Tripmaster’s Monkey: “One Man Show” Maxine Hong Kingston’s Tripmaster’s Monkey: His Fake Story (1989) is a “book” about the “West …meeting West” (Kingston 308). She borrows heavily from Chinese myths and legends but at the same time she also alludes to Hollywood movies, western literary tradition and western authors, and strives for some sort of amalgamation of the two. The focus of the novel keeps on shifting from “synthesis to multiplicity” (Janette 145) and the definition of a new form of democracy which accords recognition to this multiculturalism without being exclusionist. Wittman’s play is the “stage” where all the minorities – Japanese, Chinese, Mexican, African American, etc – come together to confront the White America.
The protagonist,
…show more content…
On the other hand, American literature and pop culture is also not left untouched. He is a man but is constantly being addressed as a woman. His grandmother calls him “honey girl” while the author states that the narrator of the novel is a female and that is why Wittman, who is a “macho spirit…struggles with her and fights with her and refuses to accept reality” (Tanner 69). This again seems to support the notion that the actual struggle is taking place within him. He has to resolve his problems first, dissolve the binaries that he is living with and only then can he become the “one”, the teacher of all. Deeney …show more content…
Other Chinese writers like the Lin sisters make an appearance in the improvisation of Wittman’s script. It is he/narrator who writes their dialogues and then even acts out their part for them. This might mean an underlying sense of unity amongst “his people” despite the fact that they differ so much from each other. There are distinctions even within the “orientals” – Americans of Japanese Ancestry are different from Chinese-Americans/Chinese Americans. However this sense of “togetherness” is doubtful because of their careful maintenance of a distance from each other. Thus at the end there is a sense of the skeletal presence of a “heterogeneous community” where multiplicity is an accepted trait but it is not clear. Nonetheless Wittman stays out of its purview. He always “acts” as the spectator for the budding communities – for instance at his mother’s and father’s place. He is always on the outside looking in. Through his recognition they are identified as entities different from his “individual” self. Thus, reminiscent of the manner in which he acts in front of the caretaker of the community center, playing all the roles by changing expression and tone, he is “performing” both as the actor and the audience till the end – the whole of theatre wrapped into
In the first Chapter of the book ‘A Different Mirror’ by (Takaki, 1993) the author embarks on a descriptive narrative that tries to elaborate the concept of a multiracial America. The chapter begins with the author taking a taxi ride in which he is subjected to racial discrimination. The taxi driver questions the author’s origin owing to the fact that his English is perfect and eloquent. This incident prompts a discussion that transpires throughout the chapter as the author tries to explain to his audience that America is a multiracial country with different ethnic groups that moved from their homelands to settle in the United States. The chapter discusses the settlement of various racial groups such as; English immigrants, African Americans, Asian Americans, Chicanos and the Irish.
Imagine feeling and looking different from all those around you. Imagine if you weren’t understood the same way as the majority. In the book “American Born Chinese”, two characters, Jin and Monkey King who went through the same situations, but in different societies. The Monkey King insight into the impact of society on Jin as they both face social exclusion through experiencing internalized racism. Further as Monkey King transforms into another character, Chin-Kee, which Jin sees as an embarrassing Chinese culture.
He, Qiang Shan. "Chinese-American Literature." New Immigrant Literatures in the United States: A Sourcebook to Our Multicultural Literary Heritage. Ed. Alpana Sharma Knippling. WEstport, Connecticut: Greenwood Press, 1996. 44-65.
Kherdian, David, and Cheng'en Wu. Monkey: A Journey to the West : a Retelling of the Chinese Folk Novel. Boston: Shambhala, 2005. Print.
...assical Novels of Chinese literature, Journey to the West) is a story of redemption. Although this goes beyond the scope of “The Monkey’s Story”, which ends with Monkey imprisoned under the mountain and condemned as Heaven’s worst criminal, through a “journey to the west” with a Buddhist monk in an effort to retrieve religious scrolls for the Buddha, Monkey is able to shed his violent and troubled past, transcend his identity as a trickster, and ultimately redeem himself. In this way, Monkey can be viewed as a Bildungsroman for Monkey, similar to the way in which The Odyssey can be thought as one for Odysseus. Monkey undergoes a journey towards wholeness, transitioning from a fragmented self dominated by the trickster to a relatively whole self with the overarching archetype of hero. Archetypes do not stay the same forever; they are fluid, dynamic, and ever-changing.
Chang-Rae Lee’s Native Speaker expresses prominent themes of language and racial identity. Chang-Rae Lee focuses on the struggles that Asian Americans have to face and endure in American society. He illustrates and shows readers throughout the novel of what it really means to be native of America; that true nativity of a person does not simply entail the fact that they are from a certain place, but rather, the fluency of a language verifies one’s defense of where they are native. What is meant by possessing nativity of America would be one’s citizenship and legality of the country. Native Speaker suggests that if one looks different or has the slightest indication that one should have an accent, they will be viewed not as a native of America, but instead as an alien, outsider, and the like. Therefore, Asian Americans and other immigrants feel the need to mask their true identity and imitate the native language as an attempt to fit into the mold that makes up what people would define how a native of America is like. Throughout the novel, Henry Park attempts to mask his Korean accent in hopes to blend in as an American native. Chang-Rae Lee suggests that a person who appears to have an accent is automatically marked as someone who is not native to America. Language directly reveals where a person is native of and people can immediately identify one as an alien, immigrant, or simply, one who is not American. Asian Americans as well as other immigrants feel the need to try and hide their cultural identity in order to be deemed as a native of America in the eyes of others. Since one’s language gives away the place where one is native to, immigrants feel the need to attempt to mask their accents in hopes that they sound fluent ...
June-May fulfills her mother’s name and life goal, her long-cherished wish. She finally meets her twin sisters and in an essence fulfills and reunites her mother with her daughter through her. For when they are all together they are one; they are their mother. It is here that June-May fulfills the family portion of her Chinese culture of family. In addition, she fully embraces herself as Chinese. She realizes that family is made out of love and that family is the key to being Chinese. “And now I also see what part of me is Chinese. It is so obvious. It is my family. It is in our blood.” (Tan 159). Finally, her mother’s life burden is lifted and June-May’s doubts of being Chinese are set aside or as she says “After all these years, it can finally be let go,” (Tan 159).
...in her essay “No Name Woman”. The Chinese tradition of story telling is kept by Kingston in her books. Becoming Americanized allowed these women the freedom to show their rebellious side and make their own choices. Rebelling against the ideals of their culture but at the same time preserving some of the heritage they grew up with. Both woman overcame many obstacles and broke free of old cultural ways which allowed them an identity in a new culture. But most importantly they were able to find identity while preserving cultural heritage.
The audience sees through staging and conversation between the two main characters that the communication of modern relationships
Amy Tan's "A Pair of Tickets," especially, explores the relationship of setting to place, heritage, and ethnic identity. Jing-Mei Woo, the main character, has trouble accepting that she is Chinese, despite her heritage. Jing-Mei Woo believed, at fifteen, that she had no Chinese whatsoever below her skin. If anything, she perceives herself as Caucasian; even her Caucasian friends agreed that she "was as Chinese as they were." Her mother, however, told her differently, "It's in your blood, waiting to be let go." This terrified Jing-Mei, making her believe that it would cause her to suddenly change, "I saw myself transforming like a werewolf." Jing-Mei Woo finally realizes that she has never really known what it means to be Chinese because she was born and has lived in America all her life. After her mother's death, Jing-Mei discovers that she has two twin sisters living in China who have been searching for their mother and that s...
Gordon accurately depicts the varied and vibrant Asian culture, by showing the reader this world instead of simply describing it. Each of the men whom Gordon uses to tell the story undertakes expeditions which are mixed with hardships and triumphs. The varied spectrum of Asian cultures is covered. Readers will find Gordon’s take on tackling this topic fresh and straightforward.
Perhaps one of the biggest issues foreigners will come upon is to maintain a strong identity within the temptations and traditions from other cultures. Novelist Frank Delaney’s image of the search for identity is one of the best, quoting that one must “understand and reconnect with our stories, the stories of the ancestors . . . to build our identities”. For one, to maintain a firm identity, elderly characters often implement Chinese traditions to avoid younger generations veering toward different traditions, such as the Western culture. As well, the Chinese-Canadians of the novel sustain a superior identity because of their own cultural village in Vancouver, known as Chinatown, to implement firm beliefs, heritage, and pride. Thus in Wayson Choy’s, The Jade Peony, the novel discusses the challenge for different characters to maintain a firm and sole identity in the midst of a new environment with different temptations and influences. Ultimately, the characters of this novel rely upon different influences to form an identity, one of which being a strong and wide elderly personal
...elings and portrays them through the main character Elphalba. It is as if he is taking a part of himself, the part filled with rage and frustration, and building the character Elphalba with it. She is the feminine, yet somewhat masculine, part of him revealing itself through the book.
Therefore, it is my belief that the religious setting of this novel in the Puritan society allowed further emphasis of the profound differences between the character’s gender roles, thereby creating deeper contrast and revealing the flaws of the Puritan’s preconceived notions of patriarchal societal norms.
Ramnath Subbaraman, "Beyond the Question of the Monkey Imposter: Indian Influence on the Chinese Novel The Journey to the West," Sino-Platonic Papers, 114 (March 2002)