Gender Roles In The Jade Peony

In Wayson Choy’s The Jade Peony, a major topic explored is the strict use of gender roles. In the novel, the theme of cultural identity explores how the characters are oppressed by gender roles through cultural tradition. The novel creates a window into the lives of a Chinese-Canadian family, as everyone is trying to find their place in a country that doesn’t accept them and a culture that is never truly theirs, each family member goes through a struggle wherein they have to figure out where they can stand on the side of that dash. Chinese – (or) – Canadian, each side holding its own unique challenges within its “hyphenated reality.” (Philip Gambone (The New York Times)).While they will never be accepted as truly Canadian, their Chinese culture

Step Mother (second wife of fathers and mother to the youngest children) was only a young girl when her parents were killed. After a series of unfortunate events she was bought from a village clan and sold to become someone’s “companion”. None of this was her choice. “She was taken to a mission house, then taken away again, reclaimed by the village clan, and eventually sold into fathers canton merchant family” (13). Objectified and forced to be what someone else wants, stepmother is told to be exactly how the father wants her. She is forced to be submissive, and acts as a mother to the children, a wife to the husband, and a servant to the grandmother, or Poh-Poh. Throughout the novel her life is not hers to live, and her children are taught to treat her differently because of it. She is father’s second wife and not his first and because of this the children-even those who are biological- are expected to call her stepmother: “Poh-oh insisted we simplify our kinship terms in Canada, so my mother became “step mother.”… What the sons called my mother, my mother became… Father did not protest. Nor did the slim, pretty woman that was my mother seem to protest, though she must have cast a glance at the old one and decided to buy her time” (15). Stepmother is forced to be a third party in the raising of her children. She is only able to step out of

Before her first words she is already considered a disappointment, “a girl child is Mo Yung- useless” (32). From the time she is born, her grandmother, “the old one” (choy), relentlessly tells her how the world will treat her as a girl. She explains to Jook-Liang, ‘“If you want a place in this world… ‘do not be born a girl child’”(31). She is cast aside before she is given a chance and is never given the same opportunities as her brothers. Instead she is forced to help take care of her little brother (insert quote). The excitement surrounding a baby is always extreme, and it doubles in Chinese culture when that baby is a boy. When her little brother is born, she is truly considered to be nothing in the family. “ I recalled how Sekky had received twice the number of jade and gold bracelets that I had got as a baby, and how everyone at the baby banquet toasted his arrival and how only the woman noticed me in my new dress, and then only for a few minutes to compare Poh Poh and step mother’s embroidery”(32). She is a ghost in her own family, and treated as nothing from the moment she is born. It is because of her gender that she is looked upon as a burden and never given the same opportunities as her brothers so that she may excel in life. Through the shadowed life of Jook Liang one can see how gender roles are enforced by cultural