mother. Then again, it seemed my mother was always displeased with all her friends, with me, and even with my father. Something was always missing. Something always needed improving. Something was not in balance. This one or that had too much of one element, not enough of another.
The elements were from my motherâs own version of organic chemistry. Each person is made of five elements, she told me.
Too much fire and you had a bad temper. That was like my father, whom my mother always criticized for his cigarette habit and who always shouted back that she should keep her thoughts to herself. I think he now feels guilty that he didnât let my mother speak her mind.
Too little wood and you bent too quickly to listen to other peopleâs ideas, unable to stand on your own. This was like my Auntie An-mei.
Too much water and you flowed in too many directions, like myself, for having started half a degree in biology, then half a degree in art, and then finishing neither when I went off to work for a small ad agency as a secretary, later becoming a copywriter.
I used to dismiss her criticisms as just more of her Chinese superstitions, beliefs that conveniently fit the circumstances. In my twenties, while taking Introduction to Psychology, I tried to tell her why she shouldnât criticize so much, why it didnât lead to a healthy learning environment.
âThereâs a school of thought,â I said, âthat parents shouldnât criticize children. They should encourage instead. You know, people rise to other peopleâs expectations. And when you criticize, it just means youâre expecting failure.â
âThatâs the trouble,â my mother said. âYou never rise. Lazy to get up. Lazy to rise to expectations.â
âTime to eat,â Auntie An-mei happily announces, bringing out a steaming pot of the wonton she was just wrapping. There are piles of food on the table, served buffet style, just like at the Kweilin feasts. My father is digging into the chow mein, which still sits in an oversize aluminum pan surrounded by little plastic packets of soy sauce. Auntie An-mei must have bought this on Clement Street. The wonton soup smells wonderful with delicate sprigs of cilantro floating on top. Iâm drawn first to a large platter of chaswei , sweet barbecued pork cut into coin-sized slices, and then to a whole assortment of what Iâve always called finger goodiesâthin-skinned pastries filled with chopped pork, beef, shrimp, and unknown stuffings that my mother used to describe as ânutritious things.â
Eating is not a gracious event here. Itâs as though everybody had been starving. They push large forkfuls into their mouths, jab at more pieces of pork, one right after the other. They are not like the ladies of Kweilin, who I always imagined savored their food with a certain detached delicacy.
And then, almost as quickly as they started, the men get up and leave the table. As if on cue, the women peck at last morsels and then carry plates and bowls to the kitchen and dump them in the sink. The women take turns washing their hands, scrubbing them vigorously. Who started this ritual? I too put my plate in the sink and wash my hands. The women are talking about the Jongsâ China trip, then they move toward a room in the back of the apartment. We pass another room, what used to be the bedroom shared by the four Hsu sons. The bunk beds with their scuffed, splintery ladders are still there. The Joy Luck uncles are already seated at the card table. Uncle George is dealing out cards, fast, as though he learned this technique in a casino. My father is passing out Pall Mall cigarettes, with one already dangling from his lips.
And then we get to the room in the back, which was once shared by the three Hsu girls. We were all childhood friends. And now theyâve all grown and married and Iâm here to play in their room again. Except for the smell of