Remotely Spoken Language Thi Bui is an Asian American author who has produced a work of note in American literature drawing from her Asian descent. Asian literature is rich with stories from experiences from the past and ideas as expressions of unspoken thought. Thi Bui’s illustrated memoir, The Best We Could Do, traces her parents’ history of their refugee experiences. The narrative and illustrations in this book form one of the great examples of Asian American Literature. Throughout the story, Bui uses her flashbacks as a medium for telling her parents’ story and experiences in how they immigrated to the United States as refugees. Thi Bui tries to understand the reason her dad refuses to go with them to visit Vietnam. Bui’s family revealed …show more content…
Asian are culturally not outspoken about their past to the younger generations. In Thi Bui’s story, as Vietnamese refugees, her father barely spoke about their past experiences of what happened in their country of origin. Thi Bui tries to understand the reason her dad does not want to go back to Vietnam and visit his dad. For example, Thi Bui asked her dad, “Will you go with us, Bố?” and her dad answers, “No. There’s no point.” (35). Thi’s father did not reveal details why there is no point to go to Vietnam when Thi Bui, Má, her mother, and the family travel to their country of origin. Bố does not talk about his past. He kept these inside him for years and unwilling to share his memories. After Thi found a way to talk to her father by asking to hear stories about his home country. Bố began to tell stories about his childhood, but there was no talking face to face. Bố’s father was abusive. Bố never opens his emotions of his traumas, which scars from the past events that happened to him in his childhood. Thi started to figure out why he behaved as they …show more content…
It is not customary for the older generation of Asians to express their past experiences to the younger generation. Traditionally there is no interaction between parents and their children in expressing their feelings to them, but this is something they can learn. The younger generation wants to connect with the history of the parents’ ancestors and the stories of their family who emigrated to America. The younger generation is finding a way to fill the gap in order to connect with the older generation. They are maintaining closeness by living not so far away from each other. They keep this tradition alive because it is important to tie them together as a big family. Asians always keep family togetherness to tie them close. Asian parents have sacrificed themselves to immigrate to America to make their kid’s lives better. They are willing to do anything to help their children have a better life than they had. Until this day, Asian parents keep their traditions in order to provide their kids with as much as they can for them to have a better life. This is a tradition of passing on to their children’s children as Bo’s ma wanted to provide food for him. Even though they seem emotionally remote and don’t speak about their past to their kids, they do not want their children to suffer as they did. The younger generation needs to actively trace their history because the history that shaped their parents is the
Kao Kalia Yang’s autobiographical novel, The Latehomecomer chronicles the journey of a Hmong refugee family as they flee from the jungles of Laos to Thailand refugee camps and the processes of transition and assimilation in the United States. Yang explains that as she becomes aware of her cultural heritage she is motivated to preserve the endangered stories of the Hmong people. Her grandmother serves as the author’s largest resource, but the memoir also includes recollections from other family members as they recount the arduous and horrific odyssey of a Hmong refugee. Terrifying descriptions of escape from Vietcong soldiers, the atrocious conditions of refugee camps, transit to the United States, and experiences as first-generation immigrants help to inform our understanding of Hmong in the twentieth-century.
In conclusion, events surrounding the internment of Japanese Americans affected members of families in different ways. While papa was financially stable, loving and an authoritative person before the internment, the relocation sees him transformed into a financially unstable, resentful, angry, and a less authoritative and commanding person. Understanding papa’s changes give insights as to how the internment affected the Japanese American families because fathers usually influence their family more than any other person and anything that affects them also affects the whole family as it has been seen in the Wakatsuki family’s case.
i wish i could join in the universal praise for amy tan and her best-selling novel "the joy luck club." i wish i could find the latest chinese-american literary dish as appetizing as the rest of the american public does. but i can't. before amy tan entered the scene, public images of asian america had not developed since the middle of the century. the asian american male did not exist except as a barbaric japanese or vietcong soldier. the asian american female remained the adolescent suzy wong pipe dream, toyed with for a while and then deserted.
Aimee Phan’s book We Should Never Meet, follows the lives of four Amerasian children brought to the US because of the Vietnam War. The book highlights their struggles, achievements, and efforts to become in touch with their Vietnamese background. The book goes shifts from present to past and allows the audience to experience every side of the struggle. From a mother’s point of view, a nun’s point of view, even an adoption helper’s point of view. Kim, Mai, Huan and Vinh all faced everyday struggles of being biracial in the United States. They also struggled eternally with the unknown of their placements in life and how fair or unfair life had done them. Huan and Vinh came to America in different ways but they had one thing in common, the struggle
Throughout Asian American literature there is a struggle between Asian women and their Asian American daughters. This is the case in The Joy Luck Club, written by Amy Tan and also in the short story "Waiting for Mr. Kim," written by Carol Roh-Spaulding. These two stories are very different, however they are similar in that they portray Asian women trying to get their American daughters to respect their Asian heritage. There are certain behaviors that Asian women are expected to have, and the mothers feel that their daughters should use these behaviors.
Both novel and short story collection reflect the fear of a past being unexplored and left behind. They express deep concern about a lost generation of Chinese-Americans and look desperately for the ignored, shut out past as a result.
What this tells us, or rather the challenges faced by South Asian Americans through the lens of Americans is that they are barbaric, living in close quarters, with more than the “normal” number of individuals in a room or even a building. Another interaction with Erica was when they were both in the ocean and Erica comments “I don’t think,” she said finally, “I’ve ever met someone our age as polite as you” (Hamid 25). What this tells us, or rather the challenges faced by South Asian Americans is that they have to be extra nice and polite in order to compensate for their “barbaric and backwardness” view that Americans tend to associate with these group of people. And of which has been heightened following the aftermath of 9/11. Another interaction with Erica was when she invited Changez over her parent’s apartment for the very first time and during a conversation with Erica’s father, he asked Changez how things were back home, to which he had replied back as “quite good, thank you” (Hamid 54). Erica’s father response to this:
As a result, literature has to follow certain guidelines to be classified as Asian American; being placed in a box limits many great pieces of work to gain the recognition they deserve. As Wong and Sumida state, Asian American Literature is a presentation of American culture within Asian American history and culture, rather than a representation of the entire culture. “Asian Americans” is a large and complex, pan-ethnic group of people making it difficult to classify them all under the same stereotypes. Many Asian American works portray Asian Americans as “perpetual aliens or castaways whose cultures tumble nicely and helplessly” (4). This is because Asian Americans create their own culture, a hybrid of Asian culture and American culture, they don’t fully fit in with American culture just as they don’t fully fit in with Asian culture. Asian American Literature is a reflection of just that, it doesn’t fit into specific guidelines, breaking away from the labels that others create and making its own impact by culturing its readers on being Asian American. Whether the author is Asian American or is solely writing about Asian American culture, it still classifies as Asian American Literature
As the four women entered America, which is far from their motherland China, they experience a change of culture, the American culture, which was dominant than the Chinese. The Chinese mothers are faced with a difficult task of how to raise their American-born daughters with an understanding of their heritage. The daughters clearly show a gap in culture between the Chinese culture and American culture. The mothers wanted their daughter to follow the Chinese traditions, but the daughters followed the American traditions and even some of them got married to American men. The mothers tried to tell their daughters the story about the Chinese ancestors but the daughter could not follow them and the daughters thought their mothers were backwards and did not know what they are saying. As much as the mothers tried to show love to their daughters, the daughters usually responded negatively. They often saw their mothers’ attempts to guidance as a failure to understand the American culture. Being Chinese and living in America, both the mothers and the daughters struggle with many issues like identity, language, translation, and others. The mothers try to reconcile their Chinese pasts with their American presents; the daughters try to find a balance between independence and loyalty to their heritage
Throughout the centuries, regardless of race or age, there have been dilemmas that identify a family’s thru union. In “Hangzhou” (1925), author Lang Samantha Chang illustrates the story of a Japanese family whose mother is trapped in her beliefs. While Alice Walker in her story “Everyday Use” (1944) presents the readers with an African American family whose dilemma is mainly revolving around Dee’s ego, the narrator’s daughter. Although exibiting different ethnicity, the reader should meditate that both families commonly share the attachment of a legacy, a tradition and the adaptation to a new generation.
After the fall of the Saigon in 1975, Heidi’s mother- Mrs. Mai Thi Kim decided to send her to America as fearing for her uncertain future in Vietnam. Twenty two years later years, Heidi eventually found her Vietnamese mother. However, as she was raised in the States, Heidi is now "101%" American and has little knowledge of her Vietnamese heritage. Undoubtedly, this reality reveals potentials for cultural collision.
“The Paper Menagerie” functions as Ken Liu’s cautionary tale. Trauma ebbs and flows through the lives of the short story’s characters, with as much ease as a poisonous snake to its unsuspecting prey. The misfortune endured by Jack and his family is heavy and bordering on sentimentalist, saved only by Liu’s evident meaning behind the extremism. Through intense and generational trauma, Liu invokes an inescapable quality to one’s own heritage.
Knowing that it would be four years of relentless pestering, I knew that someday I would surpass my tormentors; I would keep under cover of my books and study hard to make my brother proud one day. It would be worth the pain to someday walk into a restaurant and see my former bully come to my table wearing an apron and a nametag and wait on me, complete with a lousy tip. To walk the halls of the hospital I work in, sporting a stethoscope and white coat while walking across the floor that was just cleaned not to long ago by the janitor, who was the same boy that tried to pick a fight with me back in middle school. To me, an Asian in an American school is picking up where my brother left off. It’s a promise to my family that I wouldn’t disappoint nor dishonor our name. It’s a battle that’s gains victory without being fought.
“Whenever she had to warn us about life, my mother told stories that ran like this one, a story to grow up on. She tested our strengths to establish realities”(5). In the book “The Woman Warrior,” Maxine Kingston is most interested in finding out about Chinese culture and history and relating them to her emerging American sense of self. One of the main ways she does so is listening to her mother’s talk-stories about the family’s Chinese past and applying them to her life.
For those Asian Americans who make known their discontent with the injustice and discrimination that they feel, in the white culture, this translates to attacking American superiority and initiating insecurities. For Mura, a writer who dared to question why an Asian American was not allowed to audition for an Asian American role, his punishment was “the ostracism and demonization that ensued. In essence, he was shunned” (Hongo 4) by the white people who could not believe that he would attack their superior American ways. According to writers such as Frank Chin and the rest of the “Aiiieeeee!” group, the Americans have dictated Asian culture and created a perception as “nice and quiet” (Chin 1972, 18), “mama’s boys and crybabies” without “a man in all [the] males.” (Chin 1972, 24). This has become the belief of the proceeding generations of Asian Americans and therefore manifested these stereotypes.