《The Joy Luck Club》是一本由Amy Tan著作，Ballantine Books出版的Mass Market Paperback图书，本书定价：USD 7.99，页数：352，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。

　　《The Joy Luck Club》读后感(一)：The Joy Luck Club

　　The first book and perhaps the best of Amy Tan's, The Joy Luck Club gives a vivid account of four pairs of mothers and daughters, who represent some sort of dialogue between cultures and history that can't really be bridged. All that matters is understanding, to which the attainment is difficult enough.

　　《The Joy Luck Club》读后感(二)：Book Review of The Joy Luck Club

　　上学期写的书评，又要写论文了，想起了放在这U____U

　　Amy Tan, who wrote The Joy Luck Club in 1989, is the second generation of those who immigrant to America from China. As a Chinese-American, her works explore mother-daughter relationships and the Chinese-America experience. A careful observation of the book, which illustrates the various experiences of four first immigration Chinese immigrants and their daughters in the United States, helps us relate to the constructs and theories in intercultural communication.

　　art I : “Melting Pot” versus “Salad Bowl”

　　As we all know, America has been traditionally referred to as “melting pot”. The term “melting pot” is a metaphor for heterogeneous society becoming more homogeneous, the different elements “melting together” into a harmonious whole with a common culture. When it comes to the United America, even the “melting pot” process has always been equated with Americanization. In other words, assimilation is considered to be always a uni-directional process from immigrants toward the dominant host culture and culture heritage that immigrants brought with them over their native culture are assumes to diminish over the process.

　　However, when we look deeply into the American society, things seems much different comparing to what we have expected. American history began with waves of immigrants, bringing their own culture and traditions to a vast nest country. In the past 3 centuries, Europeans、Africans、Asians、Latins flooded into the new land, where different languages were spoken, different festivals were celebrated. Just a little walk in the city of New York or Chicago, for example, would make any foreigner realize the presence of people of various races walking down the street: probably Caucasians, blacks, Hispanics, African Americans, Hispanics, Asians, and so on. Indeed, America is a land of plural races and ethnicities, with a multicultural context. However, the Americans has never melted together completely in terms of culture. Yet more than 100 years later the abolition of slavery, intermarriage between African-Americans and other ethnicities is much less common than between different white ethnicities, or between white and Asian ethnicities.

　　In my opinion, the American Society is much more like “salad bowl” rather than “melting pot”. “Salad bowl” is another expression that describes the diversity of people in America where each ethnic group retains its cultural heritage and remains as being unique yet coexist with other ethnic groups. In the salad bowl model, various American cultures are juxtaposed — like salad ingredients — but do not merge into a single homogeneous culture. Having a close look at the reality of the country, such as the existing ethnic segregation, the fact of the white population fleeing away from the minority poverty, and the trend of the minority group forming an enclave, however, one can see that the “melting pot” theory is merely a myth, and despite its long fame, it is rather more suitable to label America as a “salad bowl.”

　　In The Joy Luck Club, four mothers have socialized mainly with other Chinese; they anticipate in ethnic activities and speak Chinese most of the time. They have kept their cultural heritage and had a limited exposure to the “dominant” society. On the other hand, most of their daughters are married to Caucasians, speak little Chinese and get easily irritated by their mother’s speaking Chinese. Yet, the cultural heritage that the first generation Chinese brought with them has been passed on to their daughter to some degree.

　　art II: Intercultural identity

　　Cultural identity is the identity or feeling of belonging to, as part of the self-conception and self-perception to nationality, religion, social class, generation, locality, and any kind of social group that have its own distinct culture, in this way cultural identity is both characteristic of the individual but also to the culturally identical group that has its members sharing the same cultural identity. In an intercultural context, cultural identities, may be more salient when they are distinctive, i.e. when there are few people holding the same ethnic identity.

　　All human beings are born into an unfamiliar environment and are brought up to become part of a culture. This process is known as enculturation. When you immigrant to a new culture, the individual must learn to adapt and grow into the new environment, as they are often faced with situations that challenge their cultural norms and worldview. This is the cross-cultural adaptation, which is defined as “the process of change over time that takes place within individuals who have completed their primary socialization process in one cultural and then come into continuous, prolonged first-hand contact with a new and unfamiliar culture”. In this process, an individual experiences comfort and discomfort and changes in attitude, self-image and self-awareness. Cross-cultural adaptation includes one’s encounter not only with others but also with oneself; the entire process is a process of personal growth.

　　According to Adler (1975), cross-cultural adaptation is seen as a process of personal growth consisting of five steps. They are: (1) a contact phase where an individual perceives the new environment ethnocentrically; (2)

　　A disintegration phase where an individual identifies cultural differences negatively and is confused and depressed; (3) a reintegration phase where an individual rejects the second culture and yet tries to defend his own difficulties; (4) an autonomy phase where an individual starts to understand the host culture with a feeling of competence; and (5) a final independence stage where an individual acquires an intercultural identity. With this intercultural identity, an individual acquires flexibility and considers oneself neither totally a part of nor totally apart from any particular culture. Although Adler’s model is generally applicable to immigrants’ experience, it does not seem to sufficiently explain how second generation American-born Chinese daughters identify with a culture. As the second generation immigrants are enculturated into two cultures, the dominant culture and their parents’ culture, this process is seen to be extremely complex.

　　M.Benett (1986) and J.Benett and M.Benett (1992) present a more sophisticated model of the process of acquiring an intercultural identity and suggest six stages consisting of three ethnocentric stages and three ethnorelative stages. As it focuses not on the process of adaptation to a particular culture but rather on the process of acquiring an intercultural identity, the J.Benett and M.Benett (1992) model is better suited in analyzing the cultural identity of both the first and second generation immigrants. The cultural identity of both the first and second generation immigrants. The three ethnocentric stages are: (1) a denial of difference stage where an individual never recognizes cultural differences because he or she is isolated or separated from the dominant culture; (2) a defense against difference stage where an individual where an individual recognizes cultural differences and evaluates most variations negatively; (3) a minimization of difference stage where an individual recognizes and accepts superficial cultural differences and emphasizes universal cultural elements. The three ethnorelative stages are: (1) an acceptance of difference stage where an individual recognizes and appreciates cultural differences in behavior and values; (2) an adaptation to difference stage where an individual develops communication skills using empathy and shifting frame of reference; and (3) an integration of difference stage where an individual internalizes multicultural frames of reference and freely chooses a proper judgement standard appropriate for the situation. An individual in this state of mind is called a person of “constructive marginality”.

　　A. The Joy Luck Mothers’ Identity

　　All four mothers in the story escaped from Mainland China after World War II and have lived in the U.S.A for almost fifty years. Yet, as far as the previous process of acquiring intercultural identity goes, few of them have gone beyond the ethnocentric. The strong sense of ethnocentrism is illustrated in the following two examples.

　　First, when one of the daughters, Jing-mei Woo, asked her mother about the difference between Jewish and Chinese mahjong, her mother tried to convice her of how Chinese mahjong is far superior to Jewish mahjong:

　　“Entirely different kind of playing,” she said in her English explanation voice. “Jewish mahjong, they watch only for their own tile, play only with their eye.” Then she switched to Chinese: “Chinese mahjong, you must play using your head, very tricky. You must watch what everybody else throws away and keep that in your head as well. And if nobody plays well, then the game becomes like Jewish mahjong. Why play？ There’s no strategy. You’re just watching people make mistakes.”.

　　econd, although all of the mothers experienced hardship in China, they still cling to their “old Chinese value” and regret that their daughters cannot appreciate the “old Chinese value”:

　　“She learned these things, but I couldn't teach her about Chinese character. How to obey parents and listen to your mother’s mind. How not to show you own thoughts, to put your feelings behind your face so you can take advantage of hidden opportunities. Why easy things are not worth pursuing. How to know your own worth and polish it, never flashing it around like a cheap ring. Why Chinese thinking is best.

　　Ethnocentrism causes an individual to clearly divide the world into two parts: us and them. The Joy Luck mothers have a clear idea of who belongs to the in-group and who belongs to the out-group. Sometimes the mothers perceive their own daughters as members of the out-group; that is, as an American. For example, Ying-ying St. Clair was upset about her daughter’s “Americanized” idea and says:

　　“Annh! Why do you Americans have only these morbid thoughts in your mind？.

　　Ying-ying, who is married to a Caucasian, has perceived even her husband not as an individual but as an individual from the out-group since her husband proposed to her. Ying-ying says:

　　“Saint courted me for four years in his strange way. Even though I was not the owner of the shop, he always greeted me, shaking hands, holding them too long. From his palms water always poured, even after we married. He was clean and pleasant. But he smelled like a foreigner, a lamb-smell stink that can never be washed away.

　　Moreover, this mothers’ idea of in-group versus out-group further brings a conflict with their daughters. The following is the conversation between one mother named An-mei Hsu and her daughter, Rose Hsu Jordan. The conversation took place after Rose’s Caucasian male friend picked her up at home. Rose describes him as follows:

　　“He is American,” warned my mother, as if I had been too blind to notice. “A waigoren.” “I’m American too”, I said.

　　As the above example shows, a word “American” or “waigoren” is a reflection of the mothers; concept of out-group. Likewise, it may be also true that a word “American” or “waigoren” strengthens the mother’s ethnocentric world view.

　　At the same time, identity confusion has also been reflected in one of the mothers——Lindo Jong. Not being able identify with either of the two cultures clearly, American or Chinese, she cannot freely switch back and forth between the two cultures. Lindo illustrate her own identity confusion as follows:

　　I smile. I use my American face. That’s the face Americans think is Chinese, the one they cannot understand. But inside I am becoming ashamed. I am ashamed she is ashamed. Because she is my daughter and I am proud of her, and I am her mother but she is not proud of me. Mr. Rory pats my hair more. He looks at me. He looks at my daughter. Then he says something to my daughter that really displeased her: “It's uncanny how much you two look like!” I smile, this time with my Chinese face. But my daughter’s eyes and her smile become very narrow, the way a cat pulls itself small just before it bites.

　　This scene indicates that Lindo has not become a person of constructive marginality who can freely set his or her own cultural boundary.

　　. The Joy Luck Daughters’ Identity

　　While the Joy Luck mothers stay within the ethnocentric stages, the daughters’ cultural identification process has progressed further. The daughters have gone through the defense against difference stage. For example, Jing-mei Woo, one of the four daughters, recalling the days when she was fifteen, says:

　　“cannot be helped,” my mother said when I was fifteen and had vigorously denied that I had any Chinese whatsoever below my skin. I was a sophomore at Galileo High in San Francisco, and all my Caucasian friends agreed: I was about as Chinese as they were.

　　As the deｓｃｒｉｐｔion above shows, Jing-mei Woo was in the second stage of the J.Benett and M.Benett (1992) culltural idenfication model. She was confused to know or to be informed that “she is different from other classmates” and tried to deny her being Chinese.

　　Rose Hsu Jordan, recalling the time when she first met her mother-in-law, also illustrates her psychological state in the same stage:

　　he assured me she had nothing whatsoever against minorities; she and her husband who owned a chain of office-supply stores personally knew many fine people who were Oriental, Spanish, and even black. But Ted was going to be in one of those professions where he would be judged by a different standard, by patients and other doctors who might not be as understanding as the Jordans were. She said so unfortunate the way the rest of the world was, how unpopular the Vietnam War was. “Mrs. Jordan, I am not Vietnamese,” I said softly, even though I was on the verge of shouting.

　　efore Rose met Mrs. Jordan for the first, her mother stopped her from dating Ted because he is American. Then, Rose opposed her mother by claiming that she is also American. This shows that she identified with American cultural rather than with Chinese culture. Yet, when she was identified by Mrs. Jordan with another group of Asians, she was confused. She might be depressed to realize the fact that she was view as somebody different no matter how much she identified with the American dominant culture. Also, her cultural pride as being a Chinese-American might have been a little hurt when Mrs. Jordan did not seem to distinguish the Chinese from the Vietnamese.

　　Rose, after her marriage with Ted fell apart, attributes the failure to her Chinese background and says:

　　At first I thought it was because I was raised with all this Chinese humility……Or that maybe it was because when you’re Chinese you’re supposed to accept everything, flow with the Tao and not make waves. But my therapist said, why do you blame you culture, your ethnicity？

　　This examples show the complexity of how second generation daughters acquire their cultural identity. They are enculturated into both Chinese and American culture. Nevertheless, they have progress further in cultural identification than their mothers. For example, Jing-mei Woo, after meeting her sisters in China, starts to move to the fifth or final stage of cultural identification. She says:

　　And now I see her again, two of her, waving, and in one hand there is a photo, the Polariod I sent them. As soon as I get beyond the gate, we run toward each other, all three of us embracing, all hesitations and expectations forgotten. “Mama, Mama,” we all murmur, as if she is among us. My sister look at me, proudly, “Meimei jandale,” says one sister proudly to the other. “Little sister has grown up.” I look at their faces again and I see no trace of my mother in them. Yet they still look familiar. And now I also see what part of me is Chinese. It is obvious. It is my family. It is our blood. After all these years, it can finally be let go.

　　This comment indicates that Jing-mei Woo is in the stage where she start to understand the Chinese culture inside her a feeling of competence. In other words, Jing-mei Woo starts to enter the stage of constructive marginality where she enjoys being on the margin of the two cultures and negotiates the boundary between the two cultures.

　　art IV : Conclusions

　　Up to now, we have talked about America as “melting pot” versus “salad bowl” and intercultural identity of the first and second generations of Chinese immigrants to America. Although claimed to “melting pot”, America is more like a “salad bowl” where different ethnics retain their traditions and coexist with each other. It’s hard for Chinese immigrants to adapt to the dominant culture and cultural conflicts happen everywhere in their social life. The inevitable question they have to face all their life is that——“where are you really from？”—— It may sound offensive, but that’s the reality. You may have tried hard to blend into the American culture, but just because of your yellow skin, you seems always the one who doesn't belong to them. And the phenomenon is especially obvious in the first or second generation. That’s what the Joy Luck mothers and daughter have suffered. Generations after generations, things may be easier a lot. Whatever, that is the process they have to going through.

　　《The Joy Luck Club》读后感(三)：Book reviews of "Two Kinds"

　　这是我们的英语作业，可是用英语憋了半天，仍然憋不出来，所以打算先用中文来写了，妈蛋！

　　有人说这篇文章总的来说是喜剧，可是我却觉得无处不悲伤。

　　文章的主题很清晰，文化冲突和母女矛盾。我觉得归根结底还是母女矛盾。

　　静美的妈妈是在中国的战乱和动荡中失去了她的一切----丈夫，和两个双胞胎女儿。移民到美国的她讲所有的筹码放在了如今唯一的女儿身上----这个不需要经历战乱，出生在环境优越的美国，一张白纸一样的女儿身上。对于desperate的静美妈妈来说，美国梦是她的宗教信仰。然而，静美，最初也不知道天高地厚地认为自己可以成为任何一种奇迹。直到不同的练习让她精疲力尽，让她感到厌烦。她也有失望，她望着镜子，谴责自己，为什么自己不是奇迹，为什么不够优秀。然而她醒悟了，或许是受美国文化的影响，她不想成为其他人，她只想成为自己。这是非常西方的思想。成为自己。

　　静美跨过了自己的坎却跨不过固执的妈妈。

　　即使表演失败，母亲还是不愿意接受静美成为不了奇迹的事实，一如既往的让静美弹钢琴。最终，不再是传统中国顺从好女儿的静美抛出了最犀利与伤人的话---我希望自己是你抛弃的女儿们。

　　中国母亲心中的美国梦彻底碎了。更确切地说，她对女儿所有的希望与期冀已随风飘散。

　　曾经听说过一句话，我们每个人都会有和父母狭路相逢的阶段，哪怕我们在这个时候稍微侧一点点身，也能让父母少伤心很多。

　　虽然我们不曾有静美和她妈妈这般的背景。但我们或多或少都有过相同的希望，失望与绝望。当然，最终我们都会释怀。原谅对方。

　　做父母是世界上最难的工作。当一个新生命在你面前的时候，就想一张白纸在你面前，你总是忍不住有往上面创作的冲动。

　　然而，任何人都不是白纸，就如世界上没有两片相同的树叶一样，我就是我，你就是你，不是靠谁创作出来的。

　　《The Joy Luck Club》读后感(四)：A book to be saved for my future children

　　This is a book that should be read by any second generation migrants who are suffering identity crisis. A book I'll certainly save for my future children.

　　The book talked about the stories of four chinese mothers and their American daughters. The mothers were born in early 1900s in China, from very different family backgrounds, each endured tragedy and suffering of their own kinds, some are unimaginable by people living in modern civilised and peaceful society. Yet the four mothers buried their grief deeply in their hearts, steeled their spirits, started new lives in American.

　　The enchanting part of the book is about the mother-daughter relationships around the four families. Daughters raised in American are incapable of understanding their mothers' chinese way of speaking, thinking and living, nor are they willing to learn them. Instead, they all to some extend deny their chinese identities and feel ashamed of their mothers who stand out awkwardly in the Western world. They had no idea what their mothers have been through, what made them the toughest souls that deserve much appreciation and admiration from their daughters.

　　The story of Jing-Mei and her mother is what touched my heart the deepest. Their relationship is no way any ordinary one. It's rather twisted. The mother held high hopes on Jing-Mei, which also raised Jing-Mei's expectation about herself. However, as Jing-Mei failed the expectations, she had to bear two folds of disappointment, one from herself and one from her mother. She turned angry against her mother, that why she had to bear the hope of her mother, why she was obliged to keep up mother's hope, why she has to care if mother was disappointed because she gave up on herself, and most importantly, why mother didn't keep up the hope on her even though she gave up on herself. Contradicting, conflicting, helplessly frustrating, this was young Jing-Mei's feeling. She couldn't understand the reason of her mother's high expectation, although the secret just lies in her name, she was too careless to find out, until it was too late.

　　The book ends with Jing-Mei travelled to China, reunited with her two older sisters. Although they've never meet, they held on to each other tightly and burst into tears, immersed in sadness and joy. In the hug of her older sisters, she finally found her Chinese identity and embraced it.

　　《The Joy Luck Club》读后感(五)：献给有女儿的妈妈

　　中译《喜福会》。很特殊的一本书，作者是在美国长大的中国人，用英文来书写了一个关于中国母亲和香蕉人女儿间的故事。4对母女、8个人、16个故事。时间跨度很大，从母亲的童年，也就是中国的民国时期写到女儿们的成年，好似是20世纪8、90年代的中国（需要翻书再确认一下）？有人说书中讲的是文化冲突，不，我读到的是母女关系。代沟、文化沟，最终无非要表达的是母女之间的爱与憎、误会与理解。

　　阅读中，我经常想起我和我的妈妈、以及我4岁小女儿的关系。我对自己的妈妈很少有批判的想法，更多是爱、理解和包容。有时，也免不了会有一些情绪，但归根结底，我发现自己和妈妈之间，从未出现如书中母女间那么激烈的对抗、不认同、互相折磨。是因为我们之间没有中西方的文化冲突？还是因为我们没有分别成长在战争与和平的年代？我发现我常常会对母上大人年轻时的事情充满理解和会心一笑。比如，某一年，作为中学生的她，置身于那场波及全国的文化大&革&命中的她，参加了学生们的串&联，她回忆起来，告诉我，十几岁的她第一次坐火车，还免票，和一帮同学一起，走南闯北，甚至到了北京，在天&安&门广场接受主席的检阅。她说，那是一段很长见识的经历，说这话的她，眉眼清亮。听这话的我，会心大笑，同时惊诧于如今小女人样十足的我老妈居然也有这么大胆闯江湖的日子。在心中瞬间刷新了她老人家的形象。又有一次，看她年轻时的照片，灰蓝衣服里边，露出一个漂亮的花边领子。她带着少女的羞涩告诉我，那时候，大家都是灰蓝或军绿，可是女孩子们又爱美，于是就在里边悄悄套上件假领子。听这话的瞬间，我爱极了她。从小和妈妈关系好，交流多，所以我没有书中那种纠结的情结和经历，看了也是蛮新奇的。

　　同时，又暗下决心，我家宝贝姑娘长大时，和我的关系里，不可以有那些。

　　《The Joy Luck Club》读后感(六)：不推荐

　　看了英文版，简直不知所云，无聊透顶。作者所说的中国风俗，驴唇不对马嘴。象moon lady(译本叫“月亮娘娘”，我猜是说“嫦娥”)那段，简直是大杂烩，连太阳神都出来了，此太阳神好像还是希腊神话和中国后羿的杂交体，并且mood lady还和太阳是神是夫妻，和女郎织女似的一年相会一次，其中又有西游记中长生不老的蟠桃，中文译本都没好意思翻译，直接略过了。至于书中那些母亲们，她们在中国就没遇到一个好人，连爸妈，保姆都无由来的自私，残暴。作者似乎要迎合外国人对中国的猎奇心里，专要写用虫子壳做的中药，可怕的中国饮食(挂在饭店里的的烤鸭，一定要强调是被浸血的绳子拴着脖子挂在那的)，粗鲁的中国人(动不动就扇人耳光)。读来总有种不舒服的感觉。

　　看书评一致说好，还以为自己我疯了呢。查了下亚马逊的书评，发现中文读者很多批评作者不懂中国文化的。

　　中文翻译倒是极好，不合情理的地方大多都绕过去了，绕不过去的也都模糊处理了，而且原著中对中国文化的刻薄和调笑的微妙感觉在译文中也不见了。

　　给好奇的读者引出moon lady那段：The crowd moved closer. The Moon Lady plucked her lute and began her singing tale.

　　On the other side of the moon I saw the silhouette of a man appear. The Moon Lady held her arms out to embrace him！"O! Hou Yi, my husband, Master Archer of the Skies!" she sang. But her husband did not seem to notice her. He was gazing at the sky. And as the sky grew brighter, his mouth began to open wide！in horror or delight, I could not tell.

　　The Moon Lady clutched her throat and fell into a heap, crying, "The drought of ten suns in the eastern sky!" And just as she sang this, the Master Archer pointed his magic arrows and shot down nine suns which burst open with blood. "Sinking into a simmering sea!" she sang happily, and I could hear these suns sizzling and crackling in death.

　　And now a fairy！the Queen Mother of the Western Skies!！was flying toward the Master Archer. She opened a box and held up a glowing ball！no, not a baby sun but aMoon Lady pretending to be busy with her embroidery, but she was watching her husband. She saw him hide the peach in a box. And then the Master Archer raised his bow and vowed to fast for one year to show he had the patience to live forever. And after he ran off, the Moon Lady wasted not one moment to find the peach and eat it!

　　As soon as she tasted it, she began to rise, then fly！not like the Queen Mother！but like a dragonfly with broken wings. "Flung from this earth by my own wantonness!" she cried just as her husband dashed back home, shouting, "Thief! Life-stealing wife!" He picked up his bow, aimed an arrow at his wife and！with the rumblings of a gong, the sky went black.

　　Wyah! Wyah! The sad lute music began again as the sky on the stage lightened. And there stood the poor lady against a moon as bright as the sun. Her hair was now so long it swept the floor, wiping up her tears. An eternity had passed since she last saw her husband, for this was her fate: to stay lost on the moon, forever seeking her own selfish wishes. ”

　　《The Joy Luck Club》读后感(七)：不止是一本感人的母女小说

　　这本书看了两遍多了，电影看了近三遍，每次看都会泪下沾襟。

　　印象尤其深刻的是crab dinner那里。小说里面suyuan对june说waverly就像一个螃蟹，横行霸道，但是你换一条道不就行了。看到这里我也是心有戚戚然。其实生活中有挺多人很像里面的waverly，浑身带刺，喜欢挑剔别人，通过打击别人来获得优越感。而我一直以为这是因为我自己不够强势，于是我开始还击，开始也变得像一个crab。但是我觉得那样的我根本就不是真实的我，而且也不快乐。看了书中的这一段之后我才明白，世界那么大，何必浪费时间精力去和别人争，大不了换条路走。

　　电影把小说里的这一部分扩充了，suyuan告诉june，虽然你不像waverly事业有成，但是你有一个金子般的心。you have the best quality heart。 每次听到这句话我就很感动。 you don't have to be as talented， or as successful in career as waverly. all you have to do is to be yourself, a girl with a golden heart。 在现在这个日益浮躁的世界，一个人的价值由他的学历，工资，婚姻所决定，虽然我很反感这种观念，但是还是会有觉得自己像个loser的时候，and then i will say it to myself like chanting a mantra--you have the best quality heart。

　　《The Joy Luck Club》读后感(八)：The Joy Luck Club

　　The Joy Luck Club refers to the novel by Amy Tan, published in 1989. It was adapted into the film by Tan and Ronald Bass, directed by Wayne Wang and released in 1993. It was also adapted into stage play by Susan Kim, first produced in China in 1993.[1] In various forms, tales of four women from mainland China and their Asian-American daughters are told in first-person narratives.

　　《The Joy Luck Club》读后感(九)：母女情

　　精读老师推荐我们看的书，还让我们写一些东西，写都写了，贴上来好了。

　　It is said that this book talks about the conflicts between the daughter and children. While, in my mind, I see more loves between mother and daughter than conflicts. The four mothers all hope their daughters could live a better live, after suffering all the difficulties and tasting the bitter of life. They would do their utmost to make their daughter not to experiencing their bitterness. And the four daughters hold a desire to receive the praise from their mother. The connection and interaction between them really touched me.

　　When I read this book, I reminded of my father who also put his hope on me, expecting me to be admitted to a good university and to be employed by a good company in the future. But, luckily, my father did not put much stress on me and, instead, encouraged me a lot. Even when I did not get a good mark in an exam, he had never scolded me and, instead, gave me his full support, which indeed inspired me to continue my study with more confidence and energy. And my mother focuses more on my daily life and my diet than my study.

　　In the Joy Luck Club, what impressed me most is the death of Anmei’s mother. I still couldn’t figure out that her mother died by her own design or by the second wife’s plot. If her mother wanted Wu Tsing change his attitude, she had no reason to make herself really die. And if not, what is the reason for the second wife to plot her death？ Even when Anmei’s mother was alive, her son was still under her control. I could not find a full reason for the second wife to do the evil thing. Anyway, her death led to Anmei to lose mother again whom she just found back not for a long time and also made her to become stronger.

　　What soothe me most was that they, the four mothers and four daughters, understood each other in the end of the story and understood that they have always being loved by each other.

　　《The Joy Luck Club》读后感(十)：每一个人都摆脱不了原生家庭的烙印

　　The Joy Luck Club讲述的是4个中国妈妈和4个ABC女儿的故事。全书16个故事穿插讲述，由于故事结构的搭建很特别，刚开始读时容易迷失在多条人物故事线中，但读到最后你会不得不感叹于作者的精心构架。人们都说同性很好沟通，但妈妈和女儿的沟通绝对属于例外。书中的每一个女儿都用了自己半生去挣脱母亲对自己的影响，而每一个母亲只不过是希望能把自己花了惨痛代价换来的人生感悟直接传递给自己的孩子。所以，这本书与其说是在写中美文化的差异，不如说是在写母亲和女儿的代沟。在书中你会看见自己的影子。建议大家读一读，也许你会重新看待你和家长的关系，也许你会重新调整对待孩子的方式。此书1990年第一次出版时雄踞《纽约时报》畅销小说榜首达9个月之久，奠定了Amy Tan在美国文坛的江湖地位。