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Maxine Hong KingstonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Kingston and her mother were both born in the year of the dragon in the Chinese zodiac, and they associate themselves with this mythic creature.
Dragons, in the Chinese tradition, are vast, powerful, wise, and temperamental. To be a dragon is to be in contact with “dragon ways,” the paradoxical understanding that can incorporate what is tangible with what is beyond human understanding. Dragons thus symbolize Kingston’s paradoxical identity, her connection to her mother, and the power that stems from her internal conflicts.
Food appears in the book as a symbol of belonging, survival, love, and integration. Food rituals and table manners are a potent symbol of Chinese family culture. Kingston describes a prescribed silence while eating and the use of round tables as images of secrecy and group loyalty. To eat together is to be part of a united group.
In its ability to delineate boundaries, food also has a protective role: a new baby is rubbed with an egg to keep him safe, and a gift of candy can neutralize a curse. Eating is also symbolically linked with the ability to live with the past, as one can defeat a ghost by eating and digesting it.
The book’s many ghosts symbolize the continuing and immediate reality of the past. Ghosts appear in many forms, most of them menacing. Dead ancestors leave messages demanding origami offerings; strange spirits try to sap one’s strength as one sleeps. What is dead does not vanish but lives on differently, alongside the more conventionally alive. Kingston’s ghosts symbolize both her ambivalence about the tragedies and silences in her familial and cultural past and her inability to escape them.
Ghosts also pervade the present, as Kingston’s family perceives non-Chinese Americans as ghosts. In this way ghosts symbolize otherness and draw a clear boundary between Kingston’s immigrant family and everyone else. It also demonstrates Kingston’s dual identity as a Chinese American, as she adopts Western behaviors and mannerisms and yet still feels separated from, or not fully part of, Western society. This idea is further emphasized when a young Kingston and friends pretend to be ghosts in the form of newspaper boys.
Storytelling is an integral aspect of The Woman Warrior, particularly the talk-story, which blends together reality (the talk) and fantasy (the story). Kingston’s childhood was immersed in talk-story, as her mother used these stories to pass down traditions and convey life lessons. Kingston herself employs talk-story throughout the memoir, resulting in an experimental text imbued with both fact (e.g., the family stories and biographical accounts) and fantasy (e.g., the stories of myth and magic).
Talk-story narratives mirror the idea of “dragon ways,” which strive to unite the tangible and the incomprehensible. Kingston inhabits a world full of tension and paradox: She is a woman whose traditional culture devalues women; she is a Chinese American who does not quite belong to either culture; she feels stifled and misunderstood by her family but cannot deny their influence on her identity. The talk-story narrative structure allows her to confront these tensions, to reconcile her past and her present, and to achieve internal unity and understanding.
By Maxine Hong Kingston