Jul 04, Mont marked it as to-read Recommends it for: Some of us never leave them, or perhaps we never allow the ghosts to leave us. I get people who grow up with ghosts.
She holds a PhD in English philology and the topic of her research included the works of Malcolm Bradbury both as a critic and as a writer. She is interested in aspects of postmodernity Maxine Hong Kingston, Don DeLillo, Susan Sontag and others and researches dystopias and the campus novel.
Thus, the novel introduces a number of different voices: The strength of the novel lies in its four main sources: Due to these factors the text becomes a literary and historical document of human experience with emphasis on the transformation and adaptation of Asian culture to the civilization of the West through the figure of a woman.
The aforementioned sources bring five different perspectives upon the problem of women in a highly traditional culture as they formed in the mind of an impressionable child by the narration of the adults.
This first part creates one of the most powerful images of the entire novel by making the new mother seek the refuge in the realm of Mother Nature, in an open field when she gives birth to her child.
is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her. Sep 13, · I discovered more family secrets in Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood Among Ghosts, which opens with these lines from her mother: “You must not tell anyone what I am about to tell you.” But Kingston proceeds to do just that in her pioneering book about her childhood in Stockton, California, and the . Maxine Hong Kingston (Chinese: 湯婷婷; born Maxine Ting Ting Hong; October 27, ) is a Chinese American author and Professor Emerita at the University of California, Berkeley, where she graduated with a BA in English in
This multiple perspective has lead critics to label the novel as being the intimation and creation of a racial and gendered consciousness Geok-Lin Lima self-representation through the presentations of other nessbut also a self-invention.
The author was accused of having written a text which is situated between fiction and autobiography, but being clearly neither of them.
I am writing the biography of their imaginations. It seems rather to fit the label of creative memoir circumscribed to the broad background of cultural memory. There is a basic matrix of memories that represent the larger fabric of narration on which the other imagined stories are later woven.
Thus, remembrance is used creatively, it is re-interpreted and then interlaced with dreams, reflection, rumours, speculation, and madness so as to translate in both meanings of the word a culture.
Autobiography This type of confession of the author brought the novel closer to its interpretation as autobiography but it also raised some of the most important controversies concerning its generic status and therefore the integrity of the book and of the author, accordingly.
The very first label of this sort was apparently given by the publisher who first commissioned it as a work of non-fiction and then, literally, as an autobiography. Things are not anymore as clearly set when issues concerning the ambiguous cultural status or the authority of the biographer are raised here.
This disclaimed authority came from the fact that the author was accused of not having found a balance and a strong enough voice between the tensions emerged from the struggle of assimilation into mainstream culture and allegiance to her own subculture Couser As a result, the immigrant and the ethnic voices of the narrator are mixed up in a discourse which was objected by some as not having preserved the traces of the national voice.
And the fragmentary incomplete literary project is rather a subjectively arbitrary document which presents highly emotionally episodes. But it is not an exclusively historical document that The Woman Warrior builds and it is not what the author confesses to having written.
It presents an account of personal sensitivity rather than a historical account, or an account of a voice which seeks to emerge between so many other voices that speak or had spoken for her. InWilliam C. Spengemann Seyhan 69 identifies the defining formal strategies of self-representation as follows: This self-reflexivity arises from the fact that the novel develops a real, but also reimagined narration of the life of the family seen through the tradition-abiding mode and through customary stories.
The manner in which Maxine Hong Kingston constructs these stories in terms of technique is again a borderline undertaking: This process of storytelling bears to marker of the postmodern experiment of multiplying perspectives, of opposing and overlapping spaces, of opposing the new to the old, or the newly emerged myths and values of the contemporary age in comparison with the traditional ones.
Memoirs The Woman Warrior gives from the beginning the impression of a strong biographical writing and research into her life do reveal traces of autobiographical writing. Each story told to her by her mother, or each story presented by the narrator in the five parts of the novel adds a new side to her personality and a new octave to the voice that wants to make itself heard.
It adds a new epic to the narration and a new storey to the multilayered, plurivocal and yet homogeneous edifice of the novel making pass from biography to autobiography, from history to myth, from archetype to new social roles.
Many critics have regarded this aspect of forgetting or eschewing reality as the main flaw of the novel, but in fact Kingston manages to create a subjective re- writing, re- interpretation of old sources myths, archetypes which is only the equivalent of the use of intertextuality.
It is what Michel Foucault Tchibana 1 calls counter-memory as the necessary opposition to traditional history: In his view this is seen in the following: Counter-memory is a way of remembering and forgetting that starts with the local, the immediate, and the personal.
Unlike historical narratives that begin with the totality of human existence and then locate specific actions and events within the totality, counter-memory starts with the particular and the specific and then builds outwards toward a total story.
Counter-memory looks to the past for the hidden histories excluded from dominant narratives.
But unlike myths that seek to detach events and actions from the fabric of any larger history, counter-memory forces revision of existing histories by supplying new perspectives about the past.
Counter-memory embodies aspects of myth and aspects of history, but it retains an enduring suspicion of both categories.
Counter-memory focuses on localized experiences with oppression, using them to reframe and refocus dominant narratives purporting to represent universal experience. Histories The novel starts in what seems to be a typical Bildungsroman.
It is what we would call a personal history or a she-story. In one of her interviews the author confesses:The Woman Warrior China Men (Book): Kingston, Maxine Hong: Here-for the first time in one volume-are two classic, brilliantly original works on the experience of Chinese immigrants in America.
In both books Maxine Hong Kingston mines her family's past and her culture's stories, weaving myth and memory to fashion works of enormous . Oct 18, · up relatively poor in Asbury Park, New Jersey, and frequently talks about the people he grew up with.
Because of Bruce Springsteen’s civilian background, he was inspired to write Darkness on the Edge of Town, a concept album about the struggles of the working class.
China Men, Maxine Hong Kingston's book on the history of Chinese-Americans, followed close on the heels of the publication of her much acclaimed autobiography The Woman Warrior. Kingston has said. In both books Maxine Hong Kingston mines her family’s past and her culture’s stories, weaving myth and memory to fashion works of enormous revelatory power. The Woman Warrior: Memoirs of a Girlhood Among Ghosts, which won the National Book Critics Circle Award, is Kingston’s disturbing and fiercely beautiful account of growing up . In a span of twelve years since the publication of her first book, The Woman Warrior, Maxine Hong Kingston has established herself in the American literary canon.
Maxine Hong Kingston, the "woman warrior" and the author of "The Woman Warrior" have gone through hardships growing up in a Chinese immigrant family, torn between both Chinese and American traditions and ultimately learned to /5(1). Maxine Hong Kingston (Chinese: 湯婷婷; born Maxine Ting Ting Hong; October 27, ) is a Chinese American author and Professor Emerita at the University of California, Berkeley, where she graduated with a BA in English in Apr 12, · In both books Maxine Hong Kingston mines her family's past and her culture's stories, weaving myth and memory to fashion works of enormous revelatory power.
The Woman Warrior: Memoirs of a Girlhood Among Ghosts, which won the National Book Critics Circle Award, is Kingston's disturbing and fiercely beautiful /5(98).