Copy of 2003 midterm

Complete essay from email midterm

Chaos out of Order
(Begin 19:36)

The history of literature can just as easily be considered the history of society. When a writer takes pen to paper, the influence of years of learning, experiencing and practicing; dreams and hopes of new beginnings; and the current state of mind of the author are all manifested in the words that end up on the paper. In the case of “The Immigrant Narrative,” all these factors provide an insight to understanding the unique characteristics that define the multicultural identity of immigrants. In so doing, the minority culture is given a voice as well. For the immigrant narrative does not apply only to those who choose to enter the region. There are others who were either already here or were forced to be here who share many of the same issues as the traditional immigrants imagined in the shadow of the Statue of Liberty. This second group has been in the dominant culture for hundreds of years and is still in search of a recognized identity. Because of this, theirs is a tale similar to the immigrant narrative. In the end, the literature of these two groups is a history of the shaping of behaviors and values of the minority and immigrant cultures as they struggle with assimilating or resisting the dominant culture.

The backbone of the struggle is the conflict between resistance and assimilation. For those choosing to migrate, the choice might seem obvious. Presumably they have entered the culture because there is something about it that they want that they could not get in their native land. In “The English Lesson,” by Nicholas Mohr, the polar opposites of the immigrant narrative are introduced. One student is learning English to enhance his life in the United States. Another is resentful of U.S. dominance and is merely learning the language to provide a better living outside the country. In this case, Stephen Paczkowski is indicative of stage four of the narrative: assimilation. Diego Torres is indicative of stage three: shock, resistance, exploitation and discrimination (IA 25-27). In the case of minority culture struggling with an identity No Name in the Street by James Baldwin also introduces two characters at opposite ends of the narrative spectrum – Baldwin himself and his former best friend. Baldwin was born in the United States. However, as an African American he has experienced stage three of the immigrant narrative his entire adult life. As a result, he rebels against the dominant culture. His friend, on the other hand, seems uninterested in the struggle. In the end, Baldwin laments that he continues his struggle on behalf of people like his friend (VA 290). The common thread throughout both the immigrant narrative and minority narrative is that time does not seem to play a role in the stage of the narrative development. Baldwin and his friend are presumably the same age, yet are affected by different influences. They are both many generations removed from the forced immigration of their ancestors, so their social contracts have been dictated by current trends. Conversely, Diego Torres and Stephen Paczkowski are both first generation immigrants with entirely different perspectives. Their contracts have likewise been dictated by current trends. In each case, the people have chosen either assimilation or resistance.

The choice each makes is a key ingredient to understanding the identities of minorities and immigrants in literature. In some ways, the simple act of making a choice is in itself resistance or assimilation. In “El Patron” by Nash Candaleria, the entire crisis centers around the son’s decision to evade the draft despite a family history of going to war. The move to individualism is a stark contrast to the predominantly family oriented structure of the Mexican-American culture. Having lived in the United States long enough to reach a point where individualism is a cherished character trait, the son reached stage four through a different route than the father. In fact, the daughter did as well because she was far more outspoken than Mexican women were supposed to be. The desire for individualism is also seen in the Caribbean narrative “Children of the Sea” by Edwidge Danticat. The letter writers have both strayed from tradition by protesting against the government (him) and defying the father’s orders to not associate with him (her). In this case, the mere prospect of living in a land where such decisions are allowed inspired actions by the lovers. Although only at stage one, they were already dealing with the same issues of assimilation and rejection. In both stories there is rejection of the old and assimilation to the new cultures.

That people of similar or diverse backgrounds can have either similar or diverse identities should not be a surprising concept. However, in the context of understanding immigrant and minority identities and literature the extraordinary range of behaviors and beliefs is somewhat surprising. For those in the dominant culture who, for the most part, believe that everyone who comes to the United States is doing so in search of the dream, it would seem to be a given that they would all want to assimilate. The study of Immigrant Literature completely debunks that myth. One cannot read Joseph Papaleo’s “American Dream: First Report” without feeling somewhat ashamed of what the dominant culture has become. If the American Dream is to be “devoted to the disinfection of our carpets,” (UA 88) perhaps the dominant culture should consider some resistance of its own. As for minority literature, Chrystos’s “I Have not Signed a Treaty with the United States Government” is a venom-filled rejection of what the dominant culture has to offer – an offer he neither asked for nor wants. The study of all these different works brings to light the struggle of those wishing to enter the dominant culture and those opposed to it. In a country that is presumably free, the literature indicates that the struggle is enormous regardless of the choices made.

People in the United States are free to make those choices; express those choices; and even change their minds. Those are rights given to all citizens by law. The dominant culture gets to hold those laws up as an example of equality. However, what is frequently overlooked is the enormous power of societal norms on an individual. For those in the dominant culture, the view is great. For those outside looking in, the view is entirely different. The literature of immigrants and minorities brings the pressure of these “norms” to light. The literature is basically a history of society. JS indicated in a 2002 midterm that immigrant and minority literature helps educate those who do not study immigration from a sociological perspective understand the issues on a broad scale. Very few statements hold more truth. A poem such as Patricia Smith’s “Blonde White Women” is far easier to read than a sociology text, yet it captures almost every stage of the immigrant narrative despite being written from a minority perspective. The poem is the epitome of the intertwining of immigrant versus minority assimilation and resistance to the dominant culture.  [RH]

(End 21:24)

Complete essay from email midterm

The Immigrant Narrative is an easy way to evaluate the vast cultures in America without having to tiptoe around the idea of cultural difference and deference.  Studying the narrative also shows how many American ideals were created which also helps us observe and better understand the dominant and minority cultures.  The goal of early immigrants is very similar to the goal of immigrants crossing over today.  In fact, the immigrant narrative has become the “American Dream” – the thing every American wants to reach for (objective 1: story of immigration as a fundamental narrative of American lit. and culture).  Splashed across billboards and t.v. screens we are told to “be the best we can be”, “reach for the stars”, and be a little more “like Mike” – the idea being to better our station in life, make it rich, be known, on top of the world, and thus be free of worry.  By looking at the Immigrant Narrative it can be seen where many of these ideas were developed and how the idea of separation from the “old world” and assimilation of the “new” was seen as the way to reaching this better station.  Reading the immigrant narrative and the minority narrative makes it easier for us to step back from the rush of our culture and see how we became and understand the struggle of those we see as “others”. 

One’s acceptance into the American culture relates directly to this idea of assimilation.  The faster assimilation occurs the faster acceptance is reached.  In order to reach assimilation the “old world” has to be severed leaving behind “markings” of that culture.  As stated in a previous midterm posting, “The first stage is leaving the "Old World". For the immigrant, leaving the "Old World" is an aspiration. There is a sense of running from the old to the new.”  The idea of assimilation also shows how the dominant belief of superiority has been created (ethnocentrism) – if one has to separate from their old culture and blend into the new culture to have acceptance then one culture must be better than the other, right?  A major theme throughout the narratives linking to the idea of assimilation is that of assimilation of appearance.  (If one looks, smells, and sounds like an American—they must be American.)  As shown in Yezierska’s “Soap and Water”, to be clean and “kept” is synonymous with acceptance.  The dean of the college decided to keep her diploma because of her “personal appearance” and said she wasn’t suited to be a teacher (role model) to children – who were to be taught how to fit in as well.  The emphasis on soap seems to be showing the importance of washing away the old world.   The idea of assimilation through appearance is also seen in Mohr’s “The English Lesson” through Mrs. Hamma the teacher of the Basic English class.  Mrs. Hamma was not only teaching English to the students, but also tried to teach them the “correct way” of speaking – which is an attempt to get rid of their “markings”.  It is not enough to know the language -- you must also speak like the Americans to gather acceptance.  Mrs. Hamma also shows the importance of dress, manner, and pronunciation through her approval of the professor of music – she showed the class through her enthusiasm that she approved because she knew he was of a higher class and would assimilate easier – thus assimilation of appearance is seen as better.  The dominant culture still makes these distinctions today.  I work as a security guard for Space Center Houston and just the other day a fellow officer when telling me about a guest who had perturbed him made sure he mentioned that he “smelled funny” and that he “sounded like he only knew three words of English”.  I think sadly this is our idea of hierarchy.  My fellow officer believed himself to be better than the gentleman because he belonged.  Although not all the dominant culture act in this manner or carry the same beliefs, I believe it is evident that it is very important to separate from such “markings” in order to fit in fully, not be marked as “other”, and reach the “American Dream” (there are exceptions of course).  This is not to say that immigrants to not resist assimilation, merely that they do not continue to resist after a couple of generations.

            Those who choose to resist assimilation are seen as outsiders, the “others”, or radicals.  Resistance to the system of assimilation is often seen as a result of one’s original social contract with America.  Many Americans are not living the American Dream rather they are involved in the American Nightmare – or a new version called “The Dream” (MLKjr) focusing on equality and acceptance rather than making it big (objective 1a: American Dream vs. American Nightmare).  The two major groups living “The Dream” are African Americans and Native Americans.  African Americans original relation to the USA began with the slave ship and as property of Americans.  As seen in “The Classic Slave Narratives: The Life of Gustavus Vassa or Olaudah Equiano”, he notes how he saw the ship and realized that he was the “cargo” it was awaiting which quickly changed his “astonishment” into “terror”.  He speaks of his resistance and wanting to be returned to his “former slavery” instead of his present situation – he “wished for the last friend, death, to relieve” him.  The resistance to the system and a want to return to the old world are common traits of the minority narrative. 

The Native American narrative is similar in its resistance and a wanting to return or hold on to the past is evident.  Native Americans were forced from their lands, killed, forced to assimilate (children taken from them and sent to “white” schools), and then shoved into a remote pocket of land and romanticized by the dominant culture.  It was seen as better for them if their children were taken and brought up proper as seen in Erdrich’s “American Horse” Buddy is taken from his mother and uncle because the poverty and problems surrounding the house were seen as not fit to dominant culture standards.  (Why were they in poverty in the first place?)  Also shown is the minority culture resistance to the law and other dominant institutions.  Buddy whispering to his mom says, “cops suck the worst because they’re after us” – even as a child he understands the relationship between dominant and minority culture and knows that he is seen as lower in status.  The authority figures are not seen as protectors, but as disrupters because they are symbols of the dominant culture, who have tried to take away their culture and give them a new one.  To assimilate would be to agree with the dominant cultures view of superiority and so they must resist.  “The Dream” is to be treated as equals in the dominant world while holding onto one’s own culture. 

The resistance is a way of minorities staying strong and showing that they are equal and have no need to assimilate because to assimilate does not mean to be better.  The dominant culture tends to call minorities who speak about the past as radicals who merely want to dwell in the past.  The dominant culture wants to move on, but to remember and remain in the past for the minority is to keep the progress rolling for better equality.  African Americans have only been “free” for a relatively short period of time – they were slaves for 246 years in America (1619-1865) and non-slave for 138 years (1865-2003) and if we take into account the slavery under Jim Crow laws – African Americans have only been free for 49 years.  And Native Americans are still in a constant struggle to be seen as real and not fictional characters, which whooped and hollered around the cowboy and his scared family.  To resist is to remember, and the minority narrative is very important in understanding class, status, and power in America.  They resist because the dominant culture resist them.

 Another important narrative in America is that of the “Ambivalent Minority” – or those who tend to dance between traits of both narratives (immigrant and minority).  Examples of the “Ambivalent Minority” are Mexican Americans and Afro-Caribbean’s.  Mexican American’s are seen as minorities because a large portion of what is now America was at one point Mexico, but was taken away from them.  In fact, many of the great separatist who helped win Texas freedom from Santa Anna, such as De Zevala (sp?), were ostracized after the war and forced to leave because they were born in Mexico.  Many Mexican Americans relate to the minority narrative because of this original social contract.  However, many Mexican Americans also come to America in search of the “American Dream”.   A trait seen in the “Ambivalent Minority” is that of holding onto a part of the past culture while going out into the dominant world and being successful.  As seen in Gary Soto’s “Like Mexicans”, the boy is urged to marry someone who was like him, net necessarily one of the Mexican culture, but someone who has a different culture than that of the dominant group – “no okies”.  He is not taught to not join or resist the dominant culture completely merely he is told to hold on to a part of himself – which he does when he realizes the woman he is dating is of the same social status as himself “her people were like Mexicans, only different”. 

Another example of the “Ambivalent Minority” is that of the Afro-Caribbean who have a similar narrative to the Mexican Americans in that they want to hold onto a part of the past.  In the “Ambivalent Minority” narrative it is also common to see later generations who have assimilated into the dominant culture make an attempt to link back to their past culture even if they were not raised in that culture which is a linking back to their minority narrative.  This can be seen in Martin Espada’s “Coca-Cola and Coco Frio”, where the boy visiting his relatives in Puerto Rico is searching from table to table – all of his Puerto Rican relatives keep handing him Coca-Cola and push him away from the foods from the Puerto Rican culture.  Searching for something different he finds Coco Frio and finds his link back to his culture – “Puerto Rico was not Coca-Cola or Brooklyn, and neither was he”.  The “Ambivalent Minority” narrative stories helps show how these groups often live double lives, and double cultures – in the dominant culture, and inside the home.  This narrative shows the importance of the past and family, while also assimilating with the dominant culture in the outside world enough to reach the “American Dream” of success. 

I feel it is very important to understand the differences and similarities of the different narratives in order to understand the multicultural society that we live in.  By looking at these narratives through fiction, poetry, and non-fiction it becomes easier for discussion.  We are shaped by our past and present, and the past and present of those around us – it is important to understand the past to understand the present, and even though some of the traits are blurred between the narratives separating them into groups makes it easier for us to grasp.  I feel my “learning curve” in handling terms and concepts is pretty easy.  I have always felt a link to the minority narrative (due to class, status issue), but also understand that my parents belong to the immigrant narrative.  When I was very young when my sister was in the hospital (after a car accident) in Dallas we lived at the Ronald McDonald house and went to summer school at the “Black Academy of Arts and Letters” (summer program for poor inner city youth) – and I remember feeling like I belonged there more than my school back at home.  I did not feel like I belonged with the rich white kids whose parents moved out to the country to get away from the “problems” of the city schools.  I did not understand why my teacher told me that I could not be a “black policewoman” like I wanted to be – I do not believe I understood that my skin could not change, I only knew that I was not like my teacher or the other students.  This is not to say that I am a minority, merely that I understand (no attempt to downplay their narrative).  I also feel my “learning curve” has been affected by my education background – before transferring to UHCL, I was a Political Science major with an emphasis in Civil Rights Law, I have also already taken the American Minority Literature course at UHCL and feel this has helped me a great deal in understanding the differences between the narratives.  [GH]

Complete essay from email midterm

In an age when multiculturalism is in the forethoughts of an enlightened and “politically correct” society, one may first have reservations about beginning an overview of the subject, given the abundance of resources now available. Certainly, the thought of attempting such a task is intimidating, but one must realize that in gaining an understanding of other cultures, one will invariably come to a better understanding of one’s own culture, particularly by focusing on the areas where the various cultures intersect and overlap. In America, that intersection of cultures manifests itself in the American Immigrant and Minority Narratives, and those narratives lend themselves naturally to literature, both in prose and in poetry.

            The immigrant and minority narrative begins in this country even before the arrival of the Europeans, with the Native American peoples, who will soon find themselves unwilling participants in the story. As Europeans arrive, Native Americans are displaced by this group of immigrants, both in terms of being driven from their lands and by falling victim to the diseases that the Europeans bring. Many of the Native Americans who do survive smallpox and other diseases are slaughtered in the “new” Americans’ rush towards this country’s date with its “Manifest Destiny.”

            Narratives of the Native American peoples provide one benchmark of this society’s multicultural identity, as witnessed in the literary texts of several contemporary American writers. Among those relevant to this study of multiculturalism is American Horse, written by Louise Erdrich, whose mother is of Ojibwa-French extraction. In this story, a Native American woman, Albertine American Horse, “protects” and hides her son, Buddy, from the authorities who have come to take him away as a ward of the state, although “all of the papers have already been signed.” Harmony, one of the authorities and himself a Native American, represents the “assimilated” stage of the American Dream, while Albertine and her son, who live hand-to-mouth, represent the American Nightmare—a class of peoples forgotten by and distrusting of the dominant American culture, and for good reason.

            Other unwilling participants in the American Immigrant and Minority Narrative are those whose ancestors made the journey to America in the “middle passage” aboard slave ships. Although many of the early African immigrant narratives exist only as oral accounts of the passage to America, contemporary narratives such as Toni Cade Bambara’s The Lesson also describe a group of peoples whom are “just along for the ride,” it seems, with regards to the dominant culture in American society. Sylvia, the young black girl who narrates the story, learns “the lesson” from Miss Moore, an educated woman who has taken it upon herself to enlighten a group of inner-city children with regards to the harsh reality of the “haves” of society versus the “have-nots” by having the children observe how the “other half” lives, oblivious to the fact that there are those among them who have no concept of what it is like to eat every day, much less what it is like to spend over one thousand dollars for a toy sailboat. The Lesson, it seems, should be taken to heart by those whom it examines, as well, since it is an indicator of often-misplaced dominant American cultural values.

            Moving from unwilling to willing participants in the American Immigrant Narrative, one discovers a recurring theme—a belief in the American Dream, despite the fact that this dream sometimes borders on becoming the American Nightmare, the luster of that pot of gold the adventuresome immigrant seeks having become somewhat tarnished. The “social contract” between these willing participants and America differs, however, from that of the unwilling participants, in that the willing participants come of their own volition to gain freedom, be it freedom from political oppression or freedom from economic disadvantage. One common means for escaping those fetters is through education, as both Anzia Yezierska’s Soap and Water and Nicholasa Mohr’s The English Lesson illustrate, although both short stories explore other issues as well. Soap and Water tells of one immigrant’s having sacrificed years of her life to obtain an education, only to be judged unfit to be a teacher by Dean Whiteside (the name alone should signal the reader that the dominant culture “makes the rules”) based on the immigrant woman’s unkempt appearance. The narrator cannot reconcile her feelings of disappointment at the injustice that has been thrust upon her, and believes the American Dream has become the American Nightmare. The English Lesson addresses another issue that is common among other cultures—that of gender roles in certain societies. Lali (whose husband, Rudi, owns a diner) is an immigrant who tries to better herself by taking English lessons with another coworker. Both of these characters exhibit traits of immigrants in Stage 4 of the Immigrant Narrative, assimilation and loss of ethnic identity. Lali, however, must also contend with gender issues, inasmuch as she is departing from her previous culture’s traditional role as a submissive wife, content to serve her husband while remaining at home—or, in this case, at work at her husband’s deli.

            Having examined both the Minority and the Immigrant Narratives separately, one must also consider the narratives of those groups whose members represent both narratives. The Afro-Carribean Immigrant and Minority narrative, as illustrated in such works as Edwidge Danticat’s Children of the Sea, offers a powerful, poignant view of the issues that face peoples of this group. In this story, Haitian refugees who are fleeing persecution and certain death in their homeland hope to reach America’s shores in order to begin a new life. The narrative is told by means of  a succession of letters that are “exchanged” between a young man on the boat and a young woman in Haiti, although the reader may infer that the letters—like the occupants of the boat, who all drown at sea—never reach their destination. This may symbolize, on another level, that even if immigrants reach America, the “dream” that they expect may yet become a “nightmare.”

            Mexican-Americans, the “ambivalent minority,” also find themselves in this last group, caught between the American Dream and the American Nightmare. Since Mexico at one time holds much of what is today America, Mexican-Americans sometimes have difficulty reconciling their feelings of patriotism for their homeland with those of their newly-adopted country. In Nash Candelaria’s short story El Patron, Tito turns his back on his father’s beliefs, defying him by refusing to register for the draft. Tito bases his decision to do so on the principle of the matter—Tito believes that his social conscience takes precedence over one’s patriotic duty to any country. Tito’s father views this defiance as an insult, since El Señor Martinez has embraced this country as his own—total assimilation. Tito typifies the ambivalent minority, however, because although he embraces some aspects of American culture—he does enjoy eating at fast food restaurants—he abhors other facets of American culture, such as its meddling in other country’s affairs—perhaps viewing this as another incarnation of the country’s earlier policy of Manifest Destiny, now extended globally. Although many of the immigrant cultures are structured along the lines of the “extended family” concept, many will not embrace their “Uncle Sam” when he comes to visit their own country.

            As stated earlier, upon examination of these American Immigrant and Minority Narratives, one must also come to the conclusion that multiculturalism plays an important role in developing a true society of equals—a society that must learn that tolerance and respect of others is not a sign of weakness, but of strength. [JH]

Complete essay from email midterm

Since the United States is a country that welcomes legal immigration and encourages diversity, the Immigrant Narrative helps us to understand and explore the ideas and ideals of those who cross the borders of America.  The literature written by these immigrants is an essential part of studying and identifying multicultural identities.  These identities can be separated into three separate, yet somewhat similar, categories.  The first category is one in which most people would identify immigrants.  It would consist of those people who immigrated to America by choice.  Another category is composed of those who were forced to immigrate, such as the Africans who were brought to America as slaves.  Finally, the third category is comprised of people who were here before others began to migrate here.  These would be the American Indians and Mexicans.  Although the narratives and stories are written by people who represent the different categories of the immigrants and whose stories are diverse in nature, they all tell of experiences of people who once lived in another country and who now call America home.

            Of the three groups of people mentioned above, two of the groups of people left their homeland to live in a new country.  The first group, the ones who chose to come to America, usually tell stories about their searches for a better way of life.  This can be seen in Nicholasa Mohr’s narrative, “The English Lesson.”  In the story, Mrs. Hamma is teaching English to a night class of immigrants.  When asked to tell their story of why they want to learn English, one student responds, “I study Basic English por que…because my ambition is to learn to speak and read English very good.  To get a better job.  Y—y también, to help my mother y familia…Y do better, that’s all.”  Although this student seems to have had a good experience as an immigrant to America, that is not always the case.  In Anzia Yezierska’s “Soap and Water”, a young woman from Russia is working in a laundry in order to make money while she is trying to earn her college education.  She is stunned to learn that the dean of the school is refusing to allow the student to receive her diploma because she is not clean.  The dean feels that the student did not have the cleanliness required of the American teacher.  This is devastating for the student and her dream of America was shattered.  She prays the “inarticulate prayer of the lost immigrant: ‘America! Ach, America!  Where is America?’”  Her experience of America is one of disappointment.

            African Americans who make up the second group of immigrants, were also were a group of people who left their homelands and came to America.  However, this move was not one of choice.  They were taken from their country and forced to work as slaves in America.  They present a different view of the immigrant. They are both immigrants and minorities.  For these people, the American Dream is, in reality, the American Nightmare.  They did not choose to come to this country and have often been discriminated against.  They sometimes find their culture unacceptable and strive to become someone they are not.  This can be seen in the poem by Patricia Smith, “Blonde White Women.”  Although she embraces her culture and her diversity now, this was not always the case.  As a child she mimicked being a white girl because she felt that it was more acceptable.  At the age of five she remembers “toddling my five-year-old black butt around with a dull gray mophead covering my nappy hair, wishing myself golden.”  Her experience as part of a culture of minority immigrants is not one whose stories are always pleasant to read.

            Afro-Caribbeans are another group of immigrants who are considered a minority in America.  Although not forcefully migrated to America, they often face the same types of discrimination as the Afro-Americans.  Paule Marshall, author of “The Making of a Writer:  From the Poets in the Kitchen,” was born in Barbados and grew up in Brooklyn.  In this narrative, she recalls that the people who most influenced her writing were the “group of women around the table…They taught me my first lessons in the narrative art.”  She mentions that the women around the table, her mother and her friends, “suffered a triple invisibility, being black, female and foreigners.”  They not only faced the ridicule of being black, they also endured the discrimination of being from another country.  Although not African-American, they are often seen as being a part of the black minority.

            The third category of Immigrant Narrative includes those people who were already in America when those from other countries began migrating into the United States.  The American Indians, who are sometimes classified as minorities, evoke feelings of being forced from their lands.  As stated by an anonymous student in a previous class, “American Indians have fought hard to remain independent of the ‘immigrant culture’ or American dream.  In Chrystos’ “I Have Not Signed a Treaty with the United States Government,” the author tells us that America is not his dream and that the U.S. should leave.  Some groups of American Indians have remained strong in numbers and traditions and have chosen not to assimilate into the American culture.

            Another group that can be grouped into this category is Mexicans.  They originally held land in the United States, which was taken from them, and were forced into Mexico.  Although many have chosen to adopt the culture of the United States, they also like to grasp their own culture and customs.  In “Like Mexicans” by Gary Soto, the author’s grandmother gave good advice.  This was to marry a Mexican.  However, he falls in love with a Japanese girl.  He is very surprised when he discovers that his in-laws are very similar to Mexicans.  This story is an example of not only how Mexicans assimilated into the American culture, but how the Japanese did the same.

            Although their purpose for being in America is different, their stories are much the same.  Immigrant Narratives tell the stories of those who came to America from a different country or who were here before the rest of us came.  To some of these, their experience carry the excitement of fulfilling their dreams, to others, the dream begins or becomes a living nightmare.  However, their stories can broaden the understanding and acceptance of their readers.  The Immigrant Narratives are an essential part of multicultural studies and are necessary to educate the reader and bring new insight to studying cultural diversity.  Regardless if their experiences were bad or good, they now, like us, are Americans. [KM]

Complete essay from email midterm

The immigrant and minority experience intertwine, never being clearly defined or strongly muddled.  While some parts of the journey for one group are voluntary, others experience a completely different American dream.  Each immigrant narrative follows stages, but not all immigrant cultures assimilate into the dominant culture.  Those that most resemble the dominant culture find the easiest assimilation, although not necessarily the acceptance they expected. 

“Soap and Water” tells of a quest for the American dream with a focus on class and power distinction. IN (Immigrant Narrative) Stage 3 is represented as the narrator talks of her experience being viewed as a dirty person because of her immigrant status, unable to pass for what dominant culture believes to be “clean”.  As her personal appearance is questioned, she realizes that she is seen as a dirty immigrant who does not fit the ideals of the culture she felt a part of.  Members of the dominant culture never “…perceived that I had a soul”.  Stage 3 turns into the longing for Stage 4, as the narrator recounts how Mrs. Whiteside “did not see how I longed for beauty and cleanliness”.  The narrator is willing to sacrifice her own ethnic identity in order to succeed in this New World.  She experiences discrimination when she realizes that “Mrs. Whiteside had no particular reason for…persecuting me.” CO (Cultural Objective) 1a is evident as the narrator suffers problems due to visible physical differences, like a minority would.  Her migration to America has only exposed her to further religious persecution that Jewish immigrants traditionally came to America to escape.  (IN) Stage 2 and 3 are shown when she meets with resistance as she tries to fit into the dominant culture by becoming educated.  She is exploited for her labor and then discriminated against because she wants to escape it.  The blood and tears in America stain her American dream.  (IN) 2 is shown as the narrator remembers an incident when she arrived in America.  The policeman telling her to get off the grass foreshadows the problems she will have finding a place to enjoy the freedom she expected to find here.  She doesn’t look right and becomes classified as a threat. In a previous mid-term exam, one student wrote, “the immigrant concept of the American Dream is displayed through the narrator’s longing to attend college and become one of the dominant culture.”  The dream of America is what inspires her to come, the “golden country”.  “So-called America” makes a connection to the minority experience as shown in African American narratives, during the time that the narrator struggles but “visions of America rose over me…like songs of freedom of an oppressed people”. She is not willing to give in, despite the issues she faces.  (IN) Stage 4 as she eventually assimilates into the American culture, and is glad to be accepted.  “I was changed and the world was changed”.  Not quite, but she no longer is the same person she was at the beginning of the story. In assimilating she has lost her ethnic identity.   

In “Report from the Bahamas” The African American dream is presented and it is defined by a forced participation.  The narrator’s observation of the Bahamian cultural identity that only focuses on the white history and pushes the black native history to the back spotlights the fact that choice is restricted. The narrator feels out of place in the midst of the white tourists and uncomfortable for the black natives who are unjustly forces to participate in a Bahamian history that is not their own. Although not technically an ambivalent minority, the feelings of ambivalence are present.  (CO) 1a is shown as the narrator makes reference to “my brothers and sisters from the North” and “Confederate Southerners”, tying the author to her own unjust history in America, even though she is out of the country.  There is bargaining for a souvenir as one might have bargained for a slave.  The American dream economically is there, even if the freedom is not.  The narrator’s struggles in America are brought up, as she says it seems strange that a “Black woman would best be assured by a multinational hotel corporation”. She is from Brooklyn, having made the migration North.  The identification with Jewish culture and the language distinction that both Black and Jewish cultures share, a non-traditional English that serves to connect them culturally but also disconnect them from the American culture.  She consistently refers to race, class, and gender-an additional minority checkmark in her column as a woman.  The connection to the Irish woman, a member of the dominant culture but still an immigrant, contrasts the immigrant narrative and the experience both have had as their cultures assimilated into the dominant culture.  The black woman has visible racial differences and memories of conflicts in the past with the Irish. Assimilation is occurring, although the narrator is somewhere in between stage 4 and stage 5 of the IN. 

In “The Lesson”, there is the shock of America.  Immediately we are struck by IN Stage 3, including resistance, forced assimilations, and discrimination.   CO 2a is shown as the people in the neighborhood all moved North, shadowing the internal immigration of African Americans.  CO 1a is demonstrated in the narrator as a part of a forced participation in the American dream.  Ms. Moore is an educated person who comes into the neighborhood to teach the kids who have no one in their own community to help them.  She shows them what is available outside their community, their culture, in the city.  When they go into the stores, they feel like they don’t belong.  They feel “shame”.  The connection to the speech characteristics connects the characters to the minority culture, as each child is called by a nickname and uses specific slang language.  Although the narrator seems to be a child, already she has formed the opinion that she doesn’t fit into the dominant culture. “White folks crazy” is mentioned several times.  The children can see the unequal distribution of wealth.  They did not participate in any American dream immigration but were forced to come to America and work with what they could.  No matter how hard they work, someone will still recognize African Americans as part of the minority culture and refuse to allow them full access to the privileges the dominant society enjoys. 

The minority immigrant narrative seen in “I have not signed a treaty” is primarily Stage 3:  Shock, resistance, exploitation, and discrimination.  Stage 4 is seen as the Indian assimilation to the culture and the forced loss of ethnic identity.  Stage 5 is also present as the rediscovery of ethnic identity comes with the forced language of the poem.  Forced participation in the American nightmare is the overlying theme of the poem.  The crazy person in the poem stands for the United States.  "Us" is the Indian culture.  When everything the US does is bad, Chyrstos means what the American culture has done to the Indians.  The forced participation is evident and they are told to go home.  Go somewhere else.  The reference to “assimilation soap suds” has a link to the immigrants, those who came to America to find a better life.  But they are unable to “wash away” the Indian identity.  They have been isolated from the dominant culture due to racial and cultural differences (CO 1a) and the social contract in contrast to African Americans is sort of backwards.  Instead of forced migration, the American Indian experienced forced isolation due to immigration of the dominant culture.  There is no Stage 1 or 2 of the Immigrant narrative, only 3, 4 (barely), and 5.  This contract defines the American Indian and the anger and unfairness of the situation are apparent. 

The title of “How to date a Brown girl…” represents the Immigrant narrative stage 3 and 4 as several cultures are noted.  The literary objectives found in the story include 2b, setting, with the economically disadvantaged area of “The Terrace”.  No one who is an “outsider” will want to come in. Socioeconomic issue arises when the government cheese is moved; a clear marker of the economic disadvantage the narrator is experiencing.  There is connection with the culture, as the “boys” in the neighborhood are out on the corner and speak a specific language.  Assimilation comes as the narrator runs his hand through his hair “like the white boys do”, even though he personally connects his hair with Africa.  The narrator’s Spanish heritage is mentioned but it is never clear which minority group is more fully represented in the narrator.  He is judged by his appearance, which is African and links him to the minority experience.  The involuntary participation of African Americans is subtly referenced with “the United States invaded your island”. Assimilation comes with the foods of America, when the narrator is eating hamburgers at Wendy’s and trying to act like he doesn’t belong to the neighborhood.  Unless she is local girl, at which time he is a part of the culture.  He can change according to his purposes, at least in this situation.  He is able to cross over as needed.

In “Hunger of Memory”, the ambivalent minority is fully represented.  While there is a connection to the old world ways of language, the changing of the next generation occurs, as they are uneasy speaking Spanish. The language hangs on but gradually loses power as the generations of immigrants increases.  He says that his “mouth is not the only thing anglicized” and we are aware that language is not all that has changed for the narrator as he has experienced stage 4 and stage 5 of the IN.  The experience immigrants have learning English is evident as the narrator experiences the reverse of what immigrants experienced when they assimilated into the dominant American culture through adoption of English.  Some members of the narrator’s culture never do assimilate, like the long time friend of Rodriquez’s father who only talks in Spanish.  Identity is directly linked with language.  It was a way to keep cultural identity and also keep others out.  “Committing a sin by learning English” refers to assimilation.  The translation lost when taking Grandmother’s Spanish words and turning them into English is like the culture identity lost when assimilating into American culture.  The reluctance of the narrator’s family to participate in dominant culture shows resistance.  He later notices the accented English of other races he encounters in his neighborhood:  Japanese tourists, black teenagers, and Eastern immigrants.  While the black teenagers use their language to unite them proudly, the narrator wishes to suppress his language flag.  He is able to physically mix with the dominant culture and wants to leave behind any obvious markers of difference.  While the power of his language unites him with his family, the narrator wants to remain in the middle, able to choose as he wishes to be part of the dominant culture.

It is not possible to live in Houston and not be aware of the immigrant and minority experience.  It is a present issue and the narrative stages are evident in any more cultures than just those examined in this essay.  It is amazing to me that these patterns are so difficult to escape, especially with the African American perspective in mind.  I had a firm understanding of the minority experience from the previous class, but I never realize how closely the minority and immigrant experience followed. [CP]

Introduction from email midterm

The Immigrant Narrative provides a valuable way to investigate American multicultural studies and literature. Like a kaleidoscope, the Immigrant Narrative offers us a multifaceted, colorful picture of what it means to become an American. A kaleidoscope needs to be held up to a bright light in order to get the clearest view. Similarly, the story of America’s people needs the illumination that the Immigrant Narrative can give.

       The Immigrant Narrative begins with leaving of the Old World (stage 1) in search of the American Dream in the New World (stage 2).  Anzia Yezierska’s Bread Givers offers a good example of the early stages of the Immigrant Narrative. A man tells his story of how he left the Old World and journeyed to the New World: “I still see that first day when I got off the ship”.  He felt shock (stage 3) as he “just walked the streets…driven by hunger”. But through his industriousness, he found the American Dream: “At the end of the week he was in business for himself.”

       Similarly in Nicholasa Mohr’s The English Lesson, we find the stories of immigrants who are striving to find the American Dream. Education is an important part of the Immigrant Narrative. Its importance is seen in The English Lesson. A diverse class of immigrants from various countries attends English classes to get better jobs and improve their position.  Mr. Fabrizi, from Sicily, works toward this goal and declares: “ I am proud to be an American citizen”. The importance of education is also seen in Anzia Yezierska’s Soap and Water through the narrator’s yearning to go to college. Stage 3 of the Immigrant Narrative is shown as she is discriminated against because of not fitting the image of the dominant culture.

        Many immigrants leave the Old World voluntarily in search for the American Dream, but there is another immigrant story to be told – the story of America’s minorities who were forced here. Minority immigrants discover that they are living The American Nightmare. . . . [JS]

Excerpt from email midterm

It is quite possible that not all of these stages occur in sequence in all immigrant narratives.  For example, Stage One and Two can be seen in Edwidge Danticat’s “Children of the Sea.”  Haitian immigrants risk their lives to board a boat and leave their homeland, Stage One.  This story illustrates that hardship, and often deadly, realism of the journey to the New World, Stage Two. Secondly, Barbara Grizzuti Harrison’s “Going Home, Brooklyn Revisited”  contains Stage Three when the race riots occur in the school among the blacks, Italians and Jews.  Shock, resistance and discrimination of the immigrants are shown in the form of biased media coverage and ignorance of the school officials.  The Italians and Jews are subjugated to certain schools and neighborhoods where the blacks were bussed in, Literary Objective 2b.  Another example of an immigrant narrative is Nicholasa Mohr’s “The English Lesson.”  This narrative also contains Stage Three when Stephan Paczowski is reduced to menial labor as a janitor when in his homeland of Poland, he is a college professor.  Paczowski knows that if he speaks English, he will be able to reclaim his identity as an educated man and become a college professor in America.  In a 2002 midterm exam, I noticed that the author also used “The English Lesson” as an example of Stage 4 in the immigrant narrative.  Lali and her husband are immigrants and he owns his own business.  Lali goes to school to learn English.  Both are working to become part of the American Dream, Literary Objective 1b.  Finally, Stage Five can be seen in Richard Rodriguez “Hunger of Memory.”  “Pocho” rediscovers his ethnic identity even though he has forgotten how to speak and understand his native Spanish language.  “Pocho” realizes that it isn’t the language of the homeland that make one a part of the family, it is the “intimacy” of the language.  (The language issue is also Literary Objective 4a.)  . . . . [CA]

Introduction and conclusion from email midterm

The United States of America is known as the land of opportunity and is essentially made up of immigrants. From the birth of the country people have migrated to the US for economical and personal reasons, like religious or political prosecution. Today, immigrants from other countries come for similar reasons and their experience can be described by using the immigrant narrative, which indicates the five stages that they go through from leaving the old world to reassertion of their ethnic identity.

            Literature about the immigrant experience helps us obtain knowledge of their culture and a different perspective about their experience and motives. While reading these narratives we can distinguish the differences between the immigrants and the minorities by the experiences they share with us. In the “English Lesson” by Nicholasa Mohr the students taking the English speaking course have all migrated from different parts of the country. The teacher, Mrs. Hamma, is a third generation immigrant from Germany. She has obviously completed stage 5 of the immigrant narrative because she identifies herself as an American and has completed the previous stages of the narrative. Mrs. Hamma has become part of the dominant culture; she dresses and speaks like an American, but is still able to identify her roots. We can see here the upward social mobility.  The other characters in the short story are in stage 4 where they are trying to assimilate to the American culture “in search of a better future” (IA, 25). Not everyone feels this way about losing part of their identity, like Diego Torres, who wants to learn to speak the language just for economy purposes, but is resisting the full assimilation in order to be faithful to his country. . . .

While reading the example midterms on the web I agree with a student who writes,” Narratives that have been written by American Immigrants, Native Americans, and other minority writers can thus provide a mechanism through which the life experiences of members of these groups can be studied”. These works can  help many Americans, who sometimes may judge and even discriminate, to re-evaluate their perception about them and accept them and their culture into our society, just like enchiladas and tacos have done, so that we can continue to be the land of the free and opportunity. [JC]