Woman Warrior Childhood Among Ghosts Character Analysis

Heros are fearless individuals who not only have stamina, but also thrive in adversity. In Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian, Alexie underscores how an Indigenous teen named Arnold ‘Junior’ Spirit undergoes various social and mental challenges as he struggles to fit into his community and new school. Through Junior’s courage, he is willing to make unusual choices that seem to have negative outcomes. Junior can also recover from conflicts quickly and is able to become stronger because he is resilient. In addition to resilience, Junior is he is motivated. Ultimately, Junior can be considered a hero because he has the courage, resilience, and motivation to allow him to overcome the obstacles. As a result of his heroism, he is able to benefit from the experiences.

Gene Luen Yang’s writing style in his graphic novel, American Born Chinese, demonstrate great technique of suspense and foreshadowing. Yang grew up with two parents who were an electrical engineer from Taiwan and a programmer who grew up in Hong Kong and Taiwan, both of whom emigrated to the United States. His experiences follow this book’s plot and his writing style follows exactly how he may have felt during that part of his life. His parents helped give him a strong work ethic and reinforced their Asian culture to make sure he was never ashamed of where he came from.

Jin Wang was born in America but is also Chinese. He faces some difficulties with racism and stereotypes as he grows up. He just moved to a new school from San Francisco. The teacher introduces him to the class and says,” Class, I'd like us all to give a warm Mayflower Elementary welcome to your new friend and Classmate Jin Wang...He and his family recently moved to our neighborhood all the way from China!”(30). Jin has this look on his face of annoyance. Like, did she actually say this. She is too ignorant to ask so she just assumed that since he is Chinese, that he must be from China. He was born in America. This just shows how ignorant people are about other cultures. It makes it even harder to fit in if people don't even care where you're from and just make assumptions. Jin now experiences this first hand. He tries so hard to fit in and be normal. He goes as far as changing his hair to match the guys hair that Amelia likes. When he isn't noticed as much he wants to become someone else, someone who will fit in. He wakes up in the morning a new person, as he has transformed into someone he is not, he thinks to himself,”A new face deserved a new name. I decided to call myself...Danny”(198). He changed his race he didn't like his heritage and cultures so much

As a child, Waverly didn’t enjoy following her mother’s rules and Chinese tradition. At that age she would’ve loved to get rid of her Chinese features. But as an adult, Waverly seemed concerned that she would fit in with the locals during her trip to China, and upset when her mother told her that the people would know that she was a foreigner. Instead of trying to reject her culture as before, Waverly seems to want “the best of both worlds”, a way to embrace both her American lifestyle and Chinese culture. However, her mother, Lindo Jong, deemed the attempt at balance “too late” and describes her daughter as “American-made”.

Gene Luen Yang, the author who wrote American Born Chinese, hopes to create a sense of belonging for those who have been marginalized in American society by telling his story. During his lecture, he makes a point that “Comics [can] handle sophisticated material in sophisticated ways” which is why he chose to write American Born Chinese in a graphic novel format. American Born Chinese is about a character named Jin Wang and his experience growing up in

THESIS - When evaluating Arnold “Junior” Spirit from Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian and Jin Wang from Gene Luen Yang’s American Born Chinese, similarities radiate in both characters as their disparity in race deem the two of them as outcasts in the entirety of society. In addition to their lack of social interactions, their uniformity in their impulsive decisions cost them each a dear friend. Although Junior and Jin are quite similar, they share differences in the way Junior tries bettering himself by fitting into both his Indian and Reardan culture whereas Jin changes himself in every possible way to become Americanized.

The narrator of Jamaica Kincaid’s Girl, who is implied to be a mother, reveals much of her worldview through the story’s dialogue. In this dialogue, she both instructs and scolds her a girl who is implied to be her daughter. The instructions that the mother imparts to her daughter in Girl offer a deep insight into what the mother believes is good for her. In teaching these lessons, the mother is preparing her daughter for what she believes is her daughter’s future. Thus, these lessons are setting the expectations that she has for her daughter within her world.

In the novel A Daughter of Han by Ida Pruitt, the readers are taken through a journey of one woman through her life’s highs and lows. Through the eyes of Ning Lao T'ai-t'ai, readers can truly understand the life of a working woman during this time period. Although life may not have been easy at times, Ning Lao shows the determination and passion she had for her family and for their lives to be better. The life of a working woman is never an easy life but adding in the social rules and opium addiction that effected each part of Ning Lao’s life made it much more difficult.

Gene Luen Yang in his book called “American Born Chinese" he illuminates the book in three parts, which is three characters, three stories but one goal. It is a critically acclaimed graphic novel. It possesses strong themes of racial stereotypes, particularly American stereotypes of the Chinese and other East Asian ethnicities. The American Born Chinese also undergoes phases of identity crises that are coupled with some mental or physical transformation. Even though this book is mainly about Jin, the book actually starts with the story of the Monkey King. The book then switches to Jin's story in the second chapter and, for the third chapter, switches to the story of Danny (Jin's alter-ego). Only after Jin's and Danny's stories do we return

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

Maxine Kingston in “The Women Warrior” presents a traditional Chinese society that anticipates women not to decide what is best for them all by themselves. Kingston creates a woman who goes beyond this ritual culture constraint and who take up

The theme of “voiceless woman” throughout the book “the woman warrior” is of great importance. Maxine Kingston narrates several stories in which gives clear examples on how woman in her family are diminished and silenced by Chinese culture. The author not only provides a voice for herself but also for other women in her family and in her community that did not had the opportunity to speak out and tell their stories.

Maxine Hong Kingston once said, “I 've been writing since I was 7, but before that, I was orally making stories. This quote expresses Kingston’s fervor for writing and storytelling outside of her short story “White Tigers from the Woman Warrior”, which emphasizes the importance of literature, which is her art, by retelling her own childhood as the “fairy tale” of the Woman Warrior, Fa Mu Lan, and connecting it back to her own life. The introductory paragraphs, coupled with the word carving scene and the concluding final paragraphs, evoke Fa Mu Lan and present Maxine’s life as analogous to Fa Mu Lan’s life story. While it is understood that they did not know each other, Maxine complicates this “relationship”, for lack of a better word, by using a first-person narrative as opposed to a third-person narrative while retelling the “fairy tale”, which in turn complicates subjectivity of Maxine, and the relationship between Maxine and Fa Mu Lan. Moreover, the words in the word carving scene in the middle of the “fairy tale” are double symbols of suffering and of perfect filiality, which is a trait common in Chinese culture. By and large, these early on passages, and each section from there on, and the word cutting scene, utilize the literary devices of point of view and central symbol to influence the audience to acknowledge Maxine 's claim that Fa Mu Lan is her model, and that she, Maxine, is fruitful in taking after her case since they both have words "at their backs."

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

Colleen McElroy uses her poetry to describe her culture and heritage in a very historical manner. McElroy’s poetry is very different from Hughes and Clifton in the sense that she uses so many references to her ancestors culture back in Africa. “My memory floats down a long narrow hall, A calabash of history. Grandpa stood high in Watusi shadows Where effigies of my ancestors are captured in Beatle tunes, And crowns never touch Bantu heads. My past is a slender dancer reflected briefly Like a leopard in fingers of fire. The future Dahomey is a house of 16 doors, the totem of Burundi counts 17 warriors-- In reverse generations. While I cling to one stray Seminole. My thoughts grow thin in the urge to travel beyond Grandma’s tale. Of why cat fur id for kitten britches; Past the wrought iron rail of first stairs In baby white shoes, To Ashanti mysteries and rituals.” The use of African language and the names of tribes paint a geographical image that readers can begin to follow. Heritage is more than following the lineage of a people, the land in which they live is equally as involved. This ethnic and topographical following of these people gives her Clifton’s poetry the breath