The Family: Historical Issues of a Chinese Family - Book Report/Review Example

?Introduction The changes that occur within culture and society are often not attributed to the alterations with politics and the general consensus of different groups. Instead, the changes begin with changing philosophies and viewpoints that come from individual perspectives in society. When looking at how society changes, it can be seen that there are specific components that create a specific change at different times. In Family, by Pa Chin, there is an understanding of the change that occurred in pre-Communist China. This didn’t come from the political reign or acceptance of cultural changes. Instead, Chin points out that the roots of China and the family is what created the idea of change. The analysis of historical accounts and the philosophy of how a society changes is confronted in this book while recounting details of how history has altered through individual changes from the family. Analytical Summary Chin’s focus through the book, Family, is to develop a deeper understanding of China and the history that occurred at the beginning of the 20th century. The viewpoint that Chin has is one which is focused on how China changed from the thousands of years of reign that remained within the family to one that is more independent with the younger generations. The opposition between tradition and the new way of thinking becomes the main component within the book and creates the friction and tension. The thesis that Chin points out is one that is based on the changes in the generations and how this led to division within families as well as from the traditions of China. Chin shows the examples of the main concept with the characters battling over traditions as opposed to the new way of living in a more modern society. The battle between tradition and modernism in the book is one which is established from the beginning of the book and with the three different brothers. Each brother represents a different form of thinking from the traditional means to the modernist style of living. The traditional representation is from the eldest brother, Cheuh – Hsin, who follows all rules of the household but always is unable to please his father and the rest of the Kao family. The middle brother, Cheuh – Min is one that remains on the gray line of tradition and the modern lifestyle while adapting to different concepts that fit with his specific purpose at different points in the book. The youngest brother, Chueh – Hui, represents the modern and opposes everything that the family points out as belonging to tradition. Each of these characters becomes a main representation of how the changes in China occurred not only on a social and cultural level, but also from the viewpoint of ways in which the transition occurred in society. The opening of the book points out the three different viewpoints and the way that it was able to create tension within the family. When Cheuh – Min goes into an arranged marriage, for instance, there is instant conflict that shows the traditional as opposed to the modern lifestyle, specifically which is heard from the perspective of the youngest brother. “Chueh – hui was almost choking with rage. He had a lot more to say but he couldn’t get the words out. What was infuriating him, in fact, was not his eldest brother’s fate, but that of the girl whose expression was so docile. He felt he was being cut off from her by an invisible high wall, and this wall was his gentry family” (Chen, 13). This is one of several examples that become the defining point of boundaries noted in tradition, as opposed to the new and modern lifestyle. The traditional viewpoint is seen by Chueh – hui as a wall that belongs to his family and which goes past several generations. The wall is one which he begins to despise, specifically because there are misunderstandings and the inability to relate to what is occurring within the family. The author uses several points like this, either which oppose the tradition or conform to the lifestyle, to show the opposition in China during this time, as well as the loss of generational teachings for the lifestyle of modernism. The modernism that is created is followed by the questions of injustice that is a part of the era. The approach that Chin takes doesn’t end with the generational conflicts. There is also a backdrop of the movement toward Communism and the modernist age of China. The book twists from the household and into the modern era that is approached with revolutions and fighting. This changes the household into one that has pitted against other parts of the family with boundaries because of the images of individualism and the identity of other individuals. When the revolution occurs, each has to go into the home while recognizing that tradition and modernism both have a place. The tragedy that Chin introduces is one that creates an understanding of other boundaries that are a part of society during this time. The concept of slavery, suppression of women and the boundaries which are drawn with ethnicities and within families all show the same complexities that have been established from tradition and modernism. This is also seen through the lessons of the younger generations. For instance, Chueh – hui states “That book Yeh – yeh gave me – ‘On Filial Piety and the Shunning of Lewdness’ – was still on the table….The whole thing is nothing but a lesson on how to behave like a slave. It’s full of phrases like ‘The minister who is unwilling to die at his sovereign’s command is not loyal; of all virtues, filial piety is the best’” (Chin, 72). The representation of slavery in reference to politics, social boundaries and within the household all become a part of the complexities and tensions that arise, while creating an understanding of the differences associated with the traditional and modern viewpoints of how to live. Organization of the Book The organization of the book is one of the ways in which Chin is able to unravel the complexities of boundaries and how this leads to destruction. The beginning of the book shows the boundaries between generations, specifically by introducing the traditional roles that are withheld through the older brother and the opposition that is expressed by the younger brother. The earlier parts of the book also introduce the ‘other,’ or the individuals that are associated with other forms of boundaries in the book. The other side of the household, the maids and servants, political leaders and individuals that don’t belong to the Kao clan are all distinguished. This particular part of the book is able to introduce the traditional definitions as well as how this has created tension and conflict. The author is able to unravel the dimensions of boundaries in the first part then show how this leads to destruction in the latter part of the book. The opening of the revolution and the destruction of the traditions of China are displayed, which changes the questioning on independence, remaining modern and struggling to survive. The definitions and the conflicts which are a part of the first part of the story change to show the outcome of what happens as a result, specifically through the revolution that was created from the main activism. The end result is with the death of Jui – Cheuh, the wife of his elder brother. This is combined with the politics that continue to divide the family and create tension of this in the home through stealing, drugs and other actions not considered acceptable. The destruction of the family ties, divisions that are created and death of those that represent tradition becomes the end concept that Chin uses to show how the traditional and modernist conflict creates more suffering than acceptance into society. Writing Style The writing style that is used by Chin is in third – person omniscient. The narrator; however, focuses on specific characters that are more important to telling the story and of showing the conflict that arises. An example of this is the concentration on the youngest brother, Cheuh – hui. The speaking from his viewpoint is always related to the anger which he feels over the past and rebelliousness that he acts out of in order to overcome the traditional means that he has been forced into. At other times, the viewpoint changes to the older brother, who is struggling with different problems of tradition. The minor characters at other points are highlighted. For instance, when Master Kao dies, the focus is on the sorrow the family feels for his passing. However, there is not another time when the narration points out the attributes or faults of Master Kao, making the past and this character insignificant. Chin uses this tactic to show how the tradition is one that is dying off at this time and becomes irrelevant because of the force of the revolution and of modernism. Critical Analysis The focus that Chin has and the depictions that are given are a strong representation of how history formed in China during the beginning of the 20th century. Chin is able to easily depict the conflict and struggle that is associated with tradition and the newer generations. More importantly, Chin is able to move deeply into the boundaries that divided individuals by identity during this time frame. Chin is able to work in defining the individual viewpoints and changes that were occurring during this time, while pointing out how the revolution was both a combination of throwing out the tradition while forcing in a new way to work in society. The strength of this book is one that is seen by the development of the characters and how they represent the overall storyline. The contribution of the book is one that is significant for the time period. The historical significance of the revolution is one that is essential. It was at this point that China began to move into a defined country that was modern in nature. At the same time, many noted that the revolution was one that destroyed the traditions of the past and which pushed China forward. Chin is able to show this at a grassroots level through the Kao household. The characters become a metaphor of the several philosophies and debates that were occurring at this time as well as how each of these caused change during this time. Chin is able to depict the realities of what China was and the transition of what it was becoming, specifically because of the break outside of the family, Westernized ideas and belief of moving into the future. The purpose that the author aims for is to show the complexities of boundaries and how these begin within the family and move into society. This is seen within the book through the tragedy which occurs and allows Chin to naturally show how the complexities arise from personal belief and differences that are never altered. The audience that can respond to this most effectively is anyone living in a society where the same marginalization and boundaries are seen. The book begins with the traditional concepts that always have a backlash with new generations, which the author depicts. However, those who have noted the boundaries within any society and the trends through modernism that have occurred can relate to the complexities that Chin displays through the historical movements in China. Conclusion The concepts of Chin’s book, Family, are used to show the division between tradition and modernism that occurred in the 1930s. The depiction that Chin gives is one that is defined specifically by the characters that become metaphors for the different thought processes and the Kao household. This links to the revolution which occurred at the time, showing how the boundaries and divisions, as well as the movement into modernism, began with ideals through individuals and became an accepted social movement to push China into modernism. Works Cited Chin, Pa. Family. Waveland Press: New York, 1972. Read More