¶ … Maxine Hong Kingston's memoir, the Woman Warrior, may be considered a microcosm of the work as a whole. The section "No Name Woman" incorporates the recurring themes of silence, invisibility, ghosts and using words as weapons.
It is argued, that the story's central theme is the process of "finding a personal voice" (Ling). This is mainly about the Aunt, but also about the mother and the narrator. It is a combination of three female characters each trying to find a voice and fighting against silence, some by choice such as the narrator, some by force, such as the mother, that makes this a powerful theme.
Silence is especially important in the story in relation to women, women are not expected to be outspoken but to live in the background, not expressing their feelings and more importantly, not being expected to have feelings, "the work of preservation demands that the feelings playing about in one's guts not be turned into action" (Kingston).
The silence theme is also linked to the words as weapons theme.
Firstly, the villagers use words as weapons to push the...
Her visions of her mother as some kind of monster-deliverer appear in Kingston's nightmares. She states on page 86, "My mother has given me pictures to dream -- nightmare babies that recur." The grotesque imagery of her mother delivering monsters corresponds also with her dreamlike memories of foods they ate when she was a child in China. The images converge in Kingston's head to provide the foundation for her
memoirs, The Woman Warrior and Angela's Ashes, Maxine Hong Kingston and Frank McCourt, respectively, present unique and complete views of worlds that widely diverge from the sort of lifestyles and experiences that are enjoyed by the average citizens of the United States of America. Part of the most simple reason for this is their "outsider" statues. As an immigrant, in Frank McCourt's case, and as the child of immigrant
It is true that while Kingston can use irony against the stereotypes of passivity imposed upon Chinese femininity, at other times she seems to use these stereotypes less self-consciously. Her portrayal of her mother calling white people 'ghosts,' and her decision to name her mother Brave Orchid, seem to reflect cultural construction of Oriental women and Asians in general as superstitious and somewhat primitive in their understanding of the world.
In Kingston's more feminine rendering of identity, although she resists the ideals of silence and sexual repression, she accepts the idea that women have more permeable boundaries of selfhood and stronger ties to their family in the telling of her text. Both works point to the inexorability of the past, especially for individuals of ethnic or racial minorities who consider themselves 'other.' Obama is 'other' because of his multiethnic heritage
Rather than hope for a new life, it is Ona's tragic suicide that introduces us to Ng's Bone. The novel takes place for the most part in San Francisco's Chinatown, where we observe Leila, Ona's sister, deconstructs detail after detail in an attempt to find the reason for her sister's death. In so doing, Leila finds that she must try and reconcile her Chinese heritage with her American identity, without,
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