although he did not like his mother

The author tries to convey this message mainly through writing this piece in first person while using the literary style of stream of consciousness. Periodically throughout the piece, the author shows his

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.

The child contemplates the river’s flow as he/she personifies the body of water using the sound imagery of laughing and singing (Tanikawa ll. 2, 5). The mother’s response that the sun and the skylark influence the river by tickling and praising recreates the idea of the innocence and happiness that radiates from children generally when they are in a safe community environment, one that is mediated by the mother. The imagery indicates a mother’s impact on her children and their actions. Her actions show well-deserved respect and love for her child because she does her best to keep them happy and light-hearted, sending them into a community where they are tickled by the sun, praised by the skylark, and “loved by snow” (Tanikawa ll. 3, 6, 9). When he/she is scared or needs help, children reflect to happy thoughts, like “being once loved” (Tanikawa l. 9). Finally, a mother’s love can be seen through an emotional/visual form of imagery, where “the mother sea / is waiting for the river to come home,” emphasized not only by the words but by the weight of the extra line in the final stanza (Tanikawa ll. 15-16). A mother demonstrates sheer love for her children by always waiting for them to come home, ensuring that they are safe, and becoming a shelter in which they can finally rest. Tanikawa re-enforces value of the mother-child relationship in showing it as the final resting place of the river/child winding its way