Amy Tan's literary work is deeply influenced by her immersion in both Chinese and American cultural narratives. Drawing inspiration from Maxine Hong Kingston’s memoir, The Woman Warrior, and Louise Erdrich’s novel, Love Medicine, Tan crafts stories that intricately weave together personal and cultural histories. Her narratives explore the interplay of memory and identity, showcasing how the past and present are inextricably linked.

Memoir and Memory

In "The Joy Luck Club," Amy Tan presents a mosaic of interrelated stories, each resonating with distinct voices and perspectives. The story "Two Kinds" stands out as a microcosm within this collection, employing a narrative style that seamlessly transitions between childhood innocence and adult reflection. This dual perspective enriches the narrative, allowing readers to delve into the complexities of memory and its influence on current perceptions.

The oscillation between a child's naive curiosity and an adult's reflective insight invites readers to engage with the evolving mother-daughter relationship at the heart of "Two Kinds." This technique not only captures the fluid nature of memory but also encourages readers to derive their own interpretations of the events unfolding in the story. Tan deftly illustrates that memories are not static records; they are dynamic constructs crafted through the act of storytelling, which in turn shapes our understanding of identity and personal experience.

Literary critic Ben Xu provides further insight into this narrative approach, suggesting that memory functions as a complex narrative construct. Xu argues, "images," "pictures," and "views" coalesce into stories that define our sense of self. These stories go beyond mere reflections of past events, transforming them into experiences imbued with deeper meaning. "Memory," according to Xu, "serves as an experiential relation between the past and the present, projecting a future as well.” Thus, narrative form becomes an essential tool for interpreting the intricacies of human life.

The Art of Talk Story

In contrast, the Chinese mothers in Tan’s stories express their experiences through the traditional "talk story" method. This narrative approach, deeply rooted in Chinese folklore, serves as a vital link between their cultural heritage and their present-day realities. It allows the mothers to articulate their life experiences and convey cultural wisdom to their daughters.

According to E. D. Huntley, talk story is "a narrative strategy for those characters whose ties to Chinese tradition remain strong.” This method enables characters to employ traditional oral forms, embedding their narratives with cultural significance and urgency. Through talk stories, life events are reframed in culturally resonant ways, turning personal struggles into folk tales, warnings into wise aphorisms, and life experiences into mythic expressions.

For characters like Jing-mei’s mother, talk story is not merely a stylistic choice but a necessary form of communication shaped by cultural and societal constraints. Her stories are public narratives, articulated in a manner that adheres to socially acceptable norms. This approach highlights the cultural and generational divide between the mothers and daughters, often resulting in moments of tension and revelation when unvarnished truths are revealed, such as Jing-mei’s blunt confrontation with her mother's past. The talk story thus becomes a vital narrative device, bridging cultural gaps and preserving the richness of heritage while navigating the complexities of modern identity.