The Woman Warrior: Memoirs of a Girlhood Among Ghosts in Read a book from each country

Jul 02, 2008 Mostly on Storygraph rated it it was amazing

Shelves: memoir-ish

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 upo 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.
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