Authors: Amy Tan
The Joy Luck Club (14 page)
I didn't tell anyone about the things I saw, not even my mother. Most people didn't know I was half Chinese, maybe because my last name is St. Clair. When people first saw me, they thought I looked like my father, English-Irish, big-boned and delicate at the same time. But if they looked really close, if they knew that they were there, they could see the Chinese parts. Instead of having cheeks like my father's sharp-edged points, mine were smooth as beach pebbles. I didn't have his straw-yellow hair or his white skin, yet my coloring looked too pale, like something that was once darker and had faded in the sun.
And my eyes, my mother gave me my eyes, no eyelids, as if they were carved on a jack-o'-lantern with two swift cuts of a short knife. I used to push my eyes in on the sides to make them rounder. Or I'd open them very wide until I could see the white parts. But when I walked around the house like that, my father asked me why I looked so scared.
I have a photo of my mother with this same scared look. My father said the picture was taken when Ma was first released from Angel Island Immigration Station. She stayed there for three weeks, until they could process her papers and determine whether she was a War Bride, a Displaced Person, a Student, or the wife of a Chinese-American citizen. My father said they didn't have rules for dealing with the Chinese wife of a Caucasian citizen. Somehow, in the end, they declared her a Displaced Person, lost in a sea of immigration categories.
My mother never talked about her life in China, but my father said he saved her from a terrible life there, some tragedy she could not speak about. My father proudly named her in her immigration papers: Betty St. Clair, crossing out her given name of Gu Ying-ying. And then he put down the wrong birthyear, 1916 instead of 1914. So, with the sweep of a pen, my mother lost her name and became a Dragon instead of a Tiger.
In this picture you can see why my mother looks displaced. She is clutching a large clam-shaped bag, as though someone might steal this from her as well if she is less watchful. She has on an ankle-length Chinese dress with modest vents at the side. And on top she is wearing a Westernized suit jacket, awkwardly stylish on my mother's small body, with its padded shoulders, wide lapels, and oversize cloth buttons. This was my mother's wedding dress, a gift from my father. In this outfit she looks as if she were neither coming from nor going to someplace. Her chin is bent down and you can see the precise part in her hair, a neat white line drawn from above her left brow then over the black horizon of her head.
And even though her head is bowed, humble in defeat, her eyes are staring up past the camera, wide open.
"Why does she look scared?" I asked my father.
And my father explained: It was only because he said "Cheese," and my mother was struggling to keep her eyes open until the flash went off, ten seconds later.
My mother often looked this way, waiting for something to happen, wearing this scared look. Only later she lost the struggle to keep her eyes open.
"Don't look at her," said my mother as we walked through Chinatown in Oakland. She had grabbed my hand and pulled me close to her body. And of course I looked. I saw a woman sitting on the sidewalk, leaning against a building. She was old and young at the same time, with dull eyes as though she had not slept for many years. And her feet and her hands—the tips were as black as if she had dipped them in India ink. But I knew they were rotted.
"What did she do to herself?" I whispered to my mother.
"She met a bad man," said my mother. "She had a baby she didn't want."
And I knew that was not true. I knew my mother made up anything to warn me, to help me avoid some unknown danger. My mother saw danger in everything, even in other Chinese people. Where we lived and shopped, everyone spoke Cantonese or English. My mother was from Wushi, near Shanghai. So she spoke Mandarin and a little bit of English. My father, who spoke only a few canned Chinese expressions, insisted my mother learn English. So with him, she spoke in moods and gestures, looks and silences, and sometimes a combination of English punctuated by hesitations and Chinese frustration: "
Shwo buchulai
"—Words cannot come out. So my father would put words in her mouth.
Shwo buchulai
"—Words cannot come out. So my father would put words in her mouth.
"I think Mom is trying to say she's tired," he would whisper when my mother became moody.
"I think she's saying we're the best darn family in the country!" he'd exclaim when she had cooked a wonderfully fragrant meal.
But with me, when we were alone, my mother would speak in Chinese, saying things my father could not possibly imagine. I could understand the words perfectly, but not the meanings. One thought led to another without connection.
"You must not walk in any direction but to school and back home," warned my mother when she decided I was old enough to walk by myself.
"Why?" I asked.
"You can't understand these things," she said.
"Why not?"
"Because I haven't put it in your mind yet."
"Why not?"
"Aii-ya! Such questions! Because it is too terrible to consider. A man can grab you off the streets, sell you to someone else, make you have a baby. Then you'll kill the baby. And when they find this baby in a garbage can, then what can be done? You'll go to jail, die there."
I knew this was not a true answer. But I also made up lies to prevent bad things from happening in the future. I often lied when I had to translate for her, the endless forms, instructions, notices from school, telephone calls. "
Shemma yisz?
"—What meaning?—she asked me when a man at a grocery store yelled at her for opening up jars to smell the insides. I was so embarrassed I told her that Chinese people were not allowed to shop there. When the school sent a notice home about a polio vaccination, I told her the time and place, and added that all students were now required to use metal lunch boxes, since they had discovered old paper bags can carry polio germs.
Shemma yisz?
"—What meaning?—she asked me when a man at a grocery store yelled at her for opening up jars to smell the insides. I was so embarrassed I told her that Chinese people were not allowed to shop there. When the school sent a notice home about a polio vaccination, I told her the time and place, and added that all students were now required to use metal lunch boxes, since they had discovered old paper bags can carry polio germs.
"We're moving up in the world," my father proudly announced, this being the occasion of his promotion to sales supervisor of a clothing manufacturer. "Your mother is thrilled."
And we did move up, across the bay to San Francisco and up a hill in North Beach, to an Italian neighborhood, where the sidewalk was so steep I had to lean into the slant to get home from school each day. I was ten and I was hopeful that we might be able to leave all the old fears behind in Oakland.
The apartment building was three stories high, two apartments per floor. It had a renovated façade, a recent layer of white stucco topped with connected rows of metal fire-escape ladders. But inside it was old. The front door with its narrow glass panes opened into a musty lobby that smelled of everybody's life mixed together. Everybody meant the names on the front door next to their little buzzers: Anderson, Giordino, Hayman, Ricci, Sorci, and our name, St. Clair. We lived on the middle floor, stuck between cooking smells that floated up and feet sounds that drifted down. My bedroom faced the street, and at night, in the dark, I could see in my mind another life. Cars struggling to climb the steep, fog-shrouded hill, gunning their deep engines and spinning their wheels. Loud, happy people, laughing, puffing, gasping: "Are we almost there?" A beagle scrambling to his feet to start his yipping yowl, answered a few seconds later by fire truck sirens and an angry woman hissing, "Sammy! Bad dog! Hush now!" And with all this soothing predictability, I would soon fall asleep.
My mother was not happy with the apartment, but I didn't see that at first. When we moved in, she busied herself with getting settled, arranging the furniture, unpacking dishes, hanging pictures on the wall. It took her about one week. And soon after that, when she and I were walking to the bus stop, she met a man who threw her off balance.
He was a red-faced Chinese man, wobbling down the sidewalk as if he were lost. His runny eyes saw us and he quickly stood up straight and threw out his arms, shouting, "I found you! Suzie Wong, girl of my dreams! Hah!" And with his arms and mouth wide open, he started rushing toward us. My mother dropped my hand and covered her body with her arms as if she were naked, unable to do anything else. In that moment as she let go, I started to scream, seeing this dangerous man lunging closer. I was still screaming after two laughing men grabbed this man and, shaking him, said, "Joe, stop it, for Chrissake. You're scaring that poor little girl and her maid."
The rest of the day—while riding on the bus, walking in and out of stores, shopping for our dinner—my mother trembled. She clutched my hand so tightly it hurt. And once when she let go of my hand to take her wallet out of her purse at the cash register, I started to slip away to look at the candy. She grabbed my hand back so fast I knew at that instant how sorry she was that she had not protected me better.
As soon as we got home from grocery shopping, she began to put the cans and vegetables away. And then, as if something were not quite right, she removed the cans from one shelf and switched them with the cans on another. Next she walked briskly into the living room and moved a large round mirror from the wall facing the front door to a wall by the sofa.
"What are you doing?" I asked.
She whispered something in Chinese about "things not being balanced," and I thought she meant how things looked, not how things felt. And then she started to move the larger pieces: the sofa, chairs, end tables, a Chinese scroll of goldfish.
"What's going on here?" asked my father when he came home from work.
"She's making it look better," I said.
And the next day, when I came home from school, I saw she had again rearranged everything. Everything was in a different place. I could see that some terrible danger lay ahead.
"Why are you doing this?" I asked her, afraid she would give me a true answer.
But she whispered some Chinese nonsense instead: "When something goes against your nature, you are not in balance. This house was built too steep, and a bad wind from the top blows all your strength back down the hill. So you can never get ahead. You are always rolling backward."
And then she started pointing to the walls and doors of the apartment. "See how narrow this doorway is, like a neck that has been strangled. And the kitchen faces this toilet room, so all your worth is flushed away."
"But what does it mean? What's going to happen if it's not balanced?" I asked my mother.
My father explained it to me later. "Your mother is just practicing her nesting instincts," he said. "All mothers get it. You'll see when you're older."
I wondered why my father never worried. Was he blind? Why did my mother and I see something more?
And then a few days later, I found out that my father had been right all along. I came home from school, walked into my bedroom, and saw it. My mother had rearranged my room. My bed was no longer by the window but against a wall. And where my bed once was—now there stood a used crib. So the secret danger was a ballooning stomach, the source of my mother's imbalance. My mother was going to have a baby.
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