The structure of American Born
Chinese obviously plays a large role, as the events are not presented
in the order in which they happen. It is interesting that Yang chose this
method of storytelling instead of a more linear one. While this non-linear form
does add an exciting element to reading the graphic novel, I would argue that
Yang also made this decision to emphasize the similarities in experiences that
many Asian Americans feel.
The first
part of the graphic novel is presented in what appears to be three
separate storylines. The reader has no indication that the Monkey King,
Danny, and Jin are all connected in any way, let alone that Danny is Jin and
that the Monkey King is Chin-Kee. Throughout this part of the story, I believe
that Yang intended for the events that the three characters, the Monkey King,
Jin, and Danny, experienced to have similarities. Although each character, obviously,
has their differences, they each are used by Yang to show the importance of
being who you are and owning your identity. Jin struggles to accept his Chinese
heritage, and this, as we later learn, causes him to turn into Danny. Even
before he learns his lesson by becoming Danny, the reader is shown that Jin is
struggling to accept his Asian-American identity. For example, he avoids being
friends with the other Asian-American girl in his class, and he fights becoming
friends with Wei-Chen. This struggle to accept his identity is also reflected
in the Monkey King.
Yung successfully compares the Monkey King and
Jin by eventually having both characters undergo physical transformations.
These physical transformations from a monkey to more human and from Jin to
Danny represent the respective characters disregarding their identities in
favor of what they believe is wanted of them. The Monkey King’s drive to be a
deity ultimately does him a disservice, as it forces him to stay stuck in the
rocks until he becomes a monkey again, and Danny is not able to understand that
he has become a completely different person.
Even at the beginning of the graphic novel,
before it is revealed that all three storylines are connected, Yang connects the
characters in a way that reinforces the idea that people experience similar
problems with identity. Without the knowledge that all three storylines are
connected, the reader is able to draw connections between the characters. If
the reader simply saw the plot happen chronologically, then this connection
between storylines would be lost.
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ReplyDeleteI agree that the nonlinear format of the graphic novel has a large impact on the connections drawn between the main three characters of the Monkey King, Jin, and Danny. I also feel that this nonlinear format causes a greater impact on the character of Wei-Chen and his influence over the story due to his actual form of a monkey being shown almost at the end of the book, allowing the readers to form a bond with him before his origin is revealed.
DeleteWei-Chen is introduced in almost the exact same way that Jin is introduced to his school, with the teacher mispronouncing his name and embarrassing him (Yang, 36). This introduction has already allowed readers to draw a line between the two. Then, when Jin and Wei-Chen bond over transformers and become best friends, we see even more in common between the two, though Jin is reluctant to acknowledge this fact (Yang, 40). During the next few chapters revolving around Jin, Wei-Chen proves himself to be a funny and loyal friend, by encouraging Amelia to ask Jin if he likes her (Yang, 102) and by lying for Jin to his mother so he can go on a date (Yang, 174). This endears him to the audience by showing his personality before his origins.
By not telling the story in a linear fashion, Yang allows the audience to grow to like Wei-Chen not as the son of the Monkey King but as an independent character. His reveal and subsequent turning from his father’s values is therefore given greater impact, as we learned over the course of the book how good of a person Wei-Chen is, and how he is turning away from himself by pursuing material desires.
I also really loved that the graphic novel was told in a non-linear fashion. By following the three different characters and their stories, I was delighted to keep reading till I found out their connections. It made the story that much more enjoyable to read, and left me curious after each page I flipped through. I believe it is this element of curiosity and surprise that made the novel as successful as it is today.
ReplyDeleteAs an Asian American myself, I was able to relate very much with Jin's character. Growing up in America, it was difficult to accept at first that I was different from the majority of others in this country. At times, I found myself trying to blend in with the rest by neglecting my Indian heritage and trying to adopt American principles and culture. Over time, however, I've come to accept my identity and embrace it, blocking out all the subliminal racism I had to deal with along the way. In Jin's case, however, he transformed into Danny, leaving behind his Asian identity that he's known his whole life.
By the end of the novel, I was shocked by the transformations of each character as it wasn't the ending that I had originally anticipated. After I set the book down, I spent some time trying to process and truly understand the themes that Yang tried to get across. I believe it is one of the few graphic novels that I've ever read that will stick with me for the rest of my life.
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ReplyDeleteI think the point you make about the structure of the graphic novel influencing its storytelling is an interesting one, and I want to expand on that. Throughout the novel, Luen Yang introduces an element in one segment, either the Monkey King’s or Jin’s, and then later explores that element again in the other segment, either The Monkey King’s or “Danny’s”. There are a few notable examples of this, such as the appearance of advisor characters and the idea of “[forfeiting] your soul” (Luen Yang 29). The Monkey King’s advisor takes the form of the monk Wong Lai-Tsao, who states that “the form that [the Monkey King] has taken is not truly [his] own” and that he will be “freed” if he returns to his “true form” (145). Later, the Monkey King himself offers similar to “Danny”, stating that “it is time for you to reveal [your true form]… Jin Wang” (213-214). Early in Jin’s section, the herbalist’s wife tells Jin he can become whatever he likes, “so long as you’re willing to forfeit your soul” (29). This idea reappears in the next section of the Monkey King, who has forced all of the monkeys to wear shoes and later adopts a more human-like form to better fit in as a deity. Jin similarly forfeits his soul when he transforms into Danny and decides that his “new face deserved a new name” (198). I believe Luen Yang uses this structural and thematic overlap between the different stories to further build the connection between them and tie them all to the theme of identity.
ReplyDeleteI absolutely agree, the nonlinear story telling crucial to the novel adding significantly to the Jin/Danny divide. By first presenting Danny who is popular and well accepted followed by the Monkey King and Jin who struggle with fitting in, it's an assumption of the reader that Jin and the Monkey king will explore similar problems while Danny will be a separate story line. Additionally by placing the Monkey King story between Jin and Danny serves to highlight the societal gap between whiteness and non whiteness. That it is Jin's Chinese culture and heritage physically separating him from the a life with white privilege. This makes it all more impactful on 194 when Jin transforms into Danny remarking to himself "a new face deserved a new name." (Yang 198) By introducing them as two separate characters Yang calls out the need for most minorities to adopt a facade of whiteness to be accepted in American culture and makes the reader reflect on the assumptions we make about people based on their skin color.
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