The Woman Warrior by Maxine Hong Kingston addresses prevalent topics faced in America today. How should women act? Should women be treated differently from men? In her memoir, Kingston faces many obstacles with her Chinese-American identity such as finding her voice as a young woman. In “White Tigers,” Kingston tells her own version of a popular Chinese ballad, “Fa Mu Lan,” while incorporating her own reality back into the section.
Amy Tan 's story "A Pair of Tickets" is about a girl who is Chinese-American woman 's struggle to accept her culture and identity. She went china to complete her mother’s dream of reunite the family. As we read through the story, we will see the protagonist Jing-Mei grew up with American influences and struggles with her Chinese heritage. Throughout the story, we will see how she is
Amy Tan 's third novel, The Hundred Secret Senses and her next work, The Bonesetter 's Daughter, also weave mysterious ghost stories with women 's life experiences. In both novels, ghosts represent the haunting past and the cultural memory of the immigrant sisters and mothers, waiting to be remembered and then exorcised. The Hundred Secret Senses starts with the claim that "My sister Kwan believes she has yin eyes" (3), a key sentence of this novel. The narrator Olivia, is half Chinese and half Caucasian. Kwan, her half sister from China, talks about ghosts all the time, especially the story of the loyal maid, the warlord, and the unfortunate lovers, Miss Banner and half-breed Johnson.
What effects do different cultures take on mothers (Chinese) and daughters (American) throughout the book? The book “The Joy Luck Club” takes on an interesting way to present it’s plot to readers. It consists of the telling of the stories of four Chinese mothers (before they immigrated to the United States) in the first four chapters. Following this is the stories of these mother’s daughters (again, in four chapters). This “organization” of the first half of the story is key to allow the reader to really delve into each character’s story, personality, traits, and their cultural aspects.
Rhetorical devices in writing often can make or break an author’s work. In Barbara Jordan’s autobiography Becoming Educated she uses a wide selection of strong rhetorical strategies that further prove her point, but two in particular reinforce the story. The perspective she gives to her story and her experience draw the reader in and make the work seem more personal. At the same time that her work reads as a casual conversation, her professional diction strengthens her character. Obviously, an autobiography will use perspective in the text.
The craft in Speak focuses on the perspective of the story and the words that the author chooses to utilize. From Melinda’s perspective, the reader is capable of seeing her “side of the story”, which adds a much needed depth to her character. Because of this insight, the reader can make connections to the text that help develop emotions amongst the various characters. A prime example of perspective in the story occurred when Melinda described herself as having two people in her head; One who is carefree and the other who is paranoid. “If I kick both of them out of my head, who would be left?”.
Throughout the modern world, women fight to gain equality in all settings of life. Maxine Hong Kingston, in an effort to portray this struggle through a series of carefully interwoven stories, blurs the line between both fictional and nonfictional struggles in The Woman Warrior: Memoirs of a Girlhood Among Ghosts. Kingston’s use of declarative sentences, active voice, and effective variation of speech successfully manages to continuously engage the reader in The Woman Warrior: Memoirs of a Girlhood Among Ghosts, while adding a personal touch throughout the story. Kingston’s use of declarative sentences highlights the stereotypes women face while simultaneously contextualizing information for the reader. Macauley and Lanning claim that “a string of declarative sentences”, especially when “built of cliches”, quickly become boring (Macauley and Lanning 58).
Foreman identifies the common aspects of slave narratives written by different authors, as that genre usually “combine elements of history, autobiography and fiction” (Foreman 314). Usually women tell their personal stories and suffering, conflicts and challenges experienced in the context of some historic events helping the readers to get involved into the context and understand the topics and meanings revealed in the writing. Such narratives help revealing the truth about the treatment of the black population attracting much attention to the problem and acting as a call for
On a larger level, the image of expansive words reflects the necessity for augmented origins stories. Narrative space must be made for those voices that once talked to and for themselves but have been muted by the historical record, and that is what A Mercy does. As Florens opens the novel with the entreaty “Don’t be afraid. My telling can’t hurt you” (p.3), and while this can be read as the beginning of a confession of heartbreak and anger, on a more metaphorical level it can be seen as an urging not to fear the telling of a broader, different American origins
Carol Ann Howells speaks about Atwood’s technique as, Obviously revisionist perspectives have narrative consequences not only for narrators but also for readers, turning our attention towards process of deconstruction and reconstruction while emphasizing the provisionality of any narrative structure. Atwood’s novels are characterized by their refusals to invoke any final authority as their open endings resist conclusiveness, offering instead hesitation, absence or silence while hovering on the verge of new possibilities. Their indeterminacy is a challenge
Cynthia Lord has used character and style to create a novel of contemporary realistic fiction about a young girl struggling to accept the world she lives in. Lord uses dialogue to build a relationship between Catherine and Jason. It’s through these conversations that Lord is able to expose Catherine’s strengths and weaknesses when it comes to living with David, developing new friendships and accepting the reality of her life. It’s these strengths and weaknesses that help the reader identify with her. Lord’s unique style also helps the reader get a peek into the lives of the characters.
According to him, the most common characteristic in political writing is staleness. 4) Various examples are given on how we can be vague, but that this should be avoided at all costs seeing that, it often lacks meaning and avoiding this will result in thinking clearly. 1) To improve your skills you should decide a purpose, practice all the fundamentals, and look for a meaning while writing down new words. 2) State your topic as a question, be specific about what your claim is and try to answer that question. 3) All writing must have a purpose and a goal, what you write and how you write it will be influenced by what you envision, and there should always be a clear
A huge part of The Joy Luck Club is about the flashbacks and memories shared by the mothers from their days as young adults. The thrilling story of these four women and their struggles might as well be a biography about Amy Tan and her mother. Amy Tan’s mother, just like Suyuan Woo, also left her children in China and even though Daisy Li left three children and Suyuan Woo left two, there is still a connection between the two. The book is split up into four different parts with sixteen different stories all told by each one of the women, mothers and daughters. The parts in the mother’s point of views are most likely all of Daisy Li’s memories of her life that she had told Amy Tan.
To me this demonstrates his manifesto that the emphasis of writing is on process, not product. C. The statement I found confusing was in “Basic Aims of Discourse” where Kinneavy talks affective fallacy as assuming the reaction of any given reader as an accurate indication of author’s purpose. To me, to rely on the reader to assume intention is ambiguous and potentially inaccurate.
This hinders scholars vision of writing and the two reasonings must be used to know the detials that are not stated. In lecture the professor highlighted an important argument of Postelwait that I found very interesting, which is the idea that one misinterpretation built upon each other over time eventaully the reality is obscere. I find this true in both history and theater because it is similar to the game of telephone where someone spreads the message down a group of friends. As certain stories of historical events is pass by from person to person the words tend to shift and eventaully can be different by the time it reaches to the end. This can easily happen to a play that has little to know facts about how it was once performed.