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The Hundred Secret Senses. Su-lin Yu. The women's movement is probably the key historical event forcing a revision of the modern feminist family. In the s. The Hundred Secret Senses by Amy Tan (review). Seiwoong Oh. Western American Literature, Volume 31, Number 2, Summer , pp. (Review ). Editorial Reviews. From Publishers Weekly. Tan's novel of the conflicts between two very different Chinese American sisters spent 12 weeks on PW's bestseller.


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cittadelmonte.infoq 9/3/04 AM Page 1 YOUR BODY How It Works The Senses cittadelmonte.infoq 9/3/ The Hundred Secret Senses - Download as PDF File .pdf), Text File .txt) or read online. Hundred Secret Senses that "Tan presents the sisterhood as a distinctive variation on motherhood. As Olivia transfers her desire for the mother to. Kwan, the.

Skip to main content. Log In Sign Up. Amel El-Rayis. Tan's first four novels: The Joy Luck Club , The Kitchen God's Wife , The Hundred Secret Senses and The Bonesetter's Daughter "are notable for how they contain stories about the many personal, familial, and cultural conflicts between American-born daughters and their Chinese mothers or mother figures" Wong

While in desperation to find her husband Olivia realizes how much she actually loves Kwan.

Resolution All her life Kwan told Olivia about how things used to be in her past lives. Vocabulary 1 Pragmatic adjective. Intended to convey instruction and information as well as pleasure and entertainment. Don't be pragmatic! The quality or state of being dormant. Marked by or exhibiting a fawning attentiveness. Existing or being everywhere at the same time.

An example of a conjugation or declension showing a word in all its inflectional forms. Relating to matters of fact or practical affairs often to the exclusion of intellectual or artistic matters: A large suitcase. The tendency of something to act in a certain manner under given circumstances. The condition of having or being composed of differing elements. Flag for inappropriate content. Related titles. Jump to Page. Search inside document. Roxana Tudose.

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The Hundred Secret Senses

Miguel Santos. Popular in Leisure. Diana Ghius. Alam Rizky. The Lima News. The fact that Kwan Yee sounds similar to Kuan Yin is why it can be implied that Kwan is the benign spiritual guide who aims at healing her sister's identity crisis. After Kwan learns about the coming divorce of Olivia and Simon, she claims that she is dying and needs to go back to China; she also explains that if Olivia and Simon are going to accompany her, they are going to find a fertile material for their profession as both work together in travel magazines where Olivia takes photos and Simon writes the story of these photos.

Pu Provided that Kwan is the reincarnation of the goddess Kuan Yin, she is the one who provides Olivia with the external spiritual strength through her stories and Olivia's return to China is going to supply her with the inner one. Besides, as mentioned before, the word gui has multiple interpretations; in addition to ghost, it means "return": That is to say, Kwan has long been paving the way for their return to their origin through the ghost stories she has been imprinting on her little sister's mind.

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Successfully, the grown-up Olivia becomes less reluctant to the idea of going to China. Surprisingly, once there, she feels as if she has been there before: I gaze at the mountains and realize why Changmian seems so familiar. It's the setting for Kwan's stories, the ones that filter into my dreams. There they are: And being here, I feel as if the membrane separating the two halves of my life has finally been shed.

In China, in the physical setting of her sister's story, Olivia has achieved a sense of belonging, healing herself through her relation to her origin and to her husband. If it has not been for Kwan, Olivia would have never felt at home anywhere. Unlike Olivia's past-self who has been floating, unable to be anchored, Olivia's bicultural-self knows who she is and where she belongs: Why not?

What's family if not a claim to being connected in the future to someone from the past" It seems that Tan has meant Kwan to mediate between Olivia and the Chinese culture and then disappear, providing Olivia with a girl who is going to be the mixture of both Kwan and Olivia and who is going to have "a vastness of the soul" —a multicultural identity: I think Kwan intended to show me the world is not a place but the vastness of the soul.

And the soul is nothing more than love, limitless, endless, all that moves us toward knowing what is true. I once thought love was supposed to be nothing but bliss. I now know it is also worry and grief, hope and trust. If people we love die, then they are lost only to our ordinary senses. If we remember, we can find them anytime with our hundred secret senses.

Kwan who has a clear-cut ethnic identity who dissimilates to the process of whitening, "Time did nothing to Americanize her" Instead of assimilating to the American culture, she proves that her Chinese culture is hegemonic. Nevertheless, her rigid ethnicity hinders her from feeling at home in America and she has always felt the urge to "return" as if she is a restless soul who is in search for her body.

After all, she is a Hakka person —a guest. Olivia, on the other hand, has lost her essence when she extremely assimilates to the American culture. Without Kwan, Olivia would also have disappeared by blending in the mainstream culture.

Accentuating her ethnicity and realizing that the hyphen in her Chinese-American identity is enriching her being, Olivia manages to feel at home, making sure to pass down what she has learnt from Kwan to her little daughter, Samantha Li. According to Cynthia Wong in her essay, "Asymmetries: Loss and Forgiveness in the Novels of Amy Tan" El-Rayis 15 there are two competing paradigms for characterizing the life of overseas Chinese who make a home in the United States yeluo guigun is the term that characterizes the Chinese abroad as fallen leaves that must eventually, even inevitably return to their roots in the soil of China while luodi shenggen is the term that depicts them as seeds sown in foreign soil, taking root wherever they have emigrated.

Therefore, Kwan represents the first group whereas Olivia represents the second and "together, the two women may be seen as parts of a whole in which China is the root or center of their quest for information, explanation and forgiveness for an inexplicable past" While Olivia celebrates "the vastness of her soul", Kwan finds "peace" after telling all her stories of the past, disappearing into the caves of Changmian: Give me peace" Implicitly, Tan aims to highlight the fact that pan-ethnicities are doomed to disappear as in the future, bicultural or rather multi- cultural identity will be the norm whereas pan-ethnic identity will be the minority —the periphery.

According to the New Historicist, Stephen Greenblatt in his book, Cultural Mobility , having a clear-cut ethnic identity is a parochial idea: There is no going back to the fantasy that once upon a time there were settled, coherent, and perfectly integrated national or ethnic communities.

To write convincing and accurate cultural analyses —not only of the troubled present but of centuries past —requires more a chronicle of carnal, bloody and unnatural acts than a story of inevitable progress from traceable origins. We need to understand colonization, exile, emigration, wandering, contamination, and unintended consequences, along with the fierce compulsions of greed, longing, and restlessness, for it is these disruptive forces that principally shape the history and diffusion of identity and language, and not a rooted sense of cultural legitimacy.

Cultures and identities are always on the run; they are interdependent and thus changeable. On the one hand, Olivia's identity has been open to changes every time she crosses a border and that is why she has not only survived, but she has also had an extension —a daughter who is going to have even a broader perspective. On the other hand, Kwan is sterile because she wants to hold on to a past that does not exist anymore.

She passes down her culture to Olivia because she knows that Olivia is going to re- create this past in a way that will allow her to move on. The Voice and the Text The relationship between Kwan and Olivia represents the relationship between oral and written texts. While Kwan represents the beginning —the oral narrative, Olivia symbolizes the written texts.

In his book, The Text and The Voice: Writing, Speaking, and Democracy in American Literature , Alessandro Portelli illustrates that "Language is doubled into an orality seeking to become permanent without freezing and a writing that seeks to achieve movement and voice without dissolving —an incorporeal ghost seeking a body, and a material body seeking a voice" xiii.

In other words, like oral and written texts that are interdependent, Kwan's and Olivia's narratives are. Like Scheherazade who disappears after weaving her story into that of her listener, Kwan disappears, assured that her oral narrative is going to outlive her when Olivia writes it down. What Olivia writes, however, is not going to be the same narrative she receives from Kwan; it is going to be a mobile one as it is written from a different perspective —the multicultural one.

However, the narrative is not going to stop there, as Olivia's daughter is going to pass it down to future generation with a broader perspective —a perspective that is cross cultural and universal. The power of storytelling is that it never ends: We are all bound together in that way.

You breathe in, you talk, your words ride the air toward me. I take in that same air, breath it out, send it on" qtd. Society and Values 6 Conclusion Like all Amy Tan's novels where the Chinese mother acts as a medium between her American-born daughter and the Chinese culture, The Hundred Secret Sense revolves around the bond between the Chinese-born Kwan who plays multiple roles in the life of her American-born half-sister, Olivia.

However, unlike Tan's previous protagonists, in this novel, where there are two protagonists: Kwan who is the storyteller and Olivia who is the narrator and the author, Kwan is doomed to disappear.

This research aims at deciphering the significance of her disappearance. Apparently, Kwan has fulfilled her mission by helping Olivia attain her inner peace once she accepts her hyphenated identity; at the same time, Kwan attains her own inner peace by the time she has dislodged herself from the burden of her untold story.

What is noticeable is that unlike Tan's protagonists who manage to fit in the American culture, Kwan has been static, restless and rigid.

Implicitly, Tan pinpoints that holding on to the past hinders moving on; that is why Kwan disappears whereas Olivia manages to cross the borders smoothly, fitting in everywhere because she learns to straddle both cultures. Meanwhile, Tan illustrates that without Kwan, Olivia would not have attained her multicultural perspective.

In other words, Olivia is the extension of Kwan as writing outlives orality. The House on Mango Street. United States: Vintage, Greenblatt, Stephen.

Cultural Mobility: A Manifesto. Cambridge University Press, Grice, Helena. New York: Rodopi, Huxley, Aldous. Brave New World. Kahf, Mohja. E-Mails from Scheherazade. The University Press of Florida, Kwok, Jean.

Girl in Translation. Riverhead, Lee, A. Niblaeus, Frida. Stories and Dreams, Memories and Secrets: Stockholm University, Portelli, Alessandro. The Text and The Voice: Writing, Speaking, and Democracy in American Literature. Columbia University Press, Pu, Xiumei. Georgia State University, Tan, Amy. The Bonesetter's Daughter. Ballantine, El-Rayis 19 The Hundred Secret Senses.

Taylor, Daniel.

The Healing Power of Stories. Doubleday, Society and Values. Contemporary U. Multicultural Perspectives. Electronic Journal of the U. S Department of State: Volume 5, Wong, Cynthia. Loss and Forgiveness in the novels of Amy Tan". Robert Lee. Woolf, Virginia. Moments of Being. Wu, Chia-Rong. Encountering Spectral Traces: Ghost Narrative in Chinese American and Taiwan.

University of Illinois, Related Papers. Not Afraid of Ghosts: Stories of the Spectral in Modern Chinese Fiction. By Jessica Imbach. Engl Essay 2. By cin le. By Zoila Yovanna Clark.

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