|
2016 Midterm1
(assignment) |
LITR 4340
American Immigrant Literature Model Assignments |
|
Amber Boone (Amber Isbill)
A Look at Assimilation and Resistance
Whilst examining immigrant and minority literature, there is an ever-present
distinction that emerges between the two groups. This distinction contains many
facets, but it essentially concerns the means of migration, the process of
assimilation or resistance, and the relation of the group to the dominant
culture as a whole. Upon this examination, important questions must include the
inquisition of the true meaning of the dominant culture, along with an
examination of course objectives which cover the basis of this material quite
beautifully. Where these objectives both trail to and leave off, however, is up
to our examination.
A rather defining aspect of immigrant and minority narratives is not only the
element of migration but, specifically, the mode. Immigrants have voluntarily
chosen to come to America. Oftentimes, they come to America seeking refuge, and
they see their new land as a beacon of hope, freedom, and opportunity-
essentially the embodiment of the "American Dream." In “The Cooked Seed,” Anchee
Min says of this experience, "I was reminded how far I had come from home, that
my feet were truly on American soil" (199). In this excerpt, she was grateful to
be in "The Land of the Free." However, there are large groups of people that
this very same "freedom" has seemingly ostracized. These groups include African
and Native American narratives. Minorities, for example, were either forced to
come to America, or they were forced to relocate within America. As shown in
objective three, they did not choose the "American Dream," and their
experiences, therefore, may oftentimes model the "American Nightmare."
According to objective two, each group experiences "shock, resistance,
exploitation, and discrimination," but the similarities in this experience begin
to dissipate as immigrants assimilate into the dominant culture. It is important
to note, however, that there are many elements to assimilation. One aspect,
language accumulation, was especially important in Nicholas Mohr's "The English
Lesson," when Joseph Fong says he is taking the course to "speak good and
improve [his] position better in this country" (24). Learning the language of
the dominant culture is important when attempting assimilation, because
communication is imperative amidst attempts in obtaining any kind of position in
society. In "The Cooked Seed," Anchee Min quickly discovers this reality when
faced with the blunt force of "No English, no job" (200). While seemingly
unfair, Anchee was determined to learn English, because for her, America
symbolized a better future, and a new chance at life. Her determination, along
with that of many other Asian Americans, exemplifies ideals held by the dominant
culture, and follows the narrative of "ideal immigrants" or rather, "model
minorities." This group, described in objective two, "[takes] advantage of
economic and educational opportunities," and readily assimilates in the hopes of
achieving the "American Dream." Within this ideology, there are aspects aside
from language acquisition that also indicate assimilation, such as obeying laws,
obtaining wealth, and seeking higher education. These ideals, however, not only
represent assimilation, but also help to address the resistance to assimilation
demonstrated by many minority groups.
Minority groups differ from immigrants partially due to their lack of
assimilation, which is either due to a lack of opportunity, or to resistance
towards the dominant culture. While certain aspects, such as obeying laws,
obtaining money, and seeking higher education help to propel the assimilation of
immigrants into the dominant culture, minorities, on the other hand, have
experienced an ongoing and continued social stratification, including a lack of
opportunity to obtain some of the key elements necessary to assimilate. In "The
Lesson," by Toni Bambara, Sugar describes injustice towards African Americans,
saying, "this is not much of a democracy if you ask me. Equal chance to pursue
happiness means an equal crack at the dough, don't it?" (145) Her observation
lends attention to the lack of opportunity presented to her culture of fellow
African Americans, but it also exemplifies key aspects of Native American
culture. Minorities in general often experience the antithesis of the "American
Dream" known as the "American Nightmare." This latter term is indicative of the
superimposed ostracization, exploitation, and sometimes even attempted
eradication experienced by many African and Native Americans by the dominant
culture.This stratification, therefore, sometimes produces a resistance to
assimilation, and sometimes even a hatred for those perceived to be within the
dominant culture. Minority groups will sometimes form such a distaste for the
dominant culture, they will even go so far as to ostracize their own people if
the latter has chosen to assimilate. This phenomenon is clearly shown in Louise
Erdrich's "American Horse," when Harmony, a Native American policeman, attempts
to connect with Albertine on a personal level, she responds with, "I ain't your
cousin," and "I ain't related to no pigs" (203). Harmony, according to
Albertine, has assimilated into a culture that has exploited their own ethnic
group, and he is thereby considered a traitor. This reference to the dominant
culture as being something relatively evil is not uncommon within the minority
narrative. It is even more clearly actualized within "I Have Not Signed a
Treaty" by Chrystos, wherein she states that "everything the United States does
to everybody is bad," and that "this US is not a good idea." This sort of
reference clearly demonstrates how many minorities feel in regards to the
dominant culture, although it can be vocalized in many different ways.
Sometimes, minorities are denied opportunities, and other times, they resist
assimilation into a culture they feel has been impressed upon them.
Another theme that must be discovered amidst the immigrant and minority
narrative is each of their respective relationships to that of the dominant
culture. The immigrant narrative, as has been examined, is one that excites
acculturation into the realm of the dominant culture. Immigrants willingly come
to America, and such, they may at times revel at alarming, yet endearing,
accounts in regards to the culture into which they are assimilating. For
example, "In the American Society," one of the worker's "boundless gratitude
translated into a willingness to do anything" (158). This immigrant narrative,
therefore, demonstrates the very embodiment of the "American Dream," along with
a longing for acceptance into the dominant culture. Therefore, they are willing
to do whatever it takes in order to be a part of that culture. Due to this fact,
the dominant culture is generally quite willing to accept them once they have
complied with the "unmarked" rules seemingly implied. As a whole, immigrants
generally have a more favorable relationship with the dominant culture.
Minority narratives, in contrast, do not usually have a favorable relationship
with the dominant culture. In Sui Sin Far's "In the Land of the Free,” Lae Choo
exclaims to the lawyer, "You not one hundred man good; you just common white
man" (9). This exclamation identifies her outrage towards the injustice carried
out by the dominant culture. It is interesting to note, however, that her
narrative resembles that of a "model minority." However, she is quite angry with
the "white man." The answer as to why this is so may seem quite simple, as it
relates to her definition of the dominant culture, but I would like to ask, why
is it white? Chrystos says the United States "must be some ghost in the wrong
place." Whilst her anger towards the injustice in the name of her ancestors is
understandable, it is interesting to note her nod to the white man in this
synopsis. This begs the question—what actually comprises the elements that
instill the foundations amongst the dominant culture? Objective one claims the
dominant culture as an unmarked territory, and states that it is “often
identified with whiteness but also middle-class modesty, plainness, and
cleanliness.” Therefore, while it is commonly associated with the white race,
there are other key factors involved as well. As a whole, this helps to describe
the dominant culture as somewhat of an unsaid standard that immigrants and
minorities are expected to conform to if they wish to assimilate. The often
ostracized minorities, therefore, usually show resentment towards this culture,
because it is the very culture which has oppressed them and even denied them the
opportunity to assimilate, which explains why minorities often meet this with
resistance.
Immigrant and minority narratives have an important place in American
literature. Their narratives help to change the minds and hearts of readers
through expressions of anger, loss, loneliness, hope, love, and passion.
Regardless of the reader’s ethnic identity, it is easy to identify with these
stories, because they all connect with feelings that people as a whole can
relate to. These narratives also challenge opinions, and confirm others, because
the art of telling a story brings a level of personalization when facing
difficult truths. These stories are beautiful, and they are integral to have as
part of our literature, because they tell a different side of America. They help
us construct a deeper meaning of our socioeconomic disposition is relation to
others, while they also provide a sense of unity between the dominant culture,
immigrants, and minorities, because they pull at the most valuable connection of
all- the very essence of humanity.
