Cycle of Jewelry

In The Joy Luck Club by Amy Tan, she incorporated many cyclical elements into the novel. There's other hidden cyclical elements in the story that don't involve the structure of the book, how it is written from the view point of the mothers, then from the daughters views, their views again, then the mothers again, or how the daughters had difficulties with their mothers, or how most of them married a white husband (eg. Ted, Harold, Rich, and one of the mothers married Clifford, also white).

The mothers in The Joy Luck Club gave their daughters jewelry, ranging from gems to gold to jade. When they gave their daughters the jewelry, it was often as a symbol of love, to prove to them that they were special, and worthy and mature enough to receive the precious keepsakes.

In The Red Candle, told from Lindo Jong, a mother's point of view, her mother gave her a necklace before she left her with Huang Taitai.

"The dowry was enough, more than enough, said my father. But he could not stop my mother from giving me her chang, a necklace made out of a tablet of red jade" (53).

Lindo's mother left her the necklace as a last token and symbol of her love for her, and to give her the necklace, somewhat as a placeholder for her mother's presence in her life, even though she had to leave her.

Rose Hsu Jordan watched her mother give away her ring to Bing in Half and Half, when he drowned in the sea, and she could not find him. After hours of searching, the mother slowly came to the realization that they would not be able to find Bing, and threw the ring into the water.

"...she opened her fist. In her palm was a ring of watery blue sapphire, a gift from her mother, who had died many years before...She threw the ring into the water" (129).

 After Bing fell and drowned in the water, never to be found, An-Mei Hsu threw the sapphires as an offering, believing that the ring would make the Coiling Dragon forget Bing.

In Best Quality, Jing-Mei Woo tells of the time when her mother gave her a jade pendant on a gold chain after a crab dinner celebrating Chinese New Year. The meal had not gone as well as expected, and after, when Jing-Mei was talking to her mother, Suyan, when she gave her the jade necklace.

"...she unhooked the clasp of her gold necklace and took it off, wadding the chain and the jade pendant in her palm. She grabbed my hand and put the necklace in my palm, then shut my fingers around it...I looked at the necklace, the pendant with the light green jade" (208).

Suyan wanted to give the necklace to Jing-Mei, because she had waited a long time before she gave her the necklace, wanting to give it to her for a long time, and when she gave it to her, she understood that Jing-Mei wound understand her meaning, as the necklace was her "life's importance." She wanted to show Jing-Mei that she loved her, and supported her, regardless of the mean, degrading and insulting comments that Waverly said.

In the last story, A Pair of Tickets, told from Jing-Mei Woo's point of view again, but speaking namely about her mothers past experience with her first two daughters, she speaks of the recollection of her father telling her  the story of how her mother left her two daughters along the road with jewelry, money, and photos.

"When the road grew quiet, she tore open the lining of her dress, and stuffed jewelry under the shirt of one baby, and money under the other" (282).

Suyan Woo, the mother, put jewelry into the shirt of one baby, because she loved them, and although she had to leave them since she had lost all strength to carry them any farther, she left the money and jewelry as a symbol of her love, and for whoever who found the two daughters to use to raise them, and hopefully cover some costs.

Mother-Daughter Relationships (Amy Chua & Amy Tan)

In Amy Chua's "Why Chinese Mothers Are Superior," excerpted from "Battle Hymn of the Tiger Mother," she compares and contrasts the different way Chinese parents raise and restrict their children from the way Western parents do.  

 I threatened her with no lunch, no dinner, no Christmas or Hanukkah presents, no birthday parties for two, three, four years.(Chua).

To make sure that her daughter learned a piece for a piano recital, Chua threatened her daughter with no food, presents, or parties.  Her daughter wanted to give up on the piano piece and stomped off, but Chua still ordered and forced her to get back to the piano and practice the piece until it was perfect by the next day.  Her parenting technique was to threaten and order her daughter to do what she wanted her to do, or else there would be a consequence that the daughter would not want.  She uses words to make her daughter do things, rather than physical force.

In Amy Tan's The Joy Luck Club, in the second section, "The Twenty-Six Malignant Gates," she explores the topic of mother-daughter relationships, and the way they raise their daughters and things they often do to influence them.  In "Rules of the Game," written from Waverly Jong's perspective, her mother tells her family, 

"We not concerning this girl.  This girl not have concerning for us."

 after Waverly came home at night after running away from her mother because she was angry at her mother for always using her to show off.  Her mother understood it differently, and thought that she was embarrassed to be her mother.  When she got home, her family was sitting at the dinner table, with the remains of a fish on the table, and the mother spoke these words to make Waverly feel guilt through her words, and she chose her words to strike Waverly's emotions, to ensure that something similar wouldn't be likely to happen again.  Because Waverly's mother felt like Waverly didn't care for her family, she told her family to ignore her, since Waverly was so careless towards them, and did not care about them as she should.

The Twenty-Six Malignant Gates Purpose

In the introductory piece to the second section of The Joy Luck Club by Amy Tan, "The Twenty-Six Malignant Gates" a mother told her daughter to not ride her bicycle around the corner, since it was outside the protection of their house, and in a book, The Twenty-Six Malignant Gates, all the bad things that could happen out of the protection of the house is written.  The girl doesn't believe her mom and requests to see it, but her mom tells her she cannot read it, since it is in Chinese, and the mom does not tell her daughter the bad things, so she bikes off, and fell before she reached the corner.  The story portrays a complex mother-daughter relationship, and the cultural differences they had between them.

In "Rules of the Game," written from Waverly Jong's character, she encounters a large cultural gap between her and her mother, and both have a strained relationship, the mother having different opinions from her daughter, and trouble communicating with each other clearly.   Waverly's "mother's eyes turned into dangerous black slits.  She had no words for me, just sharp silence" (pg.99) when Waverly told her mother that if she wanted to show off, then she should learn to play chess herself.  Their relationship becomes more difficult when Waverly runs away from her mother, and comes back home late at night.  Her mother tells the family, ""We not concerning this girl.  This girl not have concerning for us'" (pg.100).  Because Waverly did not show that she considered her family and her mother's feelings as much as she cared about her own feelings and opinions, Lindo (her mother) tells her family to not show concern for her, like she did to them.

In "The Voice from the Wall," written by Lena St. Clair, the mother and daughter have cultural differences that divide them.  Lena "could understand the words [her mother said] perfectly, but not the meanings" (pg.106).  Because Lena's mother, Ying-Ying, spoke Mandarin and a little bit of English, she had trouble communicating with her, since she grew up in an American environment with her father, "who spoke only a few canned Chinese expressions" (pg.106)

Quickwrite: Family Honor

Although An-mei's grandma, Popo would agree that "Family and honor should take priority over the rights of the individual family member."  I think that An-mei and her mother would both somewhat agree.  It really depends on the situation, but they probably lean more toward the side that agrees with the statement.

An-mei grew up under the care of her Popo, and Popo's opinion of family and honor being priority greatly shaped the way she grew up.  She grew up learning to not talk about her mother, since it was forbidden.  An-mei's father passed away, and her mother became a widow, but she still chose to marry, and even so, she married a man with a wife, two concubines, and other children.  By speaking her mother's name, she would be shaming her family, and not preserve the honor they still have.  The "big painting [of her father] that hung in the main hall" always showed him as "a large, unsmiling man, unhappy to be so still on the wall" (p.43).  Popo raised An-mei, telling her that the painting of her father watched her for any signs of disrespect, making sure that she was respectful to her family, and upholding their honor.  Family and honor was always emphasized over an individual family member.  When she was young though, she wasn't as educated about her mother's poor choices in her relative's eyes, and chose to (try) to go to her mother, but the soup spilled onto her neck, stopping her.  An-mei understands that even though her mother did not make the best choices, she still held family traditions strong in her heart, and would probably only put her individual needs over her family and honor if it was necessary.

An-mei's mother was considered a traitor to her ancestors to An-mei's Auntie, because she chose to remarry.  Auntie says that An-mei's mother "'...is so beneath others that even the devil must look down to see her'" (p.44).  An-mei's mother broke family tradition, and shamed her family, dishonoring them, when she married the man with another wife, concubines, and other children.  She still upheld her family traditions at the end of the story though, when her mother was dying.  She willingly cut a piece of meat from her arm and put it into the soup.  An-mei's mother "cooked magic in the ancient tradition to try to cure her mother this one last time" (p.48).  She kept the ancient tradition, honoring her mother, and put her mother's needs above her own.