At some point in the novel, each of the major characters expresses anxiety over her inability to reconcile her Chinese heritage with her American surroundings. Indeed, this reconciliation is the very aim of Jing-mei’s journey to China. While the daughters in the novel are genetically Chinese (except for Lena, who is half Chinese) and have been raised in mostly Chinese households, they also identify with and feel at home in modern American culture. Waverly, Rose, and Lena all have white boyfriends or husbands, and they regard many of their mothers’ customs and tastes as old-fashioned or even ridiculous. Most of them have spent their childhoods trying to escape their Chinese identities: Lena would walk around the house with her eyes opened as far as possible so as to make them look European. Jing-mei denied during adolescence that she had any internal Chinese aspects, insisting that her Chinese identity was limited only to her external features. Lindo meditates that Waverly would have clapped her hands for joy during her teen years if her mother had told her that she did not look Chinese.
As they mature, the daughters begin to sense that their identities are incomplete and become interested in their Chinese heritage. Waverly speaks wishfully about blending in too well in China and becomes angry when Lindo notes that she will be recognized instantly as a tourist. One of Jing-mei’s greatest fears about her trip to China is not that others will recognize her as American, but that she herself will fail to recognize any Chinese elements within herself.
The Essay on Jing Mei Mother Lena Understand
The Joy Luck Club successfully intertwines culture and mends generation gaps. By using different methods of uniting the characters in the book, Amy Tan shows the characteristics of relationships between mothers and daughters. Through life and death, Suyuan Woo and Jing-mei Woo learn to understand each other. In life they learn the differences about each other. When Suyuan dies, Jing-mei is forced ...
Jing-mei’s experience in China at the end of the book certainly seems to support the possibility of a richly mixed identity rather than an identity of warring opposites. She comes to see that China itself contains American aspects, just as the part of America she grew up in–San Francisco’s Chinatown–contained Chinese elements. Thus, her first meal in China consists of hamburgers and apple pie, per the request of her fully “Chinese” relatives. Perhaps, then, there is no such thing as a pure state of being Chinese, a pure state of being American; all individuals are amalgams of their unique tastes, habits, hopes, and memories. For immigrants and their families, the contrasts within this amalgam can bring particular pain as well as particular richness.
In a way, Jing-mei Woo is the main character of The Joy Luck Club. Structurally, her narratives serve as bridges between the two generations of storytellers, as Jing-mei speaks both for herself and for her recently deceased mother, Suyuan. Jing-mei also bridges America and China. When she travels to China, she discovers the Chinese essence within herself, thus realizing a deep connection to her mother that she had always ignored. She also brings Suyuan’s story to her long-lost twin daughters, and, once reunited with her half-sisters, gains an even more profound understanding of who her mother was.
Jing-mei is representative in other ways as well. She believes that her mother’s constant criticism bespeaks a lack of affection, when in fact her mother’s severity and high expectations are expressions of love and faith in her daughter. All of the other mother-daughter pairs experience the same misunderstanding, which in some ways may be seen to stem from cultural differences.
