Woman Warrior Identity

For Kingston, she had become separated from part of her heritage. She struggled in attempting to understand the meaning of this heritage in a world that is different from the older generations. She illustrates this confusion and difficulty in attempting to understand her cultural roots when she says, "Chinese Americans, when you try to understand what things in you are Chinese, how do you separate what is peculiar to childhood, to poverty, insanities, one family, your mother who marked your growing with stories, from what is Chinese? What is Chinese and what is the movies? (Kingston 5)." Kingston wants to tap into this old world her parents and ancestors belong to in order to

     The Woman Warrior by Maxine Hong Kingston presents the story of a girl trapped between the cultures of her surrounding environment and that which her mother and family have forced upon her. Knowing only the Chinese way of life, this girl’s mother attempts to familiarize her daughter, whom is also the narrator, with the history of their family. The mother shares this heritage through the use of stories in hopes the narrator will be prepared for her ultimate return to China, which is a life completely foreign to her own. Through these stories and the strong influence of the surrounding American culture, the narrator’s life and imagination spin off in a new direction. She is confronted by

Mona, on the other hand, carries a kind of open-mindedness and curiosity that is sometimes associated with idealistic American youth: never just accepting things for how they are, and questioning anything that seems unjust. Mona no longer will put up with inhabiting the role of “good Chinese daughter” that her parents - especially Helen - have laid before

In The Woman Warrior, Maxine Hong Kingston blurs fiction and reality using a poetic, singsong writing style, blending sentences together using sentence structure and diction. She also relies heavily on symbols to reveal inner conflict that she had while growing up Chinese American, trying to determine what was authentically Chinese and what was illusion.

The author argues the “combat masculine-warrior paradigm is the essence of military culture. This paradigm persists today even with the presence of “others” (e.g. women and gays) who do not fit the stereotypical image of combatant or masculine warrior.” In a 5-paragraph essay, discuss how the presence of women or gays will cause the military culture to change.

She can never fully assimilate to the American way because others cannot over look her different cultural heritage. However, she cannot fully revert back to her Japanese culture. She has lost touch to the language and traditions. Her linkage to Japanese culture go back so far that the only remnants of her Japanese identity can only be identified through blood. Trying to find an escape from this scrutiny, Nishio seeks refuge in art. However, coming from the west coast, she remains an outsider when she comes to the east coast. The artistic styles differ on the opposing coasts, which makes it hard for Nishio to identify as one or the other. Nishio’s background puts her in the position of an outsider. Another outsider who presents her story through her memoir The Woman Warrior is Maxine Hong-Kingston. Kingston is an outsider in both the American and Chinese community. Kingston could never figure out “American-feminine” (Kingston, 204). Her Chinese blood interferes with Kingston’s potential of becoming a “true American.” The Chinese and American standards contrast one another rather than complement each other, which compiles Kingston’s hate, especially towards her Chinese

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

In the excerpt from The Woman Warrior: Memiors of a Girlhood Among Ghosts, Kingston gives the story of herself as a child and the experiences that she had with school in America. Her cultural struggles along with her gender differences allowed for herself to become extremely timid during 'American school'. As she looks at the other Chinese girls in her school, she believed that she was to follow suit and speak very little, just as they did. Once they were in Chinese school, things changed drastically.

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.

Duality of the Self in The Woman Warrior and The Sympathizer In Kingston’s The Woman Warrior, the narrator’s often describes herself not necessarily as she is, but instead as the idealized version of herself she wishes to be. This idealization is depicted extensively in the chapter “White Tigers,” wherein the narrator retells the story of Fa Mu Lan, a female warrior who takes her father’s place in battle. But not only does the narrator simply retell the story, but she also fantasizes that she becomes Fa Mu Lan.

At this point in her autobiography, Kingston remains disoriented about her position in the two enveloping cultures, and Ling suggests this idea by considering the significance of Kingston's two culturally different responses rather than only one- either American or Chinese.

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

Whether or not society acknowledges and speaks on the global issues surrounding civilization, there are an abundant amount of sources that address certain problems without directly doing so. These hidden messages are found in children’s books, novels, music and, more specifically, films. For instance, Mulan, a children’s movie based on a mythical, women warrior, depicts an ongoing problem within social hierarchy amongst men and women. Since before the foundation of the nation known now, social norms have separated men and women from one another and identified what he or she is intended for. These gender roles portray the qualities “true” men and women must encompass as a way to fit in society and avoid the possibility of being a social outcast;

Maxine Hong Kingston’s novel The Woman Warrior is a series of narrations, vividly recalling stories she has heard throughout her life. These stories clearly depict the oppression of woman in Chinese society. Even though women in Chinese Society traditionally might be considered subservient to men, Kingston viewed them in a different light. She sees women as being equivalent to men, both strong and courageous.

“Don’t humiliate us.  You wouldn’t like to be forgotten as if you had never been born.  The villagers are watchful.”  Practically through her mother’s indoctrination alone, Kingston was shaped throughout her childhood to respect honor, family, and the very Chinese culture itself.