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29 pages 58 minutes read

Amy Tan

A Pair of Tickets

Fiction | Short Story | Adult | Published in 2005

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Symbols & Motifs

The Hotel

When June May arrives in China, she has preconceived notions about the country that are challenged by her experiences there. When she arrives at the hotel in Guangzhou, she is surprised by the luxury that $34 can buy. She thinks to herself more than once: “This is communist China?” (299). This line of thinking reveals June May’s stereotypical thinking about China. She did not expect to find luxury hotels or American and European products in the minibar either.

In the shower at the hotel, June May discovers little packets of shampoo that have, she says, “the consistency and color of hoisin sauce. This is more like it […] This is China” (300). The hotel symbolizes June May’s misconceptions about her parents’ homeland, her desire to see those misconceptions confirmed as a way of reaffirming her American identity, and her resistance to her Chinese identity as something foreign.

Journeys

Amy Tan uses the journey motif to structure her story. She begins the narrative with June May and Canning leaving Hong Kong and leads the characters through a more inland region of China, Guangzhou, and then ultimately back out to the coastal city of Shanghai, where they will meet the long-lost daughters of Suyuan.

As June May and Canning travel around China meeting with Canning’s family in Guangzhou and ultimately the twins in Shanghai, she learns new things about herself and her mother through the memories of other people. She hears the tale of how her mother became separated from her twin daughters, and through that tale gains access to her mother’s grief, something that was perhaps previously eclipsed by her grief at the loss of her mother. Canning, too, acknowledges his wife’s grief as he tells the story of Suyuan’s difficult decision to leave her babies on the side of the road, and her quiet struggle to find them for the rest of her life.

Suyuan, too, went on a journey from Kweilin toward Chungking in 1944, as she fled Japanese military aggression. After she lost her daughters, she continued to travel around the country searching for them until 1947, visiting such cities as Kweilin, Changsha, and Kunming. She ultimately traveled to the United States with her second husband, Canning, in 1949. The physical distance between her and her daughters increased as time passed. Where Suyuan’s physical journey amplifies her grief and loss, as the separation from her children increases, the journey that June May takes helps her grieve more fully and authentically, and moves her toward healing.

American Passport

June May’s American passport functions as a symbol of her former identity, and it highlights how she becomes someone new as she arrives in China, demonstrating the theme of Embracing Multicultural Identity. When she presents her passport to the customs agents in Guangzhou (Canton), June May worries whether they will recognize her. The photo shows her American self with makeup and styled hair. She looks nothing like that now. While the customs agent has no trouble recognizing her, June May perceives a change in herself. She no longer fully identifies with the American version of herself.

The fact that the photograph appears in a US passport emphasizes that the person depicted in the photograph is the American version of June May. On the outside, she no longer looks like the person in the picture. And on the inside, she doesn’t feel like her. While in the past she did everything she could think of to deny her Chinese identity, including adopting an exaggerated American appearance and distancing herself from her mother, she now drops those defense mechanisms in an attempt to understand herself and her heritage. The story implies that June May will return to the US, but if she renews her passport, her next picture might look very different.

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