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Lost Sisters Karten
Lost Sisters Karten

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The Chinese use fermented roots of turnips, carrots, and other vegetables in soup and broth. Mah-Jong tiles are the pictorial pieces of a popular game usually played among four people, and often associated, like poker, with gambling.

The inhospitable Americans in this portrait use language as a weapon against the immigrant—to confuse, cheat, and spy. With complete candor, the speaker describes the lesson this sister presumably has learned, or at least needs to have articulated.

Whether a woman stays or goes, the poem seems to be saying, true freedom is won neither through submission nor rebellion. Which one has opportunities?

Both submission and rebellion create their own sets of limitations and opportunities, and the poem is unwilling, ultimately, to privilege one way of being over the other.

But the power is laid waste. In China, she is both victim and survivor of the culture that binds her feet and circumscribes her movement, not only physically, but morally and intellectually.

In America, she is strong enough to have crossed the blue threshold to the West, only to find herself stereotyped as quiet, cute, and delicate.

When most people think of wilderness, they think of those vast stretches of natural space that resist human habitation. Deserts, dense forests, glaciers, oceans—the perils and wastes of these spaces challenge human survival.

In other words, any place or state of mind can be a wilderness. This other wilderness in the poem is primarily an inner one. Despite the familiar clucking of farmyard hens, the poem implies that this woman is trapped in a landscape barren of choice and crippling in its expectations and assumptions.

She is therefore alienated from herself and lost to a way of being that moving freely might reveal and nourish.

On the other hand, the wilderness can also be a place of testing and transformation. Stripped of comfort—physical, psychological, or otherwise— the wilderness survivor must bring all his or her resources and strengths to bear.

Both sisters have the opportunity to prove their inner strength against their particular wastelands and resident demons. Instead of meter, free verse relies on the rhythms of word-sound combinations in ordinary speech.

You can find the internal rhyme devices of alliteration and assonance, for example, in the first stanza.

Line-length is variable, not prescribed, in free verse; therefore, the poet can break a line according to the sound and emphasis needed.

Through this attention to the line, the poem challenges traditional meanings and ordinary expectations. Obviously, the bindings were not severe enough at first to hamper dancing.

The tiny, graceful feet of the dancers pleased the men and were admired by the women. The practice caught on, and more and more upper-class women were required to bind their feet, not necessarily for dancing, but as a criterion of beauty and symbol of their class status.

The morally repressive Sung dynasty enthusiastically took foot binding another step further in the eleventh century. To prevent barbarous running around!

Thus, not only were women conveniently rendered incapable of infidelity, but also of hard work. Foot binding in its earliest centuries of practice remained associated with the aristocracy.

The practice of foot binding spread during the Mongol rule of the twelfth century as well as in Yuan and Ming dynasties through the sixteenth century.

Society considered women with unbound feet ugly and unfit for marriage. By this time, not only the aesthetic but the erotic merits of the custom were firmly established.

Poetry and songs of those centuries glorified the tiny foot as a sexual object par excellence, despite its historical associations with moral repression.

The shoe itself was considered a work of art, and lovers devised erotic rituals of drinking from the shoe, and caressing and bathing the tiny foot.

Over the centuries, foot binding spread beyond the gentility and was adopted throughout China by women in most provinces and classes.

But foot binding cannot be considered distinct from the broader social patterns and ideologies that repress women to this degree.

Levy suggests that the Manchus failed to eradicate the custom because they failed to liberate women more comprehensively. The nearly thousand-year-old practice of foot binding continued into the earliest parts of the twentieth century, when it was abolished, slowly and erratically, by a combination of political and.

The former make their homes here, buy farms and homesteads, are of the same general race, are buried here after death, and take an interest and aid in all things pertaining to the best interest of the country.

The Chinese come for a season only; and, while they give their labor, they do not expend the proceeds of such labor in the country.

They do not come to settle or make homes, and not one in fifty of them is married. Their women are all suffering slaves and prostitutes, for which possession, murderous feuds and high-handed cruelty are constantly occurring.

To compare the Chinese with even the lowest white laborers is, therefore, absurd. Women represent 46 percent of the Japanese population in Hawaii and 35 percent in California.

Western human rights groups say that the one-child policy has led to forced abortions and killings of baby girls by parents hoping for a son to carry the family line.

Meanwhile, nearly a century before foot binding began to wane, Chinese men were migrating to the West as laborers in the newly settled United States.

In light of the gender roles in China, unchanged for hundreds of years, it is not hard to understand these statistics.

Bound feet rendered the women of upper ranks incapable of making any physically demanding journey, and unbound peasant women were needed at home to perform work required by an agricultural economy.

More than half of the Chinese women living in the United States in late s were prostitutes, many of them having been sold as young girls by their fathers.

From the time they arrived on United States soil, the Chinese suffered virulent racial prejudice. Sean Robisch teaches composition and literature at Purdue University and holds a Ph.

The poet, maybe more so than any other kind of writer, must struggle with how to approach an image, receive it, and employ it with neither too much sentimentality nor too much bitterness.

This is one of the things that makes good poetry difficult. The poet also must balance experiences of the real and tangible world with that of imagination.

Therefore, where the image resides, its place and the place where the poet lives and works, will inevitably influence her perception of it.

Cathy Song is a resident of Hawaii. She grew up there, learning the stories of her Korean grandparents and of the Chinese members of her family.

These stories were set as much in Hawaii as in Korea. She drew upon many of these tales in her first collection of poetry, Picture Bride, which won the Yale Younger Poets prize in Many second-and third-generation artists have been faced with recognition as multiracial, or multi-ethnic, while living all of their lives in the United States.

This presents those writers with the problems of establishing their own identities and deciding to what degree they wish to accept their ethnic backgrounds as important to their work as artists.

Cathy Song has faced these problems both in her writing and in her public discussions. Another poet from Hawaii, Garrett Hongo, has described a kind of separation between those who favor the personal experience within the American venue and those who favor writing the more polemical that is, the more confrontational and often political , piece.

Cathy Song sees herself as landing firmly in the first camp. This echoes the struggle of many other writers— Kim Ronyoung, Peter Hyun, and Margaret Pai, among others—to balance writing the biographies of their elders with the establishment of their own voices and between the vivid descriptions of their places and the drive to have their work accepted beyond the borders of those places.

Still, it is difficult to deny the obvious uses of names as well as the references jade and Mah-Jong, certain foods, the history of the Hawaiian cane plantations, picture brides, and immigration.

That way, the poem is given credit for all the things it does with the images that the poet has chosen and gathered, like shells on a beach or stones from a river.

The poet may then be simultaneously a practitioner of the word and a subject of the stuff that determines her ethnicity. In other words, the role of poet and the role of ethnic, cultural, and political being do not have to be treated separately.

This is a sound platform from which to read the work of Cathy Song. Picture Bride is divided into five sections, with each named for a flower.

In many ways it is a strict contrast to Hawaii—dry and carved with mesas and canyons, as opposed to water-locked and verdant—and it must have been inspiring to Song.

Picture Bride is packed with blue images. Added to the many other images of Hawaii, this blueness appears as an obvious, and valuable, characteristic of island poetry—of the sensibilities and images that come from the poet being closely surrounded at all times by the ocean.

Her choices of language are often quiet and tightly focused, like fine beams of light on single images. The landlords where she lives let themselves into her life, metaphorically and literally.

She may now only imagine China. The first stanza implies that she is a peasant, possibly a first daughter named Jade who changes her name when she comes to America , and has other sisters she has left behind.

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