The most imperative strategy Tan uses is flashbacks. Tan uses flashbacks to demonstrate the upbringing of her heroes. For example, Lindo Jong reveals her past account in the chapter, The Red Candle. The section depicts her upbringing in a Chinese language cultured society where she is employed to Tyan Yu at the age of two. Jong is soon abandoned by her family credited to a overflow, which leaves her in the hands of Yu's family. Battling through her existance, she finally creates an idea to flee her unfair life. She hints her household into believing she will bring chaos to the family, therefore her in-laws provide her with money, which she uses to travel to America (Tan 49-66). Jong's mention of days gone by shows the reader that Jong did not have an ordinary life but grew up struggling for liberty.
Waverly Jong, Lindo Jong's little princess, refers to her recent as a typical American. Waverly briefly describes her life and how she bonds with the overall game of chess. She then represents her issues with her mother. Waverly accuses her mother of using her as a token showing off since she was a Chess prodigy (Tan 89-101). Lindo pushed Waverly out of love and expected value and admiration in return. But, Waverly considered her mother as a furtive girl with selfish needs. This shows how simplistic and ignorant Waverly really is. Lindo on the other hands was abandoned by her parents and had to struggle to reach the freedom which Waverly got achieved at birth. The flashbacks really show the difference between a tough Chinese upbringing set alongside the casual life associated with an American-raised Chinese female. We've the privilege of learning about their perspective by point of view.
Point of view, another key strategy utilized throughout the novel, is deviously provided by Tan showing the reader each character's perspective. In The Pleasure Luck Club Tan presents her novel in seven different first-person point of views; An-Mei Hsu's, Lindo Jong's, Ying-Ying St. clair, June Woo's, Rose Hsu Jordan, Waverly Jong, and Lena st. Clair. "This is how a princess honors her mother. It really is shou so profound it is in your bones. The pain of the flesh is nothing. The pain you must forget. Because sometimes this is the only way to keep in mind what is in your bones. You must peel off your skin, which of your mother, and her mom before her. Until there exists nothing. No scar tissue, no pores and skin, no flesh (Tan Pg. 41). " This quote is offered in An-Mei's point of view after she experiences her mother slicing beef of her body to remedy her grandmother. The quote deeply display's An-Mei's view of the connection between moms and their daughters. An -Mei extends so far in her view that she details admiration, or shou, to be in the bones as a part of a Chinese little girl. She feels quite strong toward the connection and tells Rose, her little girl, to talk to her rather than going to the psychiatrist because she recognizes Rose best and is also in her bones. In addition An-Mei faced atrocious experiences like the other mothers in the reserve. These women would go up to now because of their own mothers, as opposed to their own daughters.
On the in contrast, the daughters in the book are lack experience and culture. As typical Americans, they have a tendency to face easier problems. "I watch her, sweep after sweep, waiting for the right moment in time to inform her about ted and me, that we're getting divorced" (Tan pg. 116). This quotation shown in Rose Hsu Jordan's view symbolizes a major problem in her life. Rose is going to get a divorce, a typical problem faced in American culture. An-Mei's view on a mother-daughter romantic relationship is emotional, but Rose still hesitates to share her issues with her. Rose appears down on her mother because her mother keeps pushing her to fix the relationship. An-Mei pushes her because she is aware of the value of an relationship, but Rose still oversees her mother's intentions. An-Mei had to handle such atrocious problems where as one of Rose's significant problem was divorce yet she appears to not have a tendency to it as much. Analyzing each of their views really helps to show the difference between these two interactions. The mother's life, a Chinese language cultural and smart life, was very different in a more difficult sense, where as the modern American citizen life was oblivious.
A mark that signifies the mothers in the book is the swan. "This parrot, boasted the market merchant, was once a duck that stretched its neck hoping to become a goose, and now look!-it is too beautiful to consume" (Tan 17). The swan is a beautiful creature that represents anticipation. The old female is traveling to America for a new life and with hope in her heart. The moms in the book are defined the same way. Each of them have nothing but hope left and drive for a fresh life.
A symbol that presents the daughters is the list on Lena St. Clair's refrigerator. The list divides up the items Lena buys and the ones that Harold, her spouse, will buy. Tan uses the list to criticize the American modern culture. A married couple should not be the cause of the things they purchase. Matrimony is a relationship that is situated of love, whereas their relationship type of seems as a business collaboration. Tan show her judgment upon this by Ying-Ying's disagreement. "This, you do not share!" mentioned Ying-Ying. Ying-Ying. Ying-Ying is aware that this imperative bond shouldn't reflect the items shared in children. The swan signifies the mothers in such an graceful manner. However, the list reveals the daughters in this insensible manner.
If Tan was to be described she would be described as the daughters in the reserve. Like the daughters she grew up in America. Tan's mother acquired left behind three children in Shanghai, which pertains to Jing-Mei's view. This novel doesn't symbolize seven fictional characters but it represents a cultural contemporary society today. Elements of the publication were from Tan's life. Tan exclusively expresses her personal thoughts through this book which opened up the reader's eye to a whole new world of culture understanding.