Gish Jen – författare

The award-winning author of The Resisters returns with an engrossing, blisteringly funny-sad autobiographical novel tracing a tumultuous mother-daughter relationship.My mother had died, but still I heard her voice. . . Gish’s mother—Loo Shu-hsin—is born in 1925 to a wealthy Shanghai family where girls are expected to behave and be quiet. Every act of disobedience prompts the same reprimand: “Bad bad girl! You don’t know how to talk!” She gets sent to Catholic school, where she is baptized, re-named for St. Agnes, and, unusually for a girl, given an internationally minded education. Still, her father would say, "Too bad. If you were a boy, you could accomplish a lot." Aggie finds solace in books, reading every night with a flashlight and an English-Chinese dictionary, before announcing her intention to pursue a Ph.D. in America. It is 1947, and with the forces of Communist revolution on the horizon, she leaves—never to return.Lonely and adrift in Manhattan, Aggie begins dating Chao-Pei, an engineering student also from Shanghai. While news of their country and their families grows increasingly dire, they set out to make a new life together: marriage, a number one son, a small house in the suburbs. By the time Gish is born, her parents’ marriage is unraveling, and her mother, struggling to understand her strong-willed American daughter, is repeating the refrain that punctuated her own childhood: “Bad bad girl! You don’t know how to talk!”  Bad Bad Girl is a novel about a mother and a daughter forced to reckon with each other across decades of curiosity and ambition, elation and disappointment, intense intimacy and misunderstanding. Spanning continents and generations, this is a rich, heartbreaking portrait of two fierce women locked in a complicated lifelong embrace.

For author Gish Jen, the daughter of Chinese immigrant parents, books were once an Outsiders’ Guide to the Universe. But they were something more, too. Through her eclectic childhood reading, Jen stumbled onto a cultural phenomenon that would fuel her writing for decades to come: the profound difference in self-narration that underlies the gap often perceived between East and West.Drawing on a rich array of sources, from paintings to behavioral studies to her father’s striking account of his childhood in China, this accessible book not only illuminates Jen’s own development and celebrated work but also explores the aesthetic and psychic roots of the independent and interdependent self—each mode of selfhood yielding a distinct way of observing, remembering, and narrating the world. The novel, Jen writes, is fundamentally a Western form that values originality, authenticity, and the truth of individual experience. By contrast, Eastern narrative emphasizes morality, cultural continuity, the everyday, the recurrent. In its progress from a moving evocation of one writer’s life to a convincing delineation of the forces that have shaped our experience for millennia, Tiger Writing radically shifts the way we understand ourselves and our art-making.

My mother had died, but still I heard her voice...Growing up in an affluent neighbourhood in 1930s Shanghai, Loo Shu-hsin is told that it is 'no good for a girl to be smart' - and yet when rumours of the revolution reach their enclave, she is the one sent abroad for an education. In New York, she meets Chao-Pei, a Chinese engineering student, and they set out to make a life together. By the time their daughter - Gish Jen - is born, her parents have only sporadic contact with their families, who are locked in repressive Maoist China. And in her struggle to discipline her American daughter, Loo Shu-hsin finds herself repeating the punishing refrains - 'Bad bad girl! You don't know how to talk!' - that punctured her own childhood.Bad Bad Girl is a compelling exploration of a mother's life in exile from one of America's finest stylists.