Chinese Immigration to America
San Francisco was (and still is) one of the largest Chinese-American communities in the United States. When immigrant groups settle in one area and create extensive social and economic structures, these areas are called enclaves. By the time the mothers in The Joy Luck Club (and Tan's own parents) arrived in California, there was a large and thriving Chines-American enclave.
The first wave of Chinese immigrants to the United States occurred in the latter half of the nineteenth century. Until the passage of the Chinese Exclusion Act of 1882, which was designed to limit the numbers of Chinese entering the country and prevented those already here from becoming citizens, as many as 30,000 a year arrived in the United States from mainland China.
These immigrants were almost exclusively male and ‘‘only the hardest, dirtiest, most menial jobs were open to them,’’ according to social historian Thomas Sowell. They built most of the railroad across the Sierra and took on the dangerous jobs of strike-breakers in the mines. Nonetheless, they maintained strong social ties and were able to establish economic structures such as mutual aid societies and credit unions.
When the Chinese Exclusion Act was finally repealed in 1943, more women arrived from China and the sex imbalance (and seedy reputation) of Chinatowns improved. The population of Chinese Americans began to rise and by 1950 it was higher than its earlier peak in 1890. These children, like Jing-mei in "Two Kinds'' were often expected to make significant strides up the American social and economic ladder.
Although they escaped the anti-Chinese laws and overt prejudice that faced earlier generations, they still encountered a whole range of difficulties associated with biculturalism: ‘‘cultural dislocation; the problems and challenges of integrating two cultures; intergenerational struggles within immigrant families; the conflict between acculturation and adherence to an ancestral tradition, and between assimilation and parochialism,’’ in Huntley's words.
Asian American Literature
The conflicts and tensions associated with bi-culturalism are a recurring theme of Asian-American literature. Tan's unique contribution to the literature is the articulation of the Chinese-American woman's voice. Critics and social historians have noted that Chinese women are acculturated to silence and are unlikely to speak or write publicly about private experience.
Chinese-American women writers, in Huntley's estimation, ‘‘have been largely but inadvertently responsible for the new and sudden popularity of Asian-American writing, a development made even more startling because Chinese woman were an almost invisible minority in American society until the early 1950s.’’
Following the lead of Maxine Hong Kingston, Tan developed literary and narrative techniques like the use of the talk story that allowed the individual experiences of the older generation of women to be expressed in mythic and symbolic terms. Tan's other major contribution to the genre is the use of many narrators in a single text, a device that Hong Kingston had already introduced American readers to in The Woman Warrior: Memoirs of a Girlhood Among Ghosts.
Despite her identification with other Asian-American writers and the subject matter of her work, Tan is reluctant to be seen as a writer of ethnic American literature. In an interview in online magazine Salon, Tan explained her position. "Placing on writers the responsibility to represent a culture is an onerous burden. Someone who writes fiction is not necessarily writing a depiction of any generalized group, they're writing a very specific story.’’ Nevertheless, the commercial and critical success of Tan's work is often credited with sparking a new interest among publishers and readers in Asian-American writing.
Amy Tan's "Two Kinds" is the last story in the second of four sections of her immensely successful first book, The Joy Luck Club. Tan...
(The entire section is 1,407 words.)