In her award-winning book The Woman Warrior, Maxine Hong Kingston created an entirely new form—an exhilarating blend of autobiography and mythology, of world and self, of hot rage and cool analysis. First published in 1976, it has become a classic in its innovative portrayal of multiple and intersecting identities—immigrant, female, Chinese, American. As a girl, Kingston lives in two confounding worlds: the California to which her parents have immigrated and the China of her mother’s “talk stories.” The fierce and wily women warriors of her mother’s tales clash jarringly with the harsh reality of female oppression out of which they come. Kingston’s sense of self emerges in the mystifying gaps in these stories, which she learns to fill with stories of her own. A warrior of words, she forges fractured myths and memories into an incandescent whole, achieving a new understanding of her family’s past and her own present.
the woman warrior
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With the continued expansion of the literary canon, multicultural works of modern literary fiction and autobiography have assumed an increasing importance for students and scholars of American literature. This exciting new series assembles key documents and criticism concerning these works that have so recently become central components of the American literature curriculum. Each casebook will reprint documents relating to the work's historical context and reception, present the best in critical essays, and when possible, feature an interview of the author. The series will provide, for the first time, an accessible forum in which readers can come to a fuller understanding of these contemporary masterpieces and the unique aspects of American ethnic, racial, or cultural experience that they so ably portray. This case book presents a thought-provoking overview of critical debates surrounding The Woman Warrior, perhaps the best known Asian American literary work. The essays deal with such issues as the reception by various interpretive communities, canon formation, cultural authenticity, fictionality in autobiography, and feminist and poststructuralist subjectivity. The eight essays are supplemented an interview with the author and a bibliography.
With an introduction by Xiaolu Guo A classic memoir set during the Chinese revolution of the 1940s and inspired by folklore, providing a unique insight into the life of an immigrant in America. When we Chinese girls listened to the adults talking-story, we learned that we failed if we grew up to be but wives or slaves. We could be heroines, swordswomen. Throughout her childhood, Maxine Hong Kingston listened to her mother's mesmerizing tales of a China where girls are worthless, tradition is exalted and only a strong, wily woman can scratch her way upwards. Growing up in a changing America, surrounded by Chinese myth and memory, this is her story of two cultures and one trenchant, lyrical journey into womanhood. Complex and beautiful, angry and adoring, Maxine Hong Kingston's The Woman Warrior is a seminal piece of writing about emigration and identity. It won the National Book Critics Circle Award in 1976 and is widely hailed as a feminist classic.
Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood among Ghosts is “assembling [...] a distinct sense of self from the raw material of the lives and imaginations of countless other women of Chinese descent, a self-hood that must separate itself to appreciate the collective fabric it’s made of, and that is driven, further, to address the world at large.” This term paper discusses the novel The Woman Warrior: Memoirs of a Girlhood among Ghosts written by Maxine Hong Kingston in 1975 and its theme of silence and voicelessness in close connection to the author’s struggle to find her own identity as a Chinese American. I argue that Kingston employs the theme of silence in order to find her own voice as a Chinese woman living in an American society. Her quest starts with the words “’You must not tell anyone,’” but Kingston does exactly the opposite of this by telling her readers stories which were not to be told: of her dead aunt, her mother’s Chinese village, another aunt, who struggles with life in America, and finally her own struggle in finding her voice, i.e. her identity, within Chinese and American society. Therefore, Kingston is portraying a journey from voicelessness to voice. She begins with depicting “enforced silence” in the first chapter. In the end, the protagonist has overcome her struggle of identity and found her own voice. In addition, Kingston entwines her stories around the motif of translation in order to find her unique self. Altogether, this term paper argues that Maxine Hong Kingston portrays her struggle of finding her own identity by employing the motif of translation in combination with the theme of silence. By doing so Kingston uses language as a tool in order to constitute her own identity. The motif of translation is particularly important because Kingston’s finds her ‘American identity’ through the translation of traditional Chinese stories and myths. In this term paper I will, therefore, discuss the beginnings of Kingston’s silence, as well as the conflict between Chinese tradition and the American way of life in order to support the thesis mentioned above.
A first-generation Chinese-American woman recounts growing up in America within a tradition-bound Chinese family and confronted with Chinese ghosts from the past and non-Chinese ghosts of the present in The Woman Warrior and describes the Chinese experience in the U.S. through incidents from her childhood, the history of early Chinese immigrants, and Chinese myths and tales in China Men. 12,500 first printing.
The authors present the many Warrior Women figures seen throughout history & literature, & a system for determining your Warrior Woman personality.
Now at seventy-three volumes, this popular MLA series (ISSN 10591133) addresses a broad range of literary texts. Each volume surveys teaching aids and critical material and brings together essays that apply a variety of perspectives to teaching the text. Upper-level undergraduate and graduate students, student teachers, education specialists, and teachers in all humanities disciplines will find these volumes particularly helpful.
This is a powerful study of what it is like to grow up Chinese in America. The dichotomy of values and the cleaving of a life in two cultures, which must yet be lived in one united whole, make this both compelling and informative.