When I picked up The Joy Luck Club, I was hoping to read a book that would emphasize the mystery of the culture within a culture – the difficulty of balancing the culture from the past with the culture of a new place and time. In this story, Tan blends old and new culture beautifully, telling the story of four women and their daughters in a way that wonderfully expresses the yearning every parent has to see life be better for their children than it was for themselves, and the inability for any child to truly appreciate the sacrifices that have been made for them. And she does this while emphasizing the impact that the Chinese culture has had on each of the characters. Throughout the story, Tan’s ability to express various aspects of this culture and its influence on Tan’s characters gave layers of depth and interest to the tale.
It is an odd story in many ways, being more of a collection of vignettes surrounding a group of individuals than a linear story. There are four sections in the book, and within each section is a chapter told by either one of the mothers or one of the daughters. For me, this was the only part of the book that was a tad confusing – because there were long gaps between characters’ chapters, and because the next chapter about a character would not directly pick up where the last chapter had ended, I found myself having to flip back through the book at the beginning of each chapter to remind myself what had happened in this family before. I think this mild confusion was emphasized because every chapter is told in first person, so rather than reading a chapter wherein an individual’s name is repeated throughout, thus helping me to remember that Lindo Jong was the person who was pledged to marry a neighbor’s son, the personal pronouns in every chapter meant that I had to flip back to that chapter to remind myself whether Lindo Jong was the person pledged to marry the neighbor’s son, or the one who told the Moon Lady her secret wish.
However, the first person narratives did, in this instance, make the stories feel much more personal and real, and also gave the narrators opportunities to emphasize not just the action of what occurred, but how they felt about the event and how they believed it influenced them in the future.
The nature of these stories means that we jump back and forth in time. The mothers were all born, in China, around 1915, so when they tell a tale from their childhood, it usually takes place sometime in the 1920’s. Most of the immigrated to America in the 1940’s, and their daughters were born in the early 1950’s, so many of the stories take place in the late 1950’s and early 1960’s. Finally, the present-day story, where the book begins and ends, takes place in the late 1980’s, when the daughters are approaching middle age, and the mothers are elderly. Despite this, I never felt lost or confused as to what was happening when. Tan easily inserts dates when necessary, and they flow naturally into the story, giving context and place to each chapter. This is a book where date and location are important, as the story ranges through the good part of a century wherein the world goes through many advances in technology and changes in societal mores.
While Tan doesn’t claim this book to be autobiographical, she was born in 1952 of parents who had immigrated from China just a few years before. This is definitely a story that is rooted in what the author knows.
This wasn’t exactly a happy book, yet despite the many tragedies and misunderstandings throughout, Tan somehow manages to leave us with a sense of hope, that each of these mothers will be able to reach her daughter and share what it is that has shaped her.
I’m not sure that The Joy Luck Club is a book that I will return to again and again, but it was a thoughtful read, beautifully written and brilliantly executed. I look forward to seeing what else Tan has written since this 1989 debut.
This book was initially brought to my attention by a lovely review by The Literary Sisters, who do a much better job than me at outlining the story!
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