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Example research essay topic: Maxine Hong Kingston Essay Titled - 4,348 words

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... Ao's story Kingston embeds a double-edged criticism of Chinese sexism and American racism. By highlighting Tang Ao's suffering in his state ofeffeminization, Kingston created a feminist critique of Chinese sexist practices and an allegory of the emasculation of the Chinese immigrants in America. By opening the book with Tan Aos story Kingston underlines her two main goals in China Men: to retrieve the Chinese past and to reexamine American history. The narrator of China Men identifies herself as a family historian with the self-assigned and sometimes disturbing task of safekeeping family histories and memories. In a chance encounter with her newly immigrated aunt from Hong Kong, for example, the narrator first feels reluctant to listen to the aunts horror stories of the past, but then she recalls her "duty": "I did not want to hear how she suffered, and then I did.

I did have a duty to hear it and remember it. " In Personal Statement Kingston talks about how women play the role of keeper and weaver of stories, whereas men tend to alienate themselves from the past: The men have trouble keeping Chinese ways in new lands. What good are the old stories? Key not be rid of the mythical, and be a free American? Coming an American birthright through storytelling, however, the daughter-storyteller proves the mens desire to forget the past to be mistaken.

Kingston's rememoryof family struggles exposes a history of discrimination and paves the way for personal and communal healing. As she opens The Women Warrior by retrieving the silenced discourse of a nameless aunt, Kingston prefaces the present-day stories in China Men with a story of her fathers repressed Chinese past. You say with the few words and the silence: No stories. No past. No China, the narrator says of her fathers denial of the past. She aims specifically to counterpoint his repressive silence: You fix yourself in the present, but I want to hear the stories about the rest of your life, the Chinese stories K.

Ill tell you what I suppose from your silences and few words, and you can tell me that Im mistaken. Youll just have to speak up with the real stories if Ive got you wrong. In The Father from China the daughter-narrator proceeds to immigration to New York. Later, Kingston admitted that she found her fathers reactions satisfying because she has successfully engaged him in a literary dialogue through marginalia that he wrote in a copy of a Chinese translation of China Men.

Tom Hong wrote his commentary on his daughters stories in beautiful Chinese calligraphy, giving her the satisfaction of having been treated as an intellectual equal instead of as an object of a abusive language in her fathers misogynist curses. Moreover, she finally lured her father out of his habitual reticence and won his appreciation. Thus, the daughter succeeded in returning the repressed language to the father through her literary creation. In The American Father Kingston describes the father she had known as a child in Stockton. The daughters most painful memory in this section is perhaps the recollection of how her father became a disheartened man after losing his job in the gambling house. His inertia was finally broken when her sister made him so angry that he leaped from his easy chair to chase her (although this sister claims that it was the narrator who was chased. ) Lured into action the father starts the family laundry business.

The American Father ends with a description of how the father planted many trees near their house, trees that take years to fruit, symbolizing the slow yet firm rooting of the Hong family in America. The Great Grandfather from the Sandlewood Mountain and two vignettes on mortality again foreground the importance of speech. As a contract worker on a Hawaiian sugar plantation, Bak Goong (Great Grandfather) is forbidden to talk during work. As a trickster figure, the talk addict Bak Goong then invents ways, such as singing and coughing, to circumvent this interdiction: The deep, long loud coughs, barking and wheezing, were almost as satisfying as shouting. He let out scold disguised as coughs. His final liberating act is to organize a shout party for his fellow Chinese workers.

He mobilizes the workers to bury their homesickness and anger in a huge hole: They had dug an ear into the world, and were telling the each their secrets. After the party they could and sing at work without interference from the white overseers because the workers unrestrained demonstration of emotion and strength has caused fear among the whites. Moreover, the new ritual of shouting attests to the fact that these Chinese workers in Hawaii are actually Americans because they help to build the land. As Bak Goong proudly exclaims, We can make up customs because were the founding ancestors of this place. The Grandfathers of the Sierra Nevada Mountains, The Laws, and Alaska China Men highlight the tenacity of the Chinese Americans faced with racial discrimination in the American legal system and in daily life. The narrator places her emphasis on the collective identity of Chinamen-her own grandfather included-in their efforts to conquer natural obstacles and to survive exclusion in American.

The American railroad system is physical evidence of China mens contributions. As the Civil War, China Men banded the nation North and South, East and West, with crisscrossing steel. Thus, the granddaughter-narrator proudly calls her forefathers the binding and building ancestors. The narrator provides a vivid description of how Ah Goong and other Chinese workers risked their lives setting off dynamite manually in baskets dangling over ravines. The group spirit of the Chinese workers is most apparent in a rail-road-strike episode. After failing to gain equal treatment with white workers decide to stage a strike and pass on the plan inside the summer solstice cake.

Their slogan for the strike is free men, no coolies, calling for fair working conditions, and their pursuit of freedom resonates with the spirit of American Revolution. In the middle of China Men Kingston includes a catalogue of anti-Chinese exclusion laws from 1868 to 1978. This intrusion of legal documents at first seems incongruous. Yet the juxtaposition of Kingston's personal language and government legal language underlies the victimization of Chinese American by political manipulation. At the end of The Grandfather from the Sierra Mountains" the narrator describes how Chinese workers were "driven out, " even murdered, after the railroad was completed. Speaking as the daughter of those Chinese American victims, Kingston again illustrates the importance of recovering and remembering the past. "The Making of More Americans, "The Wild Man of the Green Swamp, " and "the Adventure of Lo Bun Sun" include Chinese American and simonized European adventure stories about where and how Chinese immigrants build their homes.

It also registers an ambivalence about where the "home" for Chinese Americans is. Each of the protagonists in the five family stories told in "The Making of More Americans, " for instance, needs to decide on their home address. The ghost of Say Goong (Fourth Grandfather) lingers until his brother tells him to go back to China; cousin Mad Sao cannot continue his American life until he escorts the hungry ghost of his mother back to her home village; paranoid Uncle Bun flees America. Kau Goong (Great Maternal Uncle), on the other hand, renounces old China and his old wife and is buried in America; the Hong Kong aunt and uncle immigrate to become the newest addition to the narrator's Chinese American family. "The Brother in Vietnam" illustrates another identity problem for Chinese Americans and clearly presents Kingston's pacifist message.

Stationed in various Asian countries during the Vietnam War, he feels lost and tries to find a "center" of identity for himself. His anxiety turns into nightmares and muttering in his sleep, which wins him the title of "Champion Complainer. " The brother feels ambivalent when he passes the military-security check, which serves as evidence of his Americanness: "The government was clarifying that the family was really American, not precariously American but super-American, extraordinary secure Clearance Americans. " Yet he refuses to be trained as a language specialist for fear of being made to interrogate prisoners of wars. His refusal of linguistic exploitation by the military reinforces his kinship with his sister word warrior. The epilogue, "On Listening, " circles back to the prologue, "On Discovery. " The narrator recounts a warm discussion among young Filipino Americans about the whereabouts of the real Gold Mountain. Together with "The Brother in Vietnam, " this finale extends the text to the next generation of Asian Americans, as the spirit of inquiry and the ability to listen are passed on. Furthermore, Kingston illustrates how the daughter-narrator, in her attentiveness to the heteroglossic "voices" around her.

blossoms into an expert storyteller. For years Kingston was reluctant to visit China for fear that what she discovered there might invalidate everything she was thinking and writing. Her impression of China was also colored by the misogynist Chinese sayings she had heard as a child. In an 1978 essay, "Reservations about China, " Kingston also criticized the practice of aborting female fetuses in Communist China.

In 1980, after Finishing China Men, Kingston finally visited China and saw for the First time the China that she has created in her imagination. As she told Rabinowitz, "I think I found that China over there because I wrote it. It was accessible to me before I saw it, because I wrote it. The power of imagination leads us to what's real. We don't imagine Fairylands. " The warm welcome she received from many Chinese gave Kingston a sense of homecoming, of going back to a place she had never seen but had imagined so well. Having used up her Chinese memory, she could concentrate on her American reality in her next book, Tripmaster Monkey.

In a 1980 essay titled "The Coming Book" Kingston envisioned writing a book that "will sound like the Twentieth Century" when read aloud. "The reader will not need a visual imagination, only ears. " Nine years later, Tripmaster Monkey: His Fake Book was published. In this heteroglossic novel, Kingston continues her project of claiming America and further explores the mentality of Chinese American males. The male protagonist, Witt-man Ah Sing, a fifth-generation Californian newly graduated from Berkeley, is a Joycean young artisans a self-appointed playwright of his tribe. Set in the 1960 s, Tripmaster Monkey recounts Wittman's odyssey through San Francisco) Oakland, Sacramento, and Reno and his efforts to create his own "deep- roots American theater"A Pear Garden of the West" that will perform a continuous play for many nights. Like Kingston's earlier books, Tripmaster Monkey is constructed around a web of Chinese interests, from the third person narrator, identified by Kingston as Kwan Yin, the Chinese goddess of mercy, to the Chinese classical romances that serve as sources for Wittman's extended ex- travaganza.

Nevertheless, Kingston skillfully translates these Chinese interests into Chinese Ameri- can idioms with many allusions to Western literature, movies, and bohemian culture. The title of the novel serves as a metaphor for the mixture of the culture of the bohemians and that of China. Wittman, experiencing drug-induced "trips" in the novel, imitates the mythical Monkey King from a Chinese classic, Journey to the West. The Monkey King is a rebellious and mischievous trick- ster figure who is capable of seventy-two transformations and who, according to legend, is responsible for the introduction of Buddhism into China from the West (India). As Wittman declares to his "would-be girlfriend" Nanci, "I am really the present-day U.

S. A. incarnation of the King of the Monkeys. " Like the Monkey King, Wittman wants to unsettle established institutions with his outrageous conduct. Significantly, in his one-man show Wittman raves against misleading reviews that describe his play as "East meets West" and "Exotic" by claiming that the play itself is "The Journey In the West. " Positioning himself in the West, the American monkey deploys his play to embody his American "trips. " In his rebuttal Wittman also speaks for Kingston, whose works have often been misread. The novel's subtitle, His Fake Book, again alludes to Journey to the West, in which the Monkey King discovers that the Heart Sutra he has sought is blank and jumps to the conclusion that the scrolls are fake. The scrolls turn out to be authentic after all, but only people with wisdom and insight can decipher them.

Its JOM Another achievement of linguistic innovation. The novel displays an amazing verbal diversity, and, as Kingston predicted, it appeals to the readers aural sensitivity. It is also a complete American book in that Kingston constantly plays with modern American language: I already finished writing those Chinese rhythms. So I was trying to write a book with American rhythms, Kingston told interviewer Marilyn Chin. In the Pig Woman episode, for instance, Wittman comes across a Chinese American girl, Judy Louis, on the bus to Oakland. Bored by Judy's gibberish, Wittman suddenly visualizes her as a blue boar: He leaned back in his seat, tried forward, and she remained a blue boar. (You an make a joke about it, you know.

Boar and bore). The fantastic metamorphosis reminds the reader of the Circe story, in which men are changed into pigs through magic. It also alludes to the Monkey Kings marvelous power of transformation and to his companion, Piggy. In Tripmaster Monkey Kinston is a magician with words, transforming linguistic puns into imagined reality.

This playfulness with language in also strongly reminiscent of James Joyce's Ulysses (1922), another heteroglossic novel. Wittman's name is another deliberate linguistic name. Wittman Ah Sing is a man of wit aspiring to be an heir to the great American poet Walt WhitmanAwho sings about I so powerfully in his poetry. In an interview with Shelly Fisher Fishkin, Kinston admitted the hong influence of Whitman on Tripmaster Monkey, expressing admiration for the freedom and the wildness of Wittmans language, which to her sounds as though it could have come from modern 1960 s slang. She even uses lines from Leaves of Grass Vouch as Trippers and AskersXas chapter headings in the novel.

Yet her protagonist is not exactly Whitman. While trying to name his son after his favorite poet, Wittman's father, Zeppline Ah Sing, misspelled the name, demonstrating the limitation of imitation and making a transformation that is necessary if Wittman is to be a unique Chinese American poet. Ah Sing is also an American name that allows Wittman to claim his Chinese American identity. In his sols show Wittman discusses the origin of his American surname: Im one of the American Ah Sings. Probably there are no Ah Sings in China. You may laugh behind my family's back, that we keep the Ah and think it means something.

I know its just a sound. A vocative that goes in front of everyones names K. In that Ah, you can hear we had an ancestor who left a country where the language has sounds that doesnt mean anything -- la and ma and warlike music. The meaningless yet musical vocative in this new American name signifies the Ah Sings link to their Chinese ancestors as well as their new American identity. In an interview with Phyllis Thompson, Kingston calls Wittman a prankster, and a neer do well.

Wittman is unattractive. He is biased, egocentric, chauvinist, and has other unlikable characteristics. He snubs F. O. B. Xfresh off the boatXChinese immigrants while he himself is sensitive about being discriminated against.

The feminist narrator is critical of Wittman's relationship with his wife, Tana, commenting constantly to the reader that Wittman is going to pay for his anglocentric attitude. Yet while Kinston sometimes criticizes him, at other times her treatment of him seems to be almost affectionate, and she always seems to view him with interest. Kingston's distanced, yet interested, attitude toward this male protagonist indicates a significant breakthrough. After her two successful memoirs written mainly from a first-person perspective, Kingston shifted to the third-person point of view for her novel to get away from the shadow of egotism.

By writing about a male character, or The Other, from a distanced perspective, Kingston told Marilyn Chin, she finally found an artistic and psychological solution to her long struggle with pronouns. Realistically, Kingston pointed out to Fishkin, women did not have such exciting and dramatic lives in the 1960 s as men did. By providing a female narrator, furthermore, Kingston dramatizes the tension between male and female perspectives: Hes very macho-spirit. The narrator is the great female, so he struggles with her and fights with her and refuses to accept reality. He has to learn to be one with the female principles of the world. At the end of Tripmaster Monkey the narrator allows Wittman to have the spotlight to himself and blesses him in a material tone: Dear American monkey, dont be afraid.

Here, let me tweak your ear, and kiss your other ear. This omniscient narrator is also reminiscent of the storyteller in Chinese folk literature and classic romances, who introduces necessary information and guides the reader. Drawing on the Chinese tradition of talk story, Kingston created her female storyteller-narrator to monitor her trickster monkey. Wittman is a conscientious young artist-to-be struggling to find his own voice. Born backstage to members of a vaudeville troupe, Wittman really does have show business in his blood. His artistic ambition is to be the first bad-ass Chiba Man bluesman of America so that he can create a Chinese American culture that consists of something besides beauty contests and hand laundries.

The most important lesson for Wittman, however, is to learn that military heroism, as represented by the heroes in the Chinese romances, is inadequate. To be a true artist Wittman needs to become a pacifist. Kinston's own pacifism is readily apparent in Tripmaster Monkey. She took part in antiwar marches during her years in Berkeley and worked with a group of resisters in Hawaii to provide sanctuary to deserters. In a 1990 essay titled Violence and Non-Violence in China, 1989, she praised the Chinese students who attempted to achieve democracy through peaceful means, and she actively supports pro democracy Chinese student groups.

In Tripmaster Monkey Kingston's message is unmistakably pacifist: Our monkey, master of change, staged a fake war, which might very well be displacing some real war, the narrator says in describing the effect of Wittman's three-day play. Wittman's carnival esque play is a crystallization of the love of fun. He asserts that instead of digging for gold, his Chinese ancestors came to America to have a good time: The difference between us and other pioneers, we did not come here for the gold streets. We came here to play.

And well play again. Yes, John Chinaman means to enjoy himself all the while K. We played for a hundred years plays that went on for five hours a night, continuing the next night, the same long play going on for a week without repeats, like ancient languages with no breaks between words, theater for a century, then dark. Wittman's assertion undermines the stereotype of the money-thirsty Chinese and values fun over materialism.

In writing Tripmaster Monkey Kinston was finally able to use her abundant sense of humor to the full. She commented to Arturo Islas that her readers often fail to understand the humor in her works, such as the sitcom in Moon Orchards story and the trick Bak Goong plays on the white missionary women: I guess when people come to ethnic writing, Kinston remarked, they have such a reverence for it or are so scared that they dont want to laugh. Wittman's outrageous language and behavior, however, force the reader out of this false sense of reverence. Moreover, Wittman's play is at once universal and culturally specific.

His theater is based on the principle of expansion and inclusion: Im including everything that is being left out, and everybody who has no place. The content of the play, however, is distinctively Chinese American, mixing Chinese stories and American vaudeville. Bringing back the tradition of the extended theatrical performance, Wittman is able to define a community. As the narrator states, Community is not built once-for-all; people have to imagine, practice, and recreate it. From a lonely romantic contemplating suicide at the beginning of the novel, Wittman becomes an artist able to shoulder the responsibility of re 0 creating his community.

His play, like Kingston's writing, directly opposes American individualism and embodies the collective spirit of the Chinese American community. Kingston is now teaching in the English department at the University of California, Berkeley, and writing a book that is tentatively titled The Fifth Book of Peace, in which she writes about her fathers death and the loss of an earlier draft for the book in the 1991 Oakland fire. She links this fire thematically to the Vietnam War, writing about the war as it is represented by the protagonist of Tripmaster Monkey and about her warrior womans heroic homecoming. Kingston's works have enchanted and inspired many readers while enraging some others.

No matter how her works are received, Kingston succeeds in her revenge by reporting the crimes of sexism and racism. Despite her diminutive physical stature, she deserves the title of a word warrior in every sense. Kingston's literary innovations are also significant contributions to American literature. As Kingston herself says, I am creating part of American literature K.

Contemporary American literature has been enriched by the addition of the powerful words of Maxine Hong Kingston. Bibliography: Interviews: Timothy Pfaff, Talk With Mrs, . Kingston, New York Times Book Review, 19 June 1980, pp. 1, 25 - 27; Arturo Islas, Maxine Hong Kingston, in Women Writers of the West Coast: Speaking Their Lives and Careers, edited by Marilyn Yahoo (Santa Barbara: Capra Press, 1983), pp. 11 - 19; Phyllis Hodge Thompson, This Is the Story I Heard: A Conversation with Maxine Hong Kingston, Biography, 6 (Winter 1993): 1 - 2; Paula Rabinowitz, Eccentric Memories: A Conversation with Maxine Hong Kingston, Michigan Quarterly Review, 26 (Winter 1987): 177 - 187; Marilyn Chin, A MELUS Interview: Maxine Hong Kingston, MELUS, 16 (Winter 1980 - 1990): 57 - 74; Maxine Hong Kingston: Talking Story [audio tape] (NAATA, 1990); Shelly Fisher Fishkin, Interview with Maxine Hong Kingston, American Literary History, 3 (Winter 1991): 782 - 791 Reference: King-kok Cheung, Articulated Silences: Narrative Strategies of Three Asian American Women Writers (Ithaca, N. Y. : Cornell University Press, 1990); Cheung, Dont Tell: Imposed Silences in The Color Purple and The Woman Warrior, PMLA, 103 (March 1988): 162 - 174; Cheung, Talk Story: Counter-Memory in Maxine Hong Kingston's China Men, Taking Review, 24 (Autumn 1993): 21 - 37; Cheung, The Woman Warrior versus The Chinaman Pacific: Must a Chinese American Critic Choose between Feminism and Heroism? , in Conflict in Feminism, edited by Marianne Hirsch and Evelyn Fox Keller (New York: Routledge, 1990), pp. 60 - 81; Thomas J. Ferraro, Changing the Rituals: Courageous Daughtering and the Mystique of The Woman Warrior, in Ethnic Passages: Literary Immigrants in Twentieth- Century America (Chicago: University of Chicago Press, 1993), pp. 154 - 190; Linda Hunt, I Could Not Figure Out What Was My Village: Gender vs. Ethnicity in Maxine Hong Kingston's The Woman Warrior, MELUS, 12 (Fall 1985): 5 - 12; Suzanne Juhasz, Maxine Hong Kingston: Narrative Technique and Female Identity, In Contemporary American Women Writers, edited by Catherine Rainwater and William J.

Scheme (Lexington: University Press of Kentucky, 1985), pp. 173 - 189 Elaine Kim, Asian American Literature: An Introduction to the Writings and Their Social Context (Philadelphia: Temple University Press, 1982); David Leiwei Li, China Men: Maxine Hong Kinston and the American Literary Canon, American Literary History, 2 (Fall 1990): 482 - 502; Li, The Naming of a Chinese American I: Cross Cultural Sign / fication's in The Woman Warrior, Criticism, 30 (Fall 1988): 497 - 515; Li, The Production of Chinese American Literary Tradition: Displacing American Orientalist Discourse, in Redefining the Literatures of Asian-America, edited by Shirley Lim and Amy Ling (Philadelphia: Temple University Press, 1992), pp. 319 - 331; Shirley Lim, ed. , Approaches to Teaching Kingston's The Women Warrior (New York: Modern Language Association of America, 1991. ); Amy Ling, Between Worlds: Women Warrior of Chinese Ancestry (New York: Pergamon Press, 1990); Ling, Thematic Threads in Maxine Hong Kingston's The Women Warrior, Biography, 6 (1983): 13 - 33; Carol Neubauer, Developing Ties to the Past: Photography and Other Sources of Information in Maxine Hong Kingston's China Men, MELUS, 10 (Winter 1983): 17 - 36; Lee Quincy, The Subject of Memoir: The Woman warriors Technology of Idiographic Selfhood, in De/Colonizing the Subject: The Poetics of Gender in Womens Autobiography, edited by Sidonie Smith and Julia Watson (Minneapolis: University of Minnesota Press, 1992), pp. 297 - 320; Leslie Maxine, No Lost Paradise: Social Gender and Symbolic Gender in the Writings of Maxine Hong Kingston, Signs, 12 (Spring 1987): 471 - 492; Roberta Rubenstein, Bridging Two Cultures: Maxine Hong Kingston, in her Boundaries of the Self: Gender, Culture, Fiction (Urbana: University of Illinois Press, 1987), pp. 164 - 189; Maxine John Schueller, Theorizing Ethnicity and Subjectivity: Maxine Hong Kingston's Tripmaster Monkey and Amy Tans The Joy Luck Club, Genders, 15 (Winter 1992): 72 - 85; Linda Ching Sledge, Maxine Hong Kingston's China Men: The Family Historian as Epic Poet, MELUS, 7 (1980): 3 - 22; Sidonie Smith, A Poetics of Womens Autobiography: Marginality and the Fictions of Self-Representation (Bloomington: Indiana University Press, 1987); Sau-ling Cynthia Wong, Autobiography as Guide Chinatown Tour? Maxine Hong Kingston's The Woman Warrior and the Chinese-American Autobiography Controversy, in Multicultural Autobiography: American Lives, edited by James Robert Payne (Knoxville: University of Kentucky Press, 1992), pp. 248 - 275; Wong, Necessity and Extravagance in Maxine Hong Kingston's The Woman Warrior: Art and the Ethnic Experience, MELUS, 15 (1988): 3 - 26; Wong, Reading Asian American Literature: Form Necessity to Extravagance (Priceton, N. J. : Priceton University Press, 1993. ) Papers: A collection of Kingston's papers is at the Bancroft Library, University of California at Berkeley.


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