Julie Garza

Midterm Essay 1

The American Immigrant Narrative:

The Absence and Presence of the Mother Figure in the Asian Immigrant Narrative

In the American immigrant narrative there are aesthetic resonances, yet there are also cultural limits or consequences within the narrative. Being a mother myself, I question the role of the mother figure in any narrative, but as our class readings neared the Asian immigrant narrative my curiosity bloomed. The following question soon formed: Is the immigrant mother figure comparable to the dominant culture’s mother figure, and what are the possible variations between the two distinct cultures?  Typically, the power of narrative is considered a literary and cultural construct, in which the “master narrative” conveys an abundance of facts (Objective 1). The facts are placed in a structured pattern, which usually offers lessons regarding human (Objective 2). The “master narrative” ultimately mimics the reality of the immigrant group rather than necessarily stating the truth. The following East and South Asian immigrant narratives represent the deep-rooted reality of Asian culture, which is expressed through the presence and absence of the mother figure.          

Besides the problems that arise in the absence of the mother figure during the immigrant assimilation stages, there are various issues of assimilation, acculturation, commonalities, and oppression that exist in the aesthetics of Asian immigrant literature. The immigrant narrative is renowned in American society, and focuses on freedom, individuality, and hope. The aesthetics behind Sui Sin Far’s “In the Land of the Free,” for example, are productive and hopeful. For instance, the mother figure presents a positive interpretation of America for her and her son: “There is thy home for years to come. It is very beautiful and thou wilt be very happy there” (IA3). The son's response represents the immigrants’ ingenuous trust in America: “The Little One looked up into his mother’s face in perfect faith” (IA3). The mother and son are unaware of the cultural identity they will lose, in order to succumb to the dominant culture. The mother is hopeful for her son’s freedom but ignorant of the oppression she will experience during assimilation. The troublesome aesthetics of the American Dream are also presented in Far’s narrative. Although the mother figure assimilates to the dominant culture, assimilation proves more complicated than she expects. Both mother and husband allow Choo to give birth in China; however, by allowing the visit to China, they lose their son. Choo gives her belongings to Clancy in order to reconnect with her child, but her efforts fail. The mother figure loses her child to the dominant culture"; she represents the “first generation as ‘heroic’ but ‘clueless,’” and the son represents “the second generation as ‘divided’ between traditional identities of homeland or ethnic group and modern identity of assimilated Americans” (Objective 2). The last sentence of the narrative applies to Objective 2, and describes the negative aesthetics between mother and son, “… the Little One shrunk from her [mother] and tried to hide himself in the folds of the white woman’s skirt,” then he shouts at his mother to “Go’way, go’way!” (IA11). Although Choo gets to hold her son, it is too late for the “Little One” to love her as a mother. Ultimately, Choo and her husband trusted Clancy, the representative of the dominant culture, but found themselves oppressed and defeated by him in the end. Their dreams of finding hope in a nation that promises freedom to “individuals of all nations” was ruined (Crevecoeur 2).   

As seen in Far’s narrative, the aesthetics of Asian immigrant literature in relation to the mother figure varies. Typically, assimilation for immigrants, which is depicted in Far’s Asian Immigrant narrative, follows five basic stages of assimilation:

1.      Leave the Old World

2.      Journey to the New World

3.      Shock, resistance, exploitation, and discrimination

4.      Assimilation to dominant American culture and loss of ethnic identity

5.      Rediscovery or reassertion of ethnic identity         (Objective 2)

Immigrants may follow all five steps, but there will be instances when Stage 3 is the last assimilation stage. The “melting pot” comes into one’s mind as a way of understanding the hardships that immigrants face during the five stages of assimilation. Although it does not adhere to the mother figure theme, Hector St. Jean de Crevecoeur’s “Letters from an American Farmer” represents an early American depiction of America as a melting pot of immigrants. In an effort to assimilate immigrants, Crevecoeur describes the immigrants' regeneration process: “Every thing has tended to regenerate them [immigrants]; new laws, a new mode of living, a new social system;…here [in the United States] they rank as citizens.” The problem is that the regeneration process formed what is better known as the melting pot. Crevecoeur describes the melting pot in his essay, “He [the former immigrant] is an American, who leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the new government he obeys, and the new rank he holds.” This instills the idea that if one works hard, he will be rewarded for his strenuous labor one day. This is just one of the earliest accounts of immigrant assimilation as a melting pot, which affected men, women, and children.

            The five stages of the immigrant narrative apply to Tahira Naqvi’s “Thank God for the Jews.” In contrast to Far’s narrative, the mother is part of the family. The Pakistani wife is married to a brilliant physician, and together they let go of their old ways, in order to assimilate to the dominant culture. She realizes that there is not a specific difference between “halal” and “kosher” meat. The mother goes through the five stages of immigrant assimilation, but the last phase is the most important. She remembers her land of origin; this is the nostalgic point of view that results from immigrant assimilation. She recognizes the social transformations between her native culture and America, but she still needs to find a connection between her ethnic identity and her new identity as an American immigrant. Naqvi’s adds a touch of humor to her narrative when she settles for kosher meat because it is more humane. Although she lets go of her old ways, she maintains traditional values, which is common in immigrant assimilation. For instance, Fatima makes a list so she does not forget anything when Ali takes her to the Grand Union one evening. She writes down “oregano” (IA 233). Oregano is an aromatic herb used for homeopathic remedies in Pakistani culture. Along with Fatima's maintaining of her traditional values, the narrative fixates on the five stages of the immigrant narrative, which is an example of Objective 2, the Model Minority. The Model Minority narrative focuses on medicine, music, and math, resistance to assimilation, and traditional marriage. Fatima is a positive mother figure for her family, and her assimilation process follows the standard path of immigrant transformation in America.

            The mother figure in Chitra Divakaruni’s “Silver Pavements, Golden Roofs” is actually the aunt of Jayanti. Jayanti last saw her aunt when she was eight years old. She goes to Chicago to live with her aunt before completing her graduate studies. Her aunt is a common housewife with a domineering husband who does not let her go outside. Jayanti insists that her aunt get out of the house, so they go for a walk. During the walk, they are confronted by a pack of teen-age boys who call them “Nigger” (IA 80).

“The word arcs through the empty street like a rock, an impossible word which belongs to another place and time. Now the others take up the word, chanting it in high singsong voices that have not broken yet, nigger, nigger, until I want to scream, or weep. Or laugh, because can't they see that I'm not black at all but an Indian girl of good family? When our chauffeur Gurbans Singh drives me down the Calcutta streets in our silver-colored Fiat, people stop to whisper, Isn't that Jayanti Ganguli, daughter of the Bhavanipur Gangulis” (IA 80).

Unfortunately, they are exploited and discriminated by society, which is an example of the third stage of the immigrant narrative. During the third stage of assimilation, Jayanti and her aunt are challenged with their own traditional values, and ultimately are forced to assimilate to the American model, which is more autonomous and alienating than productive. They soon realize that America is not what it advertises, and begin a “downward assimilation” process (Objective 3). An immigrant's social class in his or her native land does not necessarily carry over to America. As seen in Divakaruni’s narrative, Jayanit's social class has nothing to do with her life in America; an immigrant must start over to fully assimilate. The aesthetics of the novel reveal the ugliness of the immigrant assimilation process, through its portrayal of the delicate life of  the mother figure, Jayanti’s aunt. Because of her husband's stern rules, she is a prisoner in her own home, while Jayanti is her key to the outside world. Together, they both learn the hardships of being an immigrant in America. This is just another example of the “master narrative,” which mimics the reality of the immigrant group.

            Ha Jin’s “A Hero’s Mother Blames Her Daughter” does not reflect the absence of the mother figure, but instead focuses on the hardships a mother goes through in order for her daughter to succeed in life. The mother lost two sons to war, and hesitates to send her daughter to war, stating that “I did not mean to send you to fight like a man, although I did say: ‘Let her take over the gun left by her brothers.’ This time I knew you would not get killed because they would try ebery way to protect you” (Jin 2). The mother considers the dangerous prospects of sending her daughter to war, but how does she really know her daughter will not be killed? Maybe she had faith in the military to protect those few women in war, but there not a definite certainty that she will live. Fortunately, the daughter lives through the war and becomes a doctor, marries a handsome man, and has a son who goes to an excellent primary school; however, she questions her mother’s motives in sending her children to war. The mother snaps back at her daughter, who she believes has benefitted from the decision, and asks the rhetorical questions, “What did I get from it? Two martyr cards?” (Jin 2) During the mother's brief attempt to stand her ground, the reader has a split image of her pain and grief. The mother knows her mistakes, but could not prevent them, and all she has left to show for her mistakes are two martyr cards. The unbearable guilt will sit with her for life, while her daughter has a life more productive than her own.

To conclude, I present my initial question: Is the immigrant mother figure comparable to the dominant culture’s mother figure, and what are the possible variations between the two distinct cultures?  The possible variations between the two distinct groups exist, because immigrants assimilate, while the dominant culture will never assimilate. What is comparatively obvious between both groups are the descriptions of the mother in the poem. Like most mothers, she wants what is best for her daughter, and although she sends her daughter to war, she honestly thinks it is the best solution. The blame game becomes a problematic theme in the poem, as it is a problematic theme in reality with mothers and daughters, but the intent of the poem is true in many mother-daughter cases: We love our children as best we can, and although we make mistakes, we still try to provide the best example possible. The East and South Asian immigrant narratives discussed above depict the harsh reality of Asian-American immigrant culture through mother-daughter comparisons, which are expressed through both the absence and the presence of mother figures.          

Julie Garza

Midterm Essay 2

Assimilation and Resistance in Minority and Immigrant Narratives:

The American Dream versus the American Nightmare

In the first week of class, we discussed the different motives behind immigrant and minority cultures. This essay will address four different narratives which raise the following question: How do minority and immigrant narratives inform and expose each other? Each group assimilates differently, but minority groups such as African and Native Americans assimilate the least (Objective 3a). It is important to note that these two minority communities are not immigrant groups. Native American Indians were in America prior to the first European settlers, and for them, immigration was the “American Nightmare” instead of the American Dream. African Americans were not like traditional immigrants, because they did not choose to come to America; they were forced (Objective 3a). For African Americans, America offered not opportunity but slavery. This essay will compare and contrast two immigrant narratives and two minority narratives, all of which focus on assimilation and resistance to the American Dream and the “American Nightmare.”

The differences between immigrants and minorities are represented in their different “social contracts.” Minority groups remain distinct or maintain distinct communities. In contrast, immigrants measure themselves against or distance themselves from minorities as a means of assimilating to the dominant culture (Objective 3c). The immigrant narrative “Soap and Water” by Anzia Yezierska addresses the hardships a Russian immigrant encounters while obtaining her education in America. The cultural and racial differences she encounters during and after obtaining her teaching degree represent the discrimination and marginalization by the dominant culture experienced by immigants (Objective 3d). For instance, “The ideal of going to college was like the birth of a new religion in my soul. / I came because I longed for the larger life, for the stimulus of intellectual associations. / But everywhere I went I saw big fences put up against me” (Yezierska p.3). She describes the hardships and woes that immigrants face during assimilation. Immigrants come to America hoping to find freedom and work, but there are barriers that often interfere. The narrator in “Soap and Water” was denied a diploma by the dean of the college because of her unkempt appearance. Even after earning her diploma, she still encountered “big fences” when searching for a suitable job. Her appearance was unfit for reasonable pay, which forced her to accept low wages. This injustice caused the narrator’s “downward assimilation” process (Objective 3). Her hopes of finding work and realizing the American Dream were denied, and she soon faced the American Nightmare: a “thwarted life” (Yezierska p.4).  She initially had a much different attitude: “The unlived visionary immigrant hungered and thirsted for America. I had come a refugee from the Russian pogroms, aflame with dreams of America” (Yezierska p.4). The narrator’s assimilation process mimics the first generation’s childlike views of America as the land of opportunity. The first generation often comes to America as “heroic” but “clueless” of the differences between their own ethnicity’s culture and that of the dominant group, and unaware of the challenges of assimilation (Objective 1d, 2d and 4).

Like “Soap and Water,” Nicholasa Mohr’s immigrant narrative “The English Lesson” represents the classroom experience for nonnative speakers of English. Most of the students represent the “model minorities,” who assimilate economically and educationally while maintaining ethnic identity in religion and customs. These “ideal immigrants” usually take advantage of economic and educational opportunities. Typically “ideal immigrants” obtained a degree in music, math, and medicine, also known as the three M’s   (Objective 2b). Holding on to ethnic customs is a form of resistance to assimilation into the dominant culture (Objective 4). In contrast, there is one student named Diego Torres who had no intention of assimilating to the dominant culture, thus refusing to participate in either the American Dream or the “American Nightmare.” During classroom introductions, he explains his purpose for being in America,

But is one thing I no want, and is to become American Citizen—I no give up my country, Santo Domingo, for nothing … I came here, pero I cannot help. I got no work at home … My reasons to be here is to make money … I’m Dominican and proud!  (IA 25)

Diego Torres represents the New World immigrants. Occasionally immigrants will come to America to obtain an education or find work, but stay loyal to their nearby home countries and remember historical resentments or mixed feelings toward the dominant culture (Objective 3e). Torres has an ambivalent attitude toward assimilation and difference, and he seems annoyed with the pressures to confirm to the dominant culture. In addition, “The English Lesson” is a perfect example of stage four of the traditional immigrant narrative. In order to escape their subordinate markers, the students in the classroom are taught Basic English. The native tongue is hard to lose once an adult. Most immigrants will not lose their native accent, but speaking fluently in English is encouraged. The English Lesson portrays the American Dream as it applies to education and literacy, but the “American Nightmare” is expressed in the students’ classroom introductions. It appears that most students leave their native country to escape the hardships, economical, or political pressures that oppress them. The Nightmare is actually in their native homeland, and opportunity is in America. “The English Lesson” captures the assimilation and resistance of immigrants (Objective 3c). Torres distances himself from the dominant culture in order to keep his ethnic beliefs, but he forfeits the positive results of assimiliation. Ultimately, Diego Torres experiences a “downward assimilation” process as a result of his resistance to assimilation and advancement (Objective 3c).     

In contrast to the immigrant narrative, the minority narrative expresses the exploitation of minority groups, instead of the opportunities offered in America. This is often seen in Native American Indian narratives such as Louise Erdrich’s “American Horse” and Leslie Marmon Silko’s “The Man to Send Rain Clouds.” “American Horse” tells the story of Harmony and Albertine. Harmony is a police officer who wants to take Albertine’s son, Buddy, away. Albertine is an alcoholic who lives with Buddy in a ramshackle barn or shed. Harmony feels awful about the expropriation, but he is convinced that it is the “right” thing to do. He has attempted to assimilate to the dominant culture by being a police officer in his community and carrying out his objective despite his personal misgivings. Albertine, on the other hand, chooses to retain her distinct Native American culture (Objective 3). Harmony chooses to assimilate, while Albertine resists assimilation. Unfortunately, her resistance causes Albertine to lose Buddy. Loss and survival are recurring themes in Native American narratives, and also sometimes a appear in immigrant narratives. As seen in Erdrich’s “American Horse,” the minority narrative is multifaceted and embodies qualities similar to the immigrant narrative, but usually reflects the “American Nightmare.”

Another narrative of Native American life worth considering is Leslie Marmon Silko’s “The Man to Send Rainclouds,” which captures the verbal paradox between minorities and the dominant culture. Silko’s narrative portrays the differences between Native American and Christian values. Two characters, Leon and the minister, share a distrust toward the dominant culture. This distrust is manifested in a comical moment, when the minister asks Leon if Teofilo went to the sheep camp by himself. Leon, instead of confessing to his death, decides to lie to the minister:

Leon: Good Morning, Father. We were just out to the sheep camp. Everything is OK now.

Minister: Thank God for that. Teofilo is a very old man. You really shouldn’t allow him to stay at the sheep camp alone.

Leon: No, he won’t do that anymore now. (IA 206)     

Even though he knows that Teofilo is dead, it seems that Leon takes advantage of the minister by asking for the “last rites” or committal ritual. The minister typically performs the last rights before the individual passes away, but in the Native American culture it is tradition to sprinkle water over the individual’s dead body, which is why Leon secretly gets the minister to perform the last rites on Teofilo’s dead body. This is just one example of the verbal paradox and mistrust between the Native American (minorities) and the Christian (dominant cultures’) values.

Although Silko’s minority narrative does not fixate too much on the American Dream or the “American Nightmare,” it does nevertheless recount the “social contracts” in the minority groups (Objective 3a). These “social contracts” include assimilation and resistance. Typically, minorities remain distinct or maintain distinct communities (Objective 3c). In Silko’s narrative Leon remains distinct in his Native American community, but knows that the minister (who stands for the dominant culture) may not help him with the last rituals. This display of mistrust occurs because the minority group is forced to assimilate and adopt the dominant culture’s values and beliefs, yet Leon feels that his Native American traditions are more important for attaining well-being in the after life. Separating Leon from his distinct community would violate his beliefs; instead he chooses to resist the dominant cultures’ values. Resistance, as opposed to assimilation, usually occurs within the “model minority.” True minority groups, such as the Native Americans, are often associated with the “model minority,” also known as the “problem minorities” (Objective 2b). In “The Man to Send Rain Clouds,” Leon represents the problem minorities’ resistance to the dominant culture.   

To conclude, let us address the question stated above: How do the minority and immigrant narratives inform and expose each other? They do so through an overlap between each other’s unique values. Immigrants may experience “minority” status in early generations, and may suffer discrimination and marginalization by the dominant culture on account of racial and cultural differences, i.e. the American Indians’ Trail of Tears. Usually the only immigrants who are treated as minorities are those who are not yet assimilated (Objective 3d). In the narratives above, there are accounts of resistance to assimilation caused by discrimination and fear of transitioning from the native land to the dominant culture’s values. This essay compared and contrasted the assimilation and resistance problems within two immigrant narratives and two minority narratives, with focus on the American Dream and the “American Nightmare.”