By Sterling Professor of the Humanities Harold Bloom
With the booklet of her first novel, 'The pleasure good fortune Club', in 1989, Amy Tan used to be instantly well-known as an enormous modern novelist. This publication is improved through a chronology, bibliography, notes at the participants, and an introductory essay through famous literature professor Harold Bloom.
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Additional resources for Amy Tan (Bloom's Modern Critical Views (Hardcover))
See Roberta Rubenstein’s Boundaries of the Self: Gender, Culture, Fiction (Chicago: University of Illinois Press, 1987), 8. See also Lim, 302; King-Kok Cheung, “‘Don’t Tell’: Imposed Silences in The Color Purple Daughter-Text/Mother-Text 35 and The Woman Warrior,” PMLA 103 (March 1988): 162–174; and the selected writings by women of color in Making Face, Making Soul/“Haciendo Caras”: Creative and Critical Perspectives by Women of Color, ed. Gloria Anzaldúa (San Francisco: Aunt Lute Foundation Books, 1990), 179–220.
He forces Weili to “admit” publicly to being a prostitute, despite her very obvious fidelity. He is the enemy of whatever is life-affirming and generous (Weili’s maternal responses to save her child, her sisterly desire to help the ignorant concubine) disguised as patriarchal morality. Throughout all of this abuse, no one interferes; in fact, when Weili tries to run away from Wen Fu, her friends Hulan (later Helen) and Auntie Du tell him her hiding place. The increasing viciousness of Wen Fu parallels the increasing closeness of the Japanese army, so that by the time Weili has run away and been brought back to a still more degraded life, the Japanese are bombing Kunming.
P. 287) In this encounter, sisterly and maternal identifies are blurred, and through the recovery of lost sisters, the foundling myth is conflated with the romance of the daughter. Looking into her sisters’ faces, June also sees mirrored in them part of her own ethnic identity: “And now I also see what part of me is Chinese. It is so obvious. It is my family. It is in our blood. After all these years, it can finally be let go” (p. 288). At the beginning of the novel, while representing her mother at the Joy Luck Club, June muses: “And I am fitting at my mother’s place at the mahjong table, on the East, where things begin” (p.