Mrs. Hayashi’s Creative Outlet
Women who assume the traditional role of staying at home to care for their children and their household responsibilities often need a creative outlet to express themselves, their ideas, or just to get away from monotony they experience in the day after day domestic routine. Many women find various forms of art a fulfilling way to satisfy their need for personal expression. Similarly, in the short story “Seventeen Syllables” by Hisaye Yomamoto, the “stay-at-home-mom”, Tome Hayashi, discovers that she possesses a talent for writing haikus and finds it very fulfilling, as she is able to express herself well through the mere seventeen syllables contained in a haiku. Mrs. Hayashi’s passion for writing haikus appears to be present because she simply enjoys it; however, writing becomes the only way she is able to express herself. Unfortunately, numerous barriers placed in front of her eventually leads to the smothering of her creative ambition.
One of the major barriers that Mrs. Hayashi encounters is the difficulty of communicating with her daughter. As she begins writing haikus more frequently, she wishes to have someone to share them with, but neither Rosie nor Mr. Hayashi seems interested. Rosie is unable to appreciate her mother’s haikus because her mother writes in her native Japanese language, and Rosie does not speak it fluently, nor does she wish to.
In his review of “Seventeen Syllables” in the book Masterplots II, Yasuko Akiyama insightfully notes that “Mrs. Hayashi’s English is no better than Rosie’s Japanese”, thus creating a large communication barrier Rosie did not want her mother to know concerning the “quality and quantity of Japanese she had learned in all the years now that sh...
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...self, […] she [was] smothered” (Mistri 201). The barriers placed in the way of the pursuance of her dreams seemed too large for her to overcome because her husband could not let go of his simple-mindedness and her daughter could not bridge the communication gap present between them. She was forced back into her tragically traditional role as a submissive, passive, and unhappy wife and mother. This depiction of a divided family offers no solution of how to overcome similar struggles women may face even in today’s society. However, women must continue to explore ways to express their creativity uniquely and individually, as Tome Hayashi did, and not allow men to frown upon it and dictate what their role as women should be. Our world would be filled with much more creative artwork if more women like Tome Hayashi were given the opportunity to freely express themselves.
In her narrative Mother Tongue, Amy Tan speaks of how the English language has shaped her life, drawing from personal experiences in her early life, to her daily use of English in the present. Tan begins her narrative by identifying her own “mother tongue”, which is simply the broken English her mother uses and has been accustomed to. Tan says that due to her mother’s broken English some are unable to understand her, thereby limiting Tan’s mother to function properly in our English speaking society. Tan shows the reader how her feelings toward her mother tongue have changed throughout her life drawing out a personal experience from her adolescence.
Tan makes an appeal to emotion with the connections she describes. A connection between a mother and daughter that is wrought with emotion is as relatable as humaneness is to a human. There is a soft declaration to be found in Tan’s statement, “I knew I had succeeded where it counted when my mother finished reading my book and gave me her verdict: “So easy to read.” Tan gains trust by appealing to emotion with something as understandable as the loving and more often than not tension riddled connection between a mother and her daughter. Tan incorporates the intimacy of the “broken” language in correlation to her husband with these words, “It has become our language of intimacy, a different sort of English that relates to family talk, the language I grew up with” (Tan 1). Under the assumption that Louis DeMattei (Tan’s husband) has no prior history with the Chinese Language Tan makes an important point of the use of the “broken” language she learned from her mother. Demattei doesn’t inquire or correct Tan when she switches between the English she acquired from the vast expanses of English literature and the English she acquired from her mother. Tan says, “he even uses it with me,” there is an implied level of comfort within the relationship she has with her husband. Tan shares what is viewed as “broken” and in need of fixing with Demattei and he reciprocates, leaving them
In the story “Mother Tongue,” by Amy Tan, Mrs. Tan talks about (in the book) her life and how she grew up with different Englishes was very hard and how it has affected her today. The setting of the book goes from being at lecture to the past of Amy Tan and her mother along with the different Englishes she had to come accustomed to. In “Mother Tongue” by Amy Tan, the author’s attitude towards the “different Englishes” she grew up with is fascinated. Amy Tan conveys this attitude through wanting to learn all different kinds of Englishes, her use of Englishes in her novel, and the acceptance she developed of her mother’s broken English.
Some relatives have strong relationships. They stay together, having their own language which accompany them to grow up. Personal language expresses their life. Their language can be understood by each other but can not be understood by strangers. It can not be captured by language test; it also can not be understood easily by language research. It is like mother’s speaking, only being captured by sons and daughters, can not be understood by teachers, professors, and researchers, “I wanted to capture what language ability tests can never reveal: her intent, her passion, her imagery, the rhythms of her speech and the nature of thoughts.” (Amy Than 139) Author, never expressing her love and feeling by writing, uses personal language to show her affection to her mother, since personal language is more genial than normal communication language, and witness the growth of each
The scene is always the same: the three of us sitting in a room together, talking. I see her from the corner of my eye, glancing for only a second or two, but always long enough to notice the look on her face, the expression I’ve become so painfully familiar with over the years. I am forced to turn away; the conversation resumes. She is a few feet from us. She hears everything, and understands nothing except what she can gather from the expressions on our faces, the tone of our voices. She pretends not to be bothered, smiling at us and interjecting random questions or comments in Chinese—a language I was raised to speak, a language I’ve slowly forgotten over the years, a language that is now mine only by blood. It is an earnest but usually futile attempt to break through the invisible barrier that separates her from us, and in spite of all her efforts to hide it, that sad, contem...
When informing the readers that her fans would often write not only about her work but also about “… [her] youthful indiscretions, the slings and arrows I suffered as a minority…” (Tan 1), this bothered Tan to an extent because she By educating herself she was able to form her own opinion and no longer be ignorant to the problem of how women are judge by their appearance in Western cultures. By posing the rhetorical question “what is more liberating” (Ridley 448), she is able to get her readers to see what she has discovered. Cisneros also learned that despite the fact that she did not take the path that her father desired, he was still proud of all of her accomplishments. After reading her work for the first time her father asked “where can I get more copies” (Cisneros 369), showing her that he wanted to show others and brag about his only daughters accomplishments.
The speaker chooses that he wants to be a writer rather than what his father does since he had “…no spade to follow men like them.” The speaker uses emotion to put himself down while praising his elders. The speaker does not retain the meanings or the cravings to live as his family did and decides to use his pen to write instead. The speaker creates art based on his emotion about his family which allows a connection for the audience to relate
These cultural strictures come in a number of forms. First, the artist attacks intellectual conformity, choosing art over all other means of self-expression even though it is not widespread in his or her society. Though it is not explicitly stated - and is perhaps even subconscious - the artist chooses art over either academe or high society. The artist questions society's customs, making this choice explicit in their daily actions. The artist rejects ostentatious displays of wealth and the cultural emphasis on money, replacing it with a frugal simplicity more conducive to authentic experience. Finally, the artist calls into question the cultural construct most important to any understanding of human interaction - the binary conception of gender.
In Maxine Hong Kingston’s autobiographical piece “Silence”, she describes her inability to speak English when she was in grade school. Kindergarten was the birthplace of her silence because she was a Chinese girl attending an American school. She was very embarrassed of her inability, and when moments came up where she had to speak, “self-disgust” filled her day because of that squeaky voice she possessed (422). Kingston notes that she never talked to anyone at school for her first year of silence, except for one or two other Chinese kids in her class. Maxine’s sister, who was even worse than she was, stayed almost completely silent for three years. Both went to the same school and were in the same second grade class because Maxine had flunked kindergarten.
Edna seeks occupational freedom in art, but lacks sufficient courage to become a true artist. As Edna awakens to her selfhood and sensuality, she also awakens to art. Originally, Edna “dabbled” with sketching “in an unprofessional way” (Chopin 543). She could only imitate, although poorly (Dyer 89). She attempts to sketch Adèle Ratignolle, but the picture “bore no resemblance” to its subject. After her awakening experience in Grand Isle, Edna begins to view her art as an occupation (Dyer 85). She tells Mademoiselle Reisz that she is “becoming an artist” (Chopin 584). Women traditionally viewed art as a hobby, but to Edna, it was much more important than that. Painting symbolizes Edna’s independence; through art, she breaks free from her society’s mold.
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
Amy Tan tries to spread a non-discriminatory message through her words; telling not judge people based on the way he/she speaks a language. Amy Tan also tries to impose her idea of language bringing people closer. The “broken” English that she invented, just like many immigrants, brought her closer to her mother, even though she was looked down upon in her community due to her ability to speak fluently. This is seen when she had to speak to a doctor when her mother was diagnosed with brain tumor and the doctor told her they had lost the CAT scans. The doctor at this moment was not cooperating with her mother due to her inability to speak English properly. When Amy finally talked to the doctor they were able to find the results and had to give her an apology. This along with many other examples in the essay show how Amy had to help her mother out to get her message across. Using pathos in her stories, Amy Tan is able to connect deeply with those who have encountered such people that speak “broken” English or have judged others in the past. This also makes the audience sympathize for
In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient woman, the one who has buckled and succumbed to become an empty, emotionless shell. In men’s eyes, this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
Tan was born to a pair of Chinese immigrants. Her mother understood English extremely well, but the English she spoke was “broken.”(36) Many people not familiar with her way of speaking found it very difficult to understand her. As a result of this, Tan would have to pretend to be her mother, and she called people up to yell at them while her mother stood behind her and prompted her. This caused Tan to be ashamed of her mother throughout her youth, but as she grew, she realized that the language she shares with her mother is a “language of intimacy” (36) that she even uses when speaking with her husband.
Many female writers see themselves as advocates for other creative females to help find their voice as a woman. Although this may be true, writer Virginia Woolf made her life mission to help women find their voice as a writer, with no gender attached. She believed women had the creativity and power to write, not better than men, but as equals. Yet throughout history, women have been neglected in a sense, and Woolf attempted to find them. In her essay, A Room of One’s Own, she focuses on what is meant by connecting the terms, women, and fiction.