The Joy Luck Club Cultural Analysis

 In the Joy Luck Club, the author Amy Tan, focuses on mother-daughter relationships. She examines the lives of four women who emigrated from China, and the lives of four of their American-born daughters. The mothers: Suyuan Woo, An-Mei Hsu, Lindo Jong, and Ying-Ying St. Clair had all experienced some life-changing horror before coming to America, and this has forever tainted their perspective on how they want their children raised. The four daughters: Waverly, Lena, Rose, and Jing-Mei are all Americans. Even though they absorb some of the traditions of Chinese culture they are raised in America and American ideals and values.  This inability to communicate and the clash

Jing-Mei’s fear of having neglected her customs in her adult life serves as a reflection of the other daughters’ fears, and is quite similar to the mothers’ who are in wonder if they have traded the value of their tradition to their daughters with the American opportunities they wanted them to have.

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

[She] had been waiting for her to start shouting, so that [she] could shout back and cry and blame her for all my misery" (Tan 4). This pent up anger of Jing-mei illustrates how her mother’s high expectations for her to fit within the role of a Chinese American woman was damaging to her character. However, as the story progresses, Jing-mei begins to understand her mother's intentions and the cultural context behind her aspirations. Their relationship evolves as Jing-mei gains insight into her mother's sacrifices and the pressures she faced as a Chinese immigrant navigating American society. This journey of mutual understanding and reconciliation underscores the complexity of familial relationships and the transformative power of empathy and communication.

The article, the book, and I, talk about how daughters feel their mothers don’t know them and that they don’t know their mothers. They talk about how a daughter listens to her mother, but there is a certain point in a young woman 's mind where they decide they want to see and explore new ideas. In conclusion, they all talk about the point in a daughter 's life where she and her mother don’t get along very well and the daughter tries to take charge of her life.

Their roles as women in China were also very different than their daughters’ roles as women in America. They were taught to be obedient and to listen to and respect their parents and their husbands. They do not understand why their daughters would want to disobey them, and their daughters do not understand why their mothers expect so much of them. What Jing-Mei doesn’t understand is that her mother just wants the best for her because she loves and cares about her. For example, when Jing-Mei Woo says that she will never be the kind of daughter that her mother, Suyaun wants her to be, her mother replies "Only two kinds of daughters…Those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter!" (pg. 153). Suyaun is frustrated because she would have never acted the way Jing-Mei is acting, towards her own mother. Women in China could never act disobedient towards anyone, or else they would be disowned.

An-mei and Rose have similar character development in that Rose’s character development aided her relationship with An-mei. In “Scar” and “Magpies,” An-mei reveals how she was taught to desire nothing and swallow her tears. Because of her experience with a deceptive, multi-wife household and her mother’s suicide, An-mei taught Rose the opposite of this Chinese way. However, An-mei realizes that Rose came out the same way regardless of her teachings (page 215). An-mei tells Rose that Rose was born without wood and would bend to listen to other people if she was not careful (page 191). Rose grows up believing everything her mother says and is prone to nightmares led by Mr. Chou. In Rose’s failed marriage, she does not make any decisions and just lets things happen. Rose finally takes a look at

The courage that An-Mei learns and is formed by ultimately affects her daughter, Rose. An-Mei states, “Even though I taught my daughter the opposite, still she came out the same way!” (241) when she is talking about her own upbringing, as she was raised to “desire nothing, to swallow people’s misery, to eat [her] own bitterness.” (241) This shows that despite her courage, she still passed on her passiveness to her daughter. However, it is also seen that like her mother, Rose has two instances of incredible courage that parallel her mother’s. The first is when she dates and eventually marries Ted despite her mother and mother-in-law’s opposition; “In those early months, we clung to each other with a rather silly desperation, because, in spite of anything

Early in childhood Jing Mei dreamed of finding her prodigy and being a famous Chinese American, mostly because of the views and actions her mother placed on her. Her mother believed you could be anything you wanted to be in America. (pg 405) Her mother was always pushing new tests and talents on Jing Mei. She even went as far as having her daughter Jing Mei models her physical appearance and actions after a child-star Shirley Temple. Her other was always testing her with many different things trying to discover Jing Mei’s talent. Later Jing Mei started to feel like her mother was just trying to make her into someone she was not and started to just fail and not try to do anything right hoping her mother would give up. When her mother died she had realized what her mother had been trying to do. Her mother had only wanted her to do her best. She had then to realize what her mother had

Tensions rise between mother and daughter when they both realize that Jing-Mei will never be the prodigy her mother envisioned. It is only after her mother’s death that

Throughout The Joy Luck Club Amy Tan inserts various conflicts betweens mothers and daughters. Most of these relationships, already very fragile, become distanced through heritage, history and expectations. These differences cause reoccurring clashes between two specific mother-daughter bonds. The first relationship exists between Waverly Jong and her mother, Lindo. Lindo tries to instill Chinese qualities in her daughter while Waverly refuses to recognize her heritage and concentrates on American culture. The second bond is that of Jing-Mei Woo and her mother, Suyuan. In the beginning of the book Jing-Mei speaks of confusion in her recently deceased mother's actions. The language and cultural barrier presented between Jing-Mei and Suyuan

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

It is hard to let our children to choose their own dreams. When parents show constant disappointment in their children, children can eventually become disappointed in themselves. Seeing her mothers disappointment over and over again starts killing something inside of her. Jing Mei breaks down, “I looked at my reflection, blinking so I could see more clearly. The girls staring back at me was angry, powerful. This girl and I were the same. I had thoughts, willful thoughts, or rather thoughts filled with wont’s. I won’t let her change me, I promised myself. I won’t be what I’m not“ (19). Hopes for making your parents proud can shatter after so much pressure as did Jing Mei’s.

Jing-mei’s inability to connect with her mother arises from her upbringing. Mrs. Woo pushed Jing-mei to extremes with her parenting and failed to realize the lasting trauma it had on her daughter. Jing-mei as a fragile child wants nothing more than for her “mother and father [to] adore [her]” (233). The developing girl is looking for acceptance through her parents, but Mrs. Woo does not understand the positive reinforcement required in those early stages of development. Instead

Another aspect of cultural conflict is that humility and obedient are considered as the traditional virtues of the Chinese culture. Children should unconditionally obey their parents because parents have the ability and willingness to teach and control their children. For example, according to Jing-mei’s mother, Jing-mei has to practice piano assiduously. She would not be punished if she devotes all her effort to playing piano. We can clearly see this point in her mother’s word in the quarrel, “Only two kinds of daughters, those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter” (461). But Jing-mei cannot understand this, because she is not familiar to Chinese culture. As a consequence of Jing-mei cannot understand her mother, she does not cooperate and has rebellious attitude against her mother. In the story, Jing-mei decided, “I didn’t have to do what my mother said anymore. I wasn’t her slave. This wasn’t China. I had listened to her before and look what happened. She was the stupid one” (460). As described above, Jing-mei cannot understand the humility and obedient of Chinese culture, even they are recognized as the