The narrator, given only the bones of this story and perhaps haunted by it, has to imagine the details, and does so repeatedly, reorienting them each time to fit different perspectives. Parallel to this self-care project of making images she can inhabit and revision herself through, run the narratives through which she constructs her mother's humanity and inner life, gradually building images of her she can make sense of and feel for. This book, more than any other, made me believe my immigrant stories were also worth telling. To the narrator, writing about her aunt is a kind of penance for participating in her continuing castigation. She begins to see a different truth in things and in people, a type of dancing 2. I know an author has creative license, especially with a memoir, but the realistic chapters placed next to fantasy ones made the book too disjointed for me and I couldn't get into it. Kingston illustrates this condition through her use of Chinese talk-story, her mother's traditional Chinese perspective, and her own first-person view as a Chinese American.
Kingston was honored as a 175th Speaker Series writer at Emma Willard School in September 2005. This is presumably because the book, while grounded in truth, does not maintain a clear boundary between reality and fantasy. Scholar Sheryl Mylan stated that Kingston constructs an framework to separate herself from her mother and her culture, but in the process she replicates the ideologies of the American culture. Her fear must have been constant and inescapable. She had big dreams to change the world.
She stands up to one of her bosses when he makes yet another problematic remark. Her mom's not impressed, referencing Fa Mu Lan and how she saved her village. There is also much discussion on its narration, mainly the narrative techniques or the uncertainty narrative effect. Kingston returns to the story of her no name aunt and says that if she wants to know something more about her than what her mother has told her, she cannot ask her mother directly. I wish we had read this in sophomore year of high school instead of Catcher in the Rye. They fight in the army together.
She describes all this as though she has jumped into the world of a painting, or as though her world were a painting. This book is an amazing, lyrically written book about growing up as a girl between two cultures, neither of which is particularly empowering to adolescent girls. Kingston shows the equally anguishing process of growing up girl, and the meanness that can come out of that in a much more passive aggressive way that society tends to sanction more for girls. As someone who was born in India but raised in America, while I do unfortunately have to lump together a lot of assumptions about Indians via my own experiences, I do comprehend that not all Indians are the same and I cannot judge one person based on my conversations with another. As the narrator explains, keeping silence is not passive; it can involve willing oneself to forget something or someone.
I quite liked this book. She adds that, unlike the Japanese who let outcasts leave the family to become samurais and geishas, the Chinese made the outcasts remain in the family, ostracized for life. It was hard to relate this independent ghost-fighting doctor with the mother Kingston describes, who belittled her daughters, though she's a warrior throughout. It's one of the best memoirs I've ever read, marked by sensitivity, sorrow, unresolvable conflict transformed into a breathtaking work of art, an epic canvas unrolling intricacies and intimacies that made me miss my tube stop, get the wrong train, mix up bus routes, so absorbed was I by the character of Brave Orchid, the narrator's mother. Morphology of the folk tale second ed.
We saw swordswomen jump over houses from a standstill; they didn't even need a running start. Tom left China for America in 1924 and took a job in a laundry. The only time she hides from battle, Kingston proudly writes, is when she gives birth to her son 2. One day he brought home a baby girl, having traded one of his sons for her. It was a real soul-baring treatise of a life very, very unlike my own. As an account of growing up female and Chinese-American. Summary In her award-winning book The Woman Warrior, Maxine Hong Kingston created an entirely new form—an exhilarating blend of autobiography and mythology, of world and self, of hot rage and cool analysis.
She got in fights in junior high and they were always awful 2. The whole game was spent apprehensively looking out the window for approaching police cars on the prowl for illegal child gaming. Growing up in the slums was dangerous. What did they learn that protected them? Her father had been brought up a scholar and taught in his village of Sun Woi, near Canton. Not gonna lie, I feel pretty bad about that. It reads very much like a series of fragments, which I know is intentional on Kingston's part, but, for me, wasn't united enough to illuminate a life or varied enough to illuminate an entire dual- national group.
I had forgotten this chant. The sisters arrive back at Brave Orchid's house in the Valley. The marriages took place to ensure the men's eventual return to the village. Kingston's relatives write to her family in America asking for money and prayers. This made me think more about genre and how much imagination can go into a memoir, and how much of the author's real-life experience goes into fiction. I would recommend it if you want to learn a bit more about the Chinese-American experience in an impressive writing style.