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The Woman Warrior: Memoirs of a Girlhood…
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The Woman Warrior: Memoirs of a Girlhood Among Ghosts (original 1975; edição 1989)

por Maxine Hong Kingston (Autor)

MembrosCríticasPopularidadeAvaliação médiaMenções
4,322651,993 (3.78)115
Chinese American woman tells of the Chinese myths, family stories and events of her California childhood that have shaped her identity.
Título:The Woman Warrior: Memoirs of a Girlhood Among Ghosts
Autores:Maxine Hong Kingston (Autor)
Informação:Vintage (1989), Edition: Reissue, 209 pages
Colecções:A sua biblioteca

Pormenores da obra

The Woman Warrior: Memoirs of a Girlhood Among Ghosts por Maxine Hong Kingston (Author) (1975)

Adicionado recentemente pormrschacon, ksno, docfizz, jobinsonlis, tlwright, darsaster, jordanr2, krnelson86, lajones, biblioteca privada
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    The Calligrapher’s Daughter por Eugenia Kim (Utilizador anónimo)
    Utilizador anónimo: The first widely read Asian American book written by a woman, blending memoir, fiction and legend.
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    Fifth Chinese Daughter por Jade Snow Wong (Imprinted)
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    The Opposite of Fate: a book of musings por Amy Tan (cransell)
    cransell: Another memoir by a Chinese-American woman. Both are very good.
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» Ver também 115 menções

Mostrando 1-5 de 65 (seguinte | mostrar todos)
I'm not 100% sure how I feel about this book. I found the author's raw anger pretty compelling but the book felt disjointed to me as a memoir. I never felt like I understood Kingston as well as I knew her mother because her mother seemed to be the focal point in most of the stories. I don't know that this is a failing necessarily because her mother was obviously one of the biggest forces in her life but for an autobiography, I don't feel like I've learned very much about the author. Also the front part was pretty loaded with mythology as it related to her life but it seemed to fade away a bit in the later sections where she's describing more plainly what was happening in California at that time. Which was a disappointment to me because I really like the first half more. ( )
  jobinsonlis | May 11, 2021 |
Probably most intriguing about the structure of Maxine Hong Kingston’s Woman Warrior, beginning with "No Name Woman” and ending in A Song for a Barbarian Reed Pipe,” is that it characterizes Maxine Hong Kingston’s memoir, told in the interesting format of non-sequential episodes, as one that begins in oppressed silence but ends in universal song.

When looking at the three woman warrior figures in the book – her aunt, the No Name Woman; the rewritten legendary warrior in “White Tigers” (based upon the Mulan legend); and the poet and barbarian captive, Ts’ai Yen – the characteristics that unite them all are their determined attempts at asserting their own kinds of power, femininity, and individuality in patriarchal Chinese society.

The methods through which they do so revolve around words written, spoken, or not spoken: from the silence practiced by No Name Woman, to the words written on the warrior’s back, to the songs created by Ts’ai Yen and, finally, to the stories that Kingston as the author uses to find the marks of the woman warrior within herself, and to do so in a way that allows the readers insight into a life that even the narrator is grappling to understand.

The words that open Woman Warrior, which begins with the story of No Name Woman, are quite interestingly an admonition of silence: “’You must not tell anyone,’ my mother said, ‘what I am about to tell you’” (3). This admonition signifies a promise, and a breaking of a promise: The narrator’s mother Brave Orchid is showing courage and confidence in her daughter by sharing something that should not be remembered, yet at the same time, her mother is breaking the silence surrounding her sister-in-law, the titled No Name Woman. This is one of the first of many of the narrator’s mother’s talk-stories, ones that were told with a purpose to aid her children in life events, while sealing the bond between child and mother.

The story of the woman warrior, who is the protagonist of “White Tigers,” is created in history and then transformed by the narrator into one of triumph through the breaking of silences. Inspired by Kingston’s childhood and the stories of Yue Fei and Mulan, the chapter becomes another way for the narrator to celebrate the breaking of silences, something that continues throughout the book.

This union between mother and daughter the novel can be seen as the compromise of generations, an idea carried out in Kingston’s appropriation of myths and stories seen in the retelling of these woman warriors. Her mother, in fact, is the narrator’s guide of the methods in which to appropriate talk-stories for her own purposes. Kingston’s retellings are part of the idea that a culture growing up in one country can appropriate the lessons of their parents, who grew up in another. It is the idea and the hope that stories created by a patriarchal culture can still make room for its daughters, ultimately one the most important ideas Kingston communicates in her beautifully rendered book.
( )
  irrelephant | Feb 21, 2021 |
Many people have criticized this book for being confusing, being too much of a mix between memoir, legend, and fiction - but that's what makes this book wonderful. Hong Kingston takes Chinese legend and mixes it with her mother's stories and her own childhood memories, and what's real and isn't real is often unclear. The qualities of magical realism convey beautifully the sense of growing up on the border between two cultures: Hong Kingston describes her and her fellow American Born Chinese as "half-ghosts," not quite an American, but not quite Chinese either. To Hong Kingston, China is very real in her family and the different crazy beliefs her mother has, but it's also a mystery, a legend far away on the other side of the world that she can taste in her mother's talk-stories but cannot quite understand.

As a Chinese American myself, this memoir hit me in all the right places in my own search for identity, while also giving insight on growing up as a 2nd generation Chinese American in the 40s and 50s. Many have also criticized the book for trying too hard to be representative of the Chinese American experience, or for perpetuating negative stereotypes, but that's only the case if you read it that way. In the end, this is Hong Kingston's experience, the environment she grew up in, and her personal beliefs and paradigm, and if the reader keeps that in mind then this book is a wonderfully written, engaging look into Hong Kingston's life. ( )
  treatedmekind | Dec 5, 2020 |
feminism, memoir, fiction, Chinese Americans, audio ( )
  margaretmontet | Jul 9, 2020 |
Immersive, escapist, important. Chinese mothers talking-story.

My favourite quote:
Chinese-Americans, when you try to understand what things in you are Chinese, how do you separate what is peculiar to childhood, to poverty, insanities, one family, your mother who marked your growing with stories, from what is Chinese? What is Chinese tradition and what is the movies?

and this:
I learned to make my mind large, as the universe is large, so that there is room for paradoxes. ( )
  piquareste | Jun 3, 2020 |
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The author is so talented. With that, I'm inviting you to join N0velStar's writing competition. This is open to all...either exclusive or non-exclusive novels.
adicionada por Gab_Cruz | editarbook

» Adicionar outros autores (10 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Kingston, Maxine HongAutorautor principaltodas as ediçõesconfirmado
Evenari, Gail K.Author photographerautor secundárioalgumas ediçõesconfirmado
Guo, XiaoluIntroduçãoautor secundárioalgumas ediçõesconfirmado
Lai, Chi-YeeDesigner da capaautor secundárioalgumas ediçõesconfirmado
Sann, JohnCover photographerautor secundárioalgumas ediçõesconfirmado
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Chinese American woman tells of the Chinese myths, family stories and events of her California childhood that have shaped her identity.

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