Marilyn Chin’s Asian American Struggle Toward Self-Definition in “How I Got That Name” Understood by John Cery According to John Cery, Marilyn Chin’s poems are all interconnected in regards to their themes of “authenticity, heritage, and self-erasure,” (25). Cery claims that, “[A] finely honed voice, struggling toward self-definition,” has emerged from Chin’s poems (25). He proves this through his depictions of her “self-mockery and satire,” (36) as well as her “pattern of multiplicity, self-erasure, and ambivalence,” (36) in her poem “How I Got That Name: An Essay on Assimilation.” In my opinion, Cery does an excellent job of interpreting and discussing Chin’s poetry in an informative and convincing manner throughout his article.
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He points out that “[n]obody dared question,” her father because of his “nice, devout daughters / and his bright, industrious sons,” (Chin 31-33). Through this reference, he is showing the Chinese American stereotype that Chinese men can be understood solely by looking at the way their family represents themselves. Cery relates her cynicism in these lines to her overall attitude of self-mockery in the poem. Cery’s concept of Chin’s “satiric depiction of Chinese American stereotypes,” (36) also helps explain her joke, “We’re not very creative but not averse to rote-learning. / Indeed they can use us,” (Chin 40-41). These two lines are a great example of her mocking attitude in this poem. Chin is clearly making fun of certain Chinese American stereotypes as well as her role in …show more content…
This is best understood through Chin’s in-between identity. She identifies as neither completely Chinese, nor completely American, but rather, a sort of in-between. He reminds us that in reference to the “Great Patriarch Chin,” she calls herself “his least favorite – / ‘not quite boiled, not quite cooked,’ / a plump pomfret simmering in my juices - / too listless to fight for my people’s destiny,” (Chin 59, 64-68). Cery identifies Chin’s description of her fictional funeral as another example of her idea that she does not belong. Chin writes, “She was neither black nor white / neither cherished nor vanquished / just another squatter in her own bamboo groove / minding her poetry,” (82-85). This iterates her “absence of a self,” in a world based on definitions and categories (Cery 37). Cery argues, “‘How I Got That Name’ balances between the assimilation into American culture that Chin sees as inevitable… and the ‘solid,’ unfettered being who remains, despite ‘all that was taken away,’” (37). Basically, he is saying that Chin is attempting to show that even though she is no longer in China, a part of that culture will still remain with her as she adapts to her new American lifestyle. This causes her to feel on the fence about who she truly
He points out that “[n]obody dared question,” her father because of his “nice, devout daughters / and his bright, industrious sons,” (Chin 31-33). Through this reference, he is showing the Chinese American stereotype that Chinese men can be understood solely by looking at the way their family represents themselves. Cery relates her cynicism in these lines to her overall attitude of self-mockery in the poem. Cery’s concept of Chin’s “satiric depiction of Chinese American stereotypes,” (36) also helps explain her joke, “We’re not very creative but not averse to rote-learning. / Indeed they can use us,” (Chin 40-41). These two lines are a great example of her mocking attitude in this poem. Chin is clearly making fun of certain Chinese American stereotypes as well as her role in …show more content…
This is best understood through Chin’s in-between identity. She identifies as neither completely Chinese, nor completely American, but rather, a sort of in-between. He reminds us that in reference to the “Great Patriarch Chin,” she calls herself “his least favorite – / ‘not quite boiled, not quite cooked,’ / a plump pomfret simmering in my juices - / too listless to fight for my people’s destiny,” (Chin 59, 64-68). Cery identifies Chin’s description of her fictional funeral as another example of her idea that she does not belong. Chin writes, “She was neither black nor white / neither cherished nor vanquished / just another squatter in her own bamboo groove / minding her poetry,” (82-85). This iterates her “absence of a self,” in a world based on definitions and categories (Cery 37). Cery argues, “‘How I Got That Name’ balances between the assimilation into American culture that Chin sees as inevitable… and the ‘solid,’ unfettered being who remains, despite ‘all that was taken away,’” (37). Basically, he is saying that Chin is attempting to show that even though she is no longer in China, a part of that culture will still remain with her as she adapts to her new American lifestyle. This causes her to feel on the fence about who she truly