Conflict in Amy Tan’s “Two Kinds” Amy Tan’s, “Two Kinds”, is a short story of a Chinese immigrant mother’s conflict with her daughter Jing-Mei. In this story, Jing-Mei tells of how she resisted her mother’s overbearing efforts to inspire her to reach her fullest potential twenty years ago. Jing Mei’s mother only wanted her daughter to be a prodigy in some way. So she dominated and controlled her daughter’s life. When these traits did not surface, Jing-Mei began to realize she did not have these traits and started to feel internally inferior.
The next time that the two girls were teased by their parents, Elsie challenged her father, telling him that if he lent them his camera, a Midg quarter plate, the two girls would try to take a photograph of one of the fairies. While Arthur, Elsie's father, wasn't happy about it, after being pestered by his wife and daughter, he eventually gave in. After loading the camera with a glass plate and setting the camera's shutter speed of 1/50s, the girls took the camera down to the beck to photograph a fairy. 'Elsie had already prepared her fairy figures when no one was about,' says Frances in her book. The figures were painted onto a stiff paper and poked into the ground using flat-headed hatpins which was stuck onto
Hair spray? (Oates 323) You don’t see your sister using that junk.” Connie hated when her mother would do this. She would say she hated her mother and wish she were dead. But when she has to make a decision on whether to jeopardize her own life or her mother’s, she chooses to put hers in jeopardy. When it came to describing her sister June, Connie thought of her as just a 24 year old secretary who still lives at home with her parents.
'Belonging begins with relationships' In the play Rainbows end by Jane Harrison, we are able to explore this idea that belonging begins with relationships very closely through the characters. In this critical analysis of the play the character in particular Dolly will be explored. Dolly is a young teenage girl who initially feels different because of her aboriginality and poverty. Living with her mother Gladys who wants to be part of the white society, and Nan dear that avoids being a part of anything that involves white Australians she is constantly confronted by conflicting of values. Throughout the play we discover the changing of her belonging in two different sequences, and it is through the relationships with other characters that enables Dolly to find her
It is advised that they receive mental health treatment to deal with these fears of rejection. Some men are cross dressers and are in fear of not being socially accepted by their own gay community. Gay men have reported to being assaulted and harassed by other men. They have even been beat brutally. Having to live with HIV and being gay has been reported to not being easy.
Tunis1 Grace Tunis Mrs. Otway English 4 December 18, 2013 Two Women: One Household You do not get to pick your family. Sometimes you are forced to live with people you may truly not get along with. In Pearl S. Buck's novel, The Good Earth, Wang Lung brings a concubine, Lotus, into his household forcing his children and wife, Olan, to accommodate her. This creates many problems in their once happy family, causing personality changes, mood swings, and lots of drama. This was very typical in ancient Chinese culture and the story tells us of years that pass by in a house of two women.
Immigrant Experience in Different Generations “Midnight at the Dragon Café”, by Judy Fong Bates, shows the immigrant life of a young Chinese girl, Su-Jen’s family in Canada as a white community’s solitary Chinese family. Through Su-Jen’s eyes, the longing, sacrifice, saving face and the culture conflict themes of the book are revealed. The book represents the hard life behind the scenes at the Dragon Café due to the immigrant experience; both Su-Jen’s parents struggle against their lives and they do not get their ideal lives as return; however, the reason why Su-Jen having an uneasy life is not that she has entangled personal notions; she struggles from her parents’ struggles, and finally she gets through all these difficulties, and gains the life which she wants to have. Thus, immigrant experience is always full of struggles; however, it is much easier for younger generation to get through the tough time and gain the expected life in a foreign land. Su-Jen’s father, Hing-Wun, sacrifices everything for his family, and he struggles at the same time; these struggles continue in his whole life.
As the novel opens, Allison’s narrator, Ruth Anne “Bone” Boatwright, recounts her illegitimate birth to her fifteen-year-old mother, Anney Boatwright, and her mother’s annual humiliating attempts to get her child a birth certificate without “Illegitimate” stamped across the bottom (4). In Bone’s narration of Anney’s quest for a new birth certificate without the dehumanizing stamp, Allison indicates that the category “white trash” is an ideological construct--one of the enabling myths of a bourgeois society that relies upon the exploited labor of the class it stigmatizes in order to secure its own wealth: “Mama hated to be called trash, hated the memory of every day she’d ever spent bent over other people’s peanuts and strawberry plants while they stood tall and looked at her like she was a rock on the ground” (3-4). Allison reverses the qualities associated with the privileged class--hard-working, honest, civil--and those associated with the underclass--lazy, shiftless, uncivilized. In Allison’s analysis, Anney’s employers appear inhumane, unjust, and uncivil as they objectify her body stooped in labor for their benefit; she appears hard-working and purposeful while they appear lazy and self-indulgent in their exploitation of her work. Thus the qualities ascribed to the underclass and the elite cannot embody metaphysical essences constituting the nature of each class since the allegedly defining qualities of each are interchangeable.
This is the first time that Kingston explicitly tells which additions to the story are her own. Not only is she referencing the story at hand, but she is also alluding to her life. While her mother very much colored her childhood, Kingston will be dictating the direction of the rest of her life. Kingston tells the story of Ts’ai Yen, a poetess captured and made to live with barbarians. Towards the end of the tale, Kingston tells of a song Ts’ai Yen sings: “Her words seemed to be Chinese, but the barbarians understood their sadness and anger…her children did not laugh, but eventually sang along” (209).
Bella’s guilt caused by her mother’s fear of loneliness has left her short of any male relations. She cannot escape the wrath of her mother, and continually surrenders to her mother's will. Also, Bella has felt she cannot start her own relationship because her mother, in an effort to protect her living children, she has trained them not to feel by hardening them with punishments such as locking them in a closet or beating them with her cane” (Bloom, Harold. “List of characters in Lost in Yonkers. p67-68).