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| One of my earliest memories starts with me sobbing. I refused to be soothed no matter what Mom and Dad tried. Dad gave up and left the bedroom, but Mom took me into the kitchen and sat me down at the breakfast table. “Kan, kan.” Look, look, she said, as she pulled a sheet of wrapping paper from on top of the fridge. For years, Mom carefully sliced open the wrappings around Christmas gifts and saved them on top of the fridge in a thick stack. She set the paper down, plain side facing up, and began to fold it. I stopped crying and watched her, curious. She turned the paper over and folded it again. She pleated, packed, tucked, rolled, and twisted until the paper disappeared between her cupped hands. Then she lifted the folded-up paper packet to her mouth and blew into it, like a balloon. “Kan,” she said. “Laohu.” Look, a tiger. She put her hands down on the table and let go. A little paper tiger stood on the table, the size of two fists placed together. The skin of the tiger was the pattern on the wrapping paper, white background with red candy canes and green Christmas trees. I reached out to Mom’s creation. Its tail twitched, and it pounced playfully at my finger. “Rawrr-sa,” it growled, the sound somewhere between a cat and rustling newspapers. I laughed, startled, and stroked its back with my index finger. The paper tiger vibrated under my finger, purring.“Zhe jiao zhezhi,” Mom said. This is called origami. I didn’t know this at the time, but Mom’s breath was special. She breathed into her paper animals so that they shared her breath, and thus moved with her life. This was her magic. | The narrator introduces the memory by describing their earliest recollection, which begins with himm crying inconsolably. Despite the efforts of both his parents, the narrator remained upset and resistant to any attempts to comfort him. The father eventually gave up and left the room, but the mother took a different approach, leading the narrator into the kitchen and having him sit at the breakfast table. The mother used encouraging words, saying “Kan, kan” (meaning “Look, look” in Chinese), as she grabbed a sheet of wrapping paper from the top of the refrigerator. The narrator reflects on their mother’s practice of carefully opening Christmas gift wrappings and saving them on top of the fridge over the years. Placing the wrapping paper with the plain side facing up, the mother began the process of folding it, capturing the narrator’s curiosity and causing him to stop crying. The mother skillfully manipulated the paper, employing techniques like pleating, packing, tucking, rolling, and twisting, gradually transforming the paper’s appearance. The narrator, now intrigued by the unfolding process, observed as the paper was turned over and folded again, disappearing between the mother’s hands. With the folded paper packet in her hands, the mother mimicked inflating it by blowing air into it, creating a balloon-like effect. Using the word “Kan” once more, the mother drew attention to the creation, which she likened to a tiger, a term conveyed in Chinese as “Laohu.” Placing her hands on the table, the mother released the folded paper creation, which now took the form of a small paper tiger, roughly the size of two clenched fists. The narrator engaged with the paper tiger, reaching out to touch it. The description of the paper tiger’s interactions conveys a sense of playfulness. The sound produced by the paper tiger, resembling a mixture of a cat’s growl and the rustling of newspapers, startled the narrator but also made him laugh. The narrator’s response to the playful interactions with the paper tiger involved gently stroking its back with his index finger, which led to a vibrating sensation akin to purring. The mother introduced the term “Zhe jiao zhezhi,” meaning “This is called origami” in Chinese, thereby explaining the art form behind the creation. It seemed to the narrator that his mother could breathe life into those figures. She knew magic. In essence, this passage depicts a vivid childhood memory where the narrator’s distress turns into fascination and joy through his mother’s creative origami creation. The sequence of events unfolds in a way that highlights the transformative power of creativity and a mother’s nurturing presence. |
| Dad had picked Mom out of a catalogue. One time, when I was in high school, I asked Dad about the details. He was trying to get me to speak to Mom again. He had signed up for the introduction service back in the spring of 1973. Flipping through the pages steadily, he had spent no more than a few seconds on each page until he saw the picture of Mom. I’ve never seen this picture. Dad described it: Mom was sitting in a chair, her side to the camera, wearing a tight green silk cheongsam. Her head was turned to the camera so that her long black hair was draped artfully over her chest and shoulder. She looked out at him with the eyes of a calm child. “That was the last page of the catalogue I saw,” he said. The catalogue said she was eighteen, loved to dance, and spoke good English because she was from Hong Kong. None of these facts turned out to be true. He wrote to her, and the company passed their messages back and forth. Finally, he flew to Hong Kong to meet her. “The people at the company had been writing her responses. She didn’t know any English other than ‘hello’ and ‘good-bye’.” What kind of woman puts herself into a catalogue so that she can be bought? The high school me thought I knew so much about everything. Contempt felt good, like wine. | The narrator begins by revealing that their father had chosen his mother from a catalog, suggesting an unconventional way of meeting and marrying. The narrator recalls a specific instance during his high school years when he inquired about the details of his parents’ meeting. Their father aimed to encourage him to reconnect with his mother. The father had signed up for an introduction service in 1973, flipping through the catalog pages with a steady pace. He swiftly skimmed each page, only pausing for a brief moment when he came across his mother’s photo. The narrator had never seen the picture himself, but the father’s description emerged. The image depicted his mother seated in a chair, with her side facing the camera. She wore a form-fitting green silk cheongsam,(a straight, close-fitting silk dress with a high neck and slit skirt, worn by Chinese and Indonesian women.) and her long black hair cascaded gracefully over her chest and shoulder. Her gaze conveyed a sense of calmness akin to a serene child. The father emphasized that the image he described marked the final page he had perused in the catalog. The catalog falsely stated that his mother was eighteen, enjoyed dancing, and possessed good English skills due to her origins in Hong Kong. These details, as it turned out, were inaccurate. Following the initial contact, his father corresponded with his mother through exchanged messages facilitated by the company. Eventually, he traveled to Hong Kong to meet her in person. The father revealed that the company had been drafting responses on his mother’s behalf. Her English proficiency was limited to basic greetings like ‘hello’ and ‘goodbye.’ The narrator reflects on the idea of a woman placing herself within a catalog for the purpose of being selected or “bought.” He ponders the nature of such a decision, expressing a sense of judgment and questioning. The narrator, as a high school student, believed he had a strong grasp of the world and held a somewhat contemptuous attitude. He describes feeling a kind of satisfaction, comparing it to the indulgence of wine, in feeling superior and scornful. |
| Instead of storming into the office to demand his money back, he paid a waitress at the hotel restaurant to translate for them. “She would look at me, her eyes halfway between scared and hopeful, while I spoke. And when the girl began translating what I said, she’d start to smile slowly.” He flew back to Connecticut and began to apply for the papers for her to come to him. I was born a year later, in the Year of the Tiger. | Instead of storming into an office to demand a refund of money, they took a more measured action. In place of a confrontational approach, he enlisted the assistance of a waitress at the hotel restaurant. This waitress served as a translator during a conversation. The mother’s expression during the translation process – noting a mix of emotions—partially fearful yet also tinged with hope. After this encounter, he returned to his home in Connecticut. Driven by his connection with the woman and the potential for a future together, he embarked on the process of arranging the necessary paperwork. His aim was to facilitate her journey to join him in Connecticut. The narrator notes that he was born in the Year of the Tiger, likely referring to a specific year in the Chinese zodiac. |
| At my request, Mom also made a goat, a deer, and a water buffalo out of wrapping paper. They would run around the living room while Laohu chased after them, growling. When he caught them he would press down until the air went out of them and they became just flat, folded up pieces of paper. I would then have to blow into them to re-inflate them so they could run around some more. Sometimes, the animals got into trouble. Once, the water buffalo jumped into a dish of soy sauce on the table at dinner. (He wanted to wallow, like a real water buffalo.) I picked him out quickly but the capillary action had already pulled the dark liquid high up into his legs. The sauce-softened legs would not hold him up, and he collapsed onto the table. I dried him out in the sun, but his legs became crooked after that, and he ran around with a limp. Mom eventually wrapped his legs in saran wrap so that he could wallow to his heart’s content (just not in soy sauce). | At the narrator’s request, their mother engaged in a creative activity involving origami using wrapping paper. She crafted various animals including a goat, a deer, and a water buffalo out of the wrapping paper. The imaginative play unfolded in the living room, with the paper animals coming to life as they were animated to run around. The narrator’s other creation, Laohu (the paper tiger from a previous context), would playfully chase after these paper animals, emitting a growling sound. As part of the playful scenario, Laohu would capture the other paper animals and “deflate” them by pressing down on them. This action would render the animals flat, turning them into folded pieces of paper. The narrator’s role was to restore the paper animals to their original state. After they were flattened by Laohu, the narrator would blow air into them, re-inflating them so that they could continue running around. The narrative takes a humorous turn as one of the paper animals, the water buffalo, ends up getting into a comical mishap. It jumps into a dish of soy sauce on the dinner table, simulating a real water buffalo’s desire to wallow.(lie in mud) Although the narrator swiftly rescued the water buffalo from the soy sauce, the liquid had been absorbed by capillary action, causing the dark sauce to rise up into the paper legs of the animal. The legs of the paper water buffalo became softened by the sauce, causing it to lose its ability to stand upright. Consequently, the water buffalo collapsed on the table due to its weakened legs. In an attempt to salvage the situation, the narrator resorted to drying out the paper water buffalo in the sun. Despite his efforts, the water buffalo’s legs became bent and crooked as a result of the incident. Over time, the narrator’s mother ingeniously improvised a solution to allow the water buffalo to continue its imaginative wallowing activities. She wrapped the water buffalo’s legs in plastic wrap (saran wrap), enabling it to “wallow” without further mishaps—albeit not in soy sauce this time. |
| Also, Laohu liked to pounce at sparrows when he and I played in the backyard. But one time, a cornered bird struck back in desperation and tore his ear. He whimpered and winced as I held him and Mom patched his ear together with tape. He avoided birds after that. And then one day, I saw a TV documentary about sharks and asked Mom for one of my own. She made the shark, but he flapped about on the table unhappily. I filled the sink with water, and put him in. He swam around and around happily. However, after a while he became soggy and translucent, and slowly sank to the bottom, the folds coming undone. I reached in to rescue him, and all I ended up with was a wet piece of paper. Laohu put his front paws together at the edge of the sink and rested his head on them. Ears drooping, he made a low growl in his throat that made me feel guilty. Mom made a new shark for me, this time out of tinfoil. The shark lived happily in a large goldfish bowl. Laohu and I liked to sit next to the bowl to watch the tinfoil shark chasing the goldfish, Laohu sticking his face up against the bowl on the other side so that I saw his eyes, magnified to the size of coffee cups, staring at me from across the bowl. | Laohu’s Playfulness and Injury: The paragraph begins by mentioning Laohu, who is likely a family pet, and his playful behavior in the backyard. Laohu is the protagonist’s (the narrator’s) companion, and they enjoy playing together. Specifically, Laohu likes to chase sparrows. However, during one such chase, a sparrow fought back in desperation and injured Laohu’s ear, causing him pain and discomfort. The narrator and their mother tend to Laohu, with the mother patching his ear together with tape. This incident leads to Laohu developing a fear of birds and avoiding them after this encounter. Interest in Sharks: The narrative shifts to a different incident where the narrator becomes interested in sharks after watching a TV documentary. The narrator asks their mother to make a paper shark for them. The mother complies, and they create the paper shark together. Initially, the shark is placed on a table, but it appears unhappy in this setting. The narrator, wanting to provide a more suitable environment, fills the sink with water and places the paper shark in it. Initially, the shark seems happy as it swims around in the water. The Tragic Fate of the Paper Shark: However, over time, the paper shark becomes soggy and translucent, and it slowly sinks to the bottom of the sink. The folds of the paper come undone as the water affects the structure of the shark. The narrator tries to rescue the paper shark from its deteriorating state, but all they end up with is a wet, fragile piece of paper, indicating that the paper shark couldn’t withstand the water and lost its form and strength. Laohu’s Reaction: The paragraph then returns to Laohu, who observes the situation with the paper shark. Laohu seems to understand that the paper shark is in trouble, as he places his front paws on the edge of the sink and rests his head on them. His ears droop, and he makes a low growl in his throat, suggesting that he may empathize with the paper shark’s plight. This reaction by Laohu makes the narrator feel guilty about the situation. A New Solution: Tinfoil Shark: The mother takes notice of the narrator’s interest and disappointment over the fate of the paper shark. She decides to make a new shark for the narrator, but this time, it’s made out of tinfoil. This new shark is placed in a large goldfish bowl, providing a suitable environment for the tinfoil shark. The tinfoil shark is content and lives happily in the bowl. Shared Enjoyment: Both Laohu and the narrator enjoy watching the tinfoil shark’s antics in the goldfish bowl. They sit next to the bowl together. Laohu even gets involved by sticking his face up against the other side of the bowl, creating a playful interaction where the narrator sees Laohu’s eyes magnified to the size of coffee cups, staring back at them from across the bowl. |
| When I was ten, we moved to a new house across town. Two of the women neighbours came by to welcome us. Dad served them drinks and then apologized for having to run off to the utility company to straighten out the prior owner’s bills. “Make yourselves at home. My wife doesn’t speak much English, so don’t think she’s being rude for not talking to you.” While I read in the dining room, Mom unpacked in the kitchen. The neighbours conversed in the living room, not trying to be particularly quiet. “He seems like a normal enough man. Why did he do that?” “Something about the mixing never seems right. The child looks unfinished. Slanty eyes, white face. A little monster.” “Do you think he can speak English?” The women hushed. After a while they came into the dining room. “Hello there! What’s your name?” “Jack,” I said. “That doesn’t sound very Chinesey.” Mom came into the dining room then. She smiled at the women. The three of them stood in a triangle around me, smiling and nodding at each other, with nothing to say, until Dad came back. | A New Home and Welcoming Neighbors: The paragraph begins with the narrator, who is ten years old, sharing their experience of moving to a new house in a different part of town. As a part of the introduction to the new neighborhood, two women neighbors visit their home to welcome them. The father of the narrator serves the women drinks, but he has to leave to resolve the previous owner’s utility bills. Language Barrier: The father makes an effort to explain to the neighbors that his wife (the narrator’s mother) doesn’t speak much English, so they shouldn’t think she’s being rude if she doesn’t engage in conversation. This introduces the theme of language and cultural differences. Unpacking and Reading: While the neighbors and the father are in the living room talking, the mother is unpacking in the kitchen, and the narrator is reading in the dining room. This setup highlights the separation of the narrator and the mother, with the narrator not actively participating in the conversation with the neighbors. Neighbors’ Conversation: The neighbors discuss the father, expressing their confusion and curiosity about his actions in the past. They mention something about “mixing” that never seems right, and they describe the narrator with derogatory terms like “slanty eyes” and “white face,” referring to the mixed heritage of the narrator. The term “a little monster” is used, reflecting the neighbors’ prejudiced opinions. Language Concerns: The neighbors speculate about whether the narrator can speak English, and their conversation becomes hushed at this point, possibly reflecting their awareness that they might be overheard or that their words are sensitive. Approaching the Narrator: After some time, the women enter the dining room where the narrator is reading. They attempt to engage with the narrator, asking for the narrator’s name. The narrator responds with “Jack,” which the neighbors comment doesn’t sound very “Chinesey,” revealing their biases and stereotypes. Mother’s Appearance: The mother enters the dining room, possibly drawn by the interaction between the neighbors and the narrator. She smiles at the women, and they share a brief moment of awkwardness, standing in a triangle around the narrator, smiling, nodding, and not saying much. Father’s Return: The paragraph ends with the father returning, marking the conclusion of this scene. His return might relieve the awkward tension that had built up during the interaction with the neighbors. |
| Mark, one of the neighbourhood boys, came over with his Star Wars action figures. Obi-Wan Kenobi’s light sabre lit up and he could swing his arms and say, in a tinny voice, “Use the Force!” I didn’t think the figure looked much like the real Obi-Wan at all. Together, we watched him repeat this performance five times on the coffee table. “Can he do anything else?” I asked. Mark was annoyed by my question. “Look at all the details,” he said. I looked at the details. I wasn’t sure what I was supposed to say. Mark was disappointed by my response. “Show me your toys.” I didn’t have any toys except my paper menagerie. I brought Laohu out from my bedroom. By then he was very worn, patched all over with tape and glue, evidence of the years of repairs Mom and I had done on him. He was no longer as nimble and sure-footed as before. I sat him down on the coffee table. I could hear the skittering steps of the other animals behind in the hallway, timidly peeking into the living room. “Xiao laohu,” I said, and stopped. I switched to English. “This is Tiger.” Cautiously, Laohu strode up and purred at Mark, sniffing his hands. Mark examined the Christmas-wrap pattern of Laohu’s skin. “That doesn’t look like a tiger at all. Your Mom makes toys for you from trash?” I had never thought of Laohu as trash. But looking at him now, he was really just a piece of wrapping paper. Mark pushed Obi-Wan’s head again. The lightsaber flashed; he moved his arms up and down. “Use the Force!” Laohu turned and pounced, knocking the plastic figure off the table. It hit the floor and broke and Obi-Wan’s head rolled under the couch. “Rawwww,” Laohu laughed. I joined him. | Introduction of Mark and Star Wars Action Figures: The paragraph starts with the introduction of Mark, a boy from the neighborhood who visits the narrator’s home. Mark brings along his Star Wars action figures, specifically mentioning Obi-Wan Kenobi. The figure has a light saber that lights up and can be manipulated to swing the arms while saying “Use the Force!” in a tinny voice. Observations and Comparison: The narrator offers their opinion on the action figure, stating that it doesn’t look much like the real Obi-Wan Kenobi. This difference in perception sets up a subtle contrast between the narrator’s creative imagination and Mark’s attachment to the details of the figure. Mark’s Enthusiasm and Frustration: Mark repeats the performance of the action figure several times on the coffee table, showcasing its features. When the narrator asks if the figure can do anything else, Mark seems annoyed and emphasizes the details of the toy, expecting the narrator to appreciate those details. The Narrator’s Response: The narrator tries to appreciate the details but is uncertain about what to say. This response disappoints Mark, who then asks to see the narrator’s toys. Laohu, the Paper Menagerie: The narrator explains that they don’t have typical toys like action figures; instead, they have the paper menagerie. They introduce Laohu, a paper animal, as an example of what they have. Laohu is described as worn and patched from years of repairs made by the narrator and their mother. Interaction with Laohu: The narrator places Laohu on the coffee table, and the other paper animals in the hallway show timid curiosity, peering into the living room. The narrator uses both Mandarin (“Xiao laohu”) and English to introduce Laohu, affectionately referring to it as “Tiger.” Mark’s Judgment: Mark examines Laohu and makes a judgment, stating that it doesn’t look like a tiger at all. He questions whether the narrator’s mother makes toys for them from trash, implying that Laohu is not as impressive as the commercial action figures. Laohu’s Action: As Mark interacts with the Obi-Wan figure, Laohu reacts unexpectedly. Laohu turns and pounces on the plastic figure, knocking it off the table. The figure breaks, and the head rolls under the couch. Laughter and Connection: Laohu’s action results in laughter from both Laohu and the narrator. The narrator feels a sense of connection with Laohu through this playful interaction. |
| Mark punched me, hard. “This was very expensive! You can’t even find it in the stores now. It probably cost more than what your Dad paid for your Mom!” I stumbled and fell to the floor. Laohu growled and leapt at Mark’s face. Mark screamed, more out of fear and surprise than pain. Laohu was only made of paper, after all. Mark grabbed Laohu and his snarl was choked off as Mark crumpled him in his hand and tore him in half. He balled up the two pieces of paper and threw them at me. “Here’s your stupid cheap Chinese garbage.” After Mark left, I spent a long time trying, without success, to tape together the pieces, smooth out the paper, and follow the creases to refold Laohu. Slowly, the other animals came into the living room and gathered around us, me and the torn wrapping paper that used to be Laohu. My fight with Mark didn’t end there. Mark was popular at school. I never want to think again about the two weeks that followed. I came home that Friday at the end of the two weeks. “Xuexiao hao ma?” Mom asked. How was school? I said nothing and went to the bathroom. I looked into the mirror. I look nothing like her, nothing. At dinner I asked Dad, “Do I have a chink face?” Dad put down his chopsticks. Even though I had never told him what happened in school, he seemed to understand. He closed his eyes and rubbed the bridge of his nose. “No. You don’t.” Mom looked at Dad, not understanding. She looked back at me. “Sha jiao chink?” What does chink mean? “English,” I said. “Speak English.” She tried. “What happen?” I pushed the chopsticks and the bowl before me away: stir-fried green peppers with five-spice beef. “We should eat American food.” Dad tried to reason. “A lot of families cook Chinese sometimes.” “We are not other families.” I looked at him. Other families don’t have Moms who don’t belong. He looked away. And then he put a hand on Mom’s shoulder. “I’ll get you a cookbook.” Mom turned to me. “Bu haochi?” The food doesn’t taste good? “English,” I said, raising my voice. “Speak English.” | Mark’s Anger and Insult: Mark, apparently angry about something, punches the narrator with force, emphasizing the value of the item (likely a valuable toy or collectible) he’s holding. He insults the narrator by comparing the cost of the item to what the narrator’s father paid for the narrator’s mother, implying that the narrator’s mother is of lesser value, likely due to her ethnicity. Laohu’s Reaction: The narrator stumbles and falls to the floor due to the punch. Laohu, the paper tiger from the paper menagerie, reacts to protect the narrator. Laohu growls and lunges at Mark’s face, causing Mark to scream out of fear and surprise. Destruction of Laohu: Mark grabs Laohu and, despite Laohu’s growl, crumples the paper tiger in his hand, tearing it in half. Mark mocks the paper creation, calling it “cheap Chinese garbage,” and throws the torn pieces at the narrator. Failed Attempts to Repair: After Mark leaves, the narrator spends a significant amount of time trying to repair the torn Laohu. Despite their efforts, the paper tiger remains irreparably damaged. The creases, which once brought Laohu to life, now seem lifeless. The Gathering of Other Animals: The other animals from the paper menagerie, which had been timidly peeking into the living room earlier, slowly gather around the narrator and the torn remnants of Laohu. This moment symbolizes the emotional connection between the narrator and their creations, highlighting the loss they feel. Continuation of the Conflict: Mark’s popularity at school likely means further challenges for the narrator, and the narrator dreads the upcoming weeks. The boy was extremely angry at his mother for not being able to speak English and also because Mark made fun of his mother talking of her ethnicity as garbage. It made the narrator feel humiliated and react even to the food cooked by his mother and the language she spoke. He did not even realise that his mother was struggling to speak English just for his sake. |
| Mom reached out to touch my forehead, feeling for my temperature. “Fashao la?” Do you have a fever? I brushed her hand away. “I’m fine. Speak English!” I was shouting. “Speak English to him,” Dad said to Mom. “You knew this was going to happen someday. What did you expect?” Mom dropped her hands to her sides. She sat, looking from Dad to me, and back to Dad again. She tried to speak, stopped, and tried again, and stopped again. “You have to,” Dad said. “I’ve been too easy on you. Jack needs to fit in.” Mom looked at him. “If I say ‘love,’ I feel here.” She pointed to her lips. “If I say ‘ai,’ I feel here.” She put her hand over her heart. Dad shook his head. “You are in America.” Mom hunched down in her seat, looking like the water buffalo when Laohu used to pounce on him and squeeze the air of life out of him. “And I want some real toys.” Dad bought me a full set of Star Wars action figures. I gave the Obi-Wan Kenobi to Mark. I packed the paper menagerie in a large shoebox and put it under the bed. The next morning, the animals had escaped and taken over their old favourite spots in my room. I caught them all and put them back into the shoebox, taping the lid shut. But the animals made so much noise in the box that I finally shoved it into the corner of the attic as far away from my room as possible. If Mom spoke to me in Chinese, I refused to answer her. | Checking for Fever: The paragraph begins with Mom reaching out to touch the narrator’s forehead to check for a fever. She speaks to the narrator in Chinese, asking if they have a fever (“Fashao la?”). The narrator brushes her hand away and insists that she speak English. Demand to Speak English: The narrator raises their voice, demanding that Mom speak English. The tension in the interaction is evident as the narrator wants to assert their identity as an English speaker and fit in with the American culture. Dad’s Intervention: Dad intervenes in the situation, directing Mom to speak English, and expresses that this moment was inevitable (“You knew this was going to happen someday. What did you expect?”). Dad feels that it’s essential for the narrator to assimilate into American culture. Struggle to Speak English: Mom’s struggle with English is apparent. She tries to speak but has difficulty. She uses a gesture to explain that the word “love” makes her feel a certain way on her lips, while the word “ai” makes her feel it in her heart, indicating the emotional connection to her native language. Dad insists that they are in America, emphasizing the need for English. Mom’s Reaction: Mom hunches down in her seat, seemingly defeated, likened to the water buffalo when Laohu used to pounce on him. Her actions and body language convey a sense of sadness and resignation. Desire for Real Toys: The narrative shifts to Dad’s response to the situation. Dad buys the narrator a full set of Star Wars action figures. The narrator gives the Obi-Wan Kenobi figure to Mark, a neighborhood boy. Packing Away the Paper Menagerie: The narrator packs their beloved paper menagerie into a large shoebox and puts it under the bed. However, the next morning, the animals from the menagerie escape from the box and take over their old spots in the room. Shutting Away the Animals: The narrator catches the animals from the menagerie and puts them back into the shoebox, taping the lid shut. The animals in the box create so much noise that the narrator finally decides to move the box to the attic, as far away from their room as possible. Refusal to Respond in Chinese: The paragraph ends by stating that if Mom speaks to the narrator in Chinese, they refuse to answer her. This demonstrates the narrator’s strong desire to distance themselves from their Chinese heritage and maintain their identity as an English speaker. |
| After a while, she tried to use more English. But her accent and broken sentences embarrassed me. I tried to correct her. Eventually, she stopped speaking altogether if I was around. Mom began to mime things if she needed to let me know something. She tried to hug me the way she saw American mothers do on TV. I thought her movements exaggerated, uncertain, ridiculous, graceless. She saw that I was annoyed, and stopped. “You shouldn’t treat your mother that way,” Dad said. But he couldn’t look me in the eyes as he said it. Deep in his heart, he must have realised that it was a mistake to have tried to take a Chinese peasant girl and expect her to fit in the suburbs of Connecticut. Mom learned to cook American style. I played video games and studied French. Every once in a while, I would see her at the kitchen table studying the plain side of a sheet of wrapping paper. Later a new paper animal would appear on my nightstand and try to cuddle up to me. I caught them, squeezed them until the air went out of them, and then stuffed them away in the box in the attic. Mom finally stopped making the animals when I was in high school. By then her English was much better, but I was already at that age when I wasn’t interested in what she had to say whatever language she used. Sometimes, when I came home and saw her tiny body busily moving about in the kitchen, singing a song in Chinese to herself, it was hard for me to believe that she gave birth to me. We had nothing in common. She might as well be from the Moon. I would hurry on to my room, where I could continue my all-American pursuit of happiness. | Struggle with Language: The narrator’s mother attempts to speak more English to communicate with her child, but her accent and broken sentences cause embarrassment for the narrator. The narrator tries to correct her, leading to her eventually stopping speaking altogether when the narrator is around. Non-Verbal Communication: Mom starts using gestures and mime to convey messages to the narrator, especially if she needs to let him know something. She tries to show physical affection, mimicking the way American mothers do on TV, but the narrator finds her movements exaggerated, uncertain, and graceless. She senses the narrator’s annoyance and stops. Dad admonishes the narrator for treating his mother poorly but can’t hold direct eye contact, likely recognizing the complexity of the situation. Cultural Challenges: Deep inside, Dad must have realized the difficulty of taking a Chinese peasant girl and expecting her to fit into the suburbs of Connecticut. The passage suggests the cultural clash between Mom’s upbringing and the Western environment they now live in. Adapting and Disconnecting: Mom learns to cook in an American style, while the narrator is preoccupied with video games and studying French. Mom’s creative efforts include making paper animals for the narrator, but as he grows older, he becomes disinterested. He expresses his discontent by squeezing the paper animals until they deflate and putting them away in a box in the attic. Mom’s Changes and the End of the Paper Animals: By the time the narrator is in high school, Mom’s English has improved, but the narrator has reached an age where he’s not interested in what she has to say, regardless of the language. The paper animals stop being made, signifying a shift in their relationship as the narrator distances himself from his cultural heritage. Alienation and Pursuit of Independence: The passage ends with the narrator feeling a lack of common ground with his mother. He finds her actions foreign, to the point where he imagines she might as well be from the Moon. He retreats to his room to continue his pursuit of happiness in a more Westernized, all-American way, highlighting the sense of alienation and the quest for personal independence. |
| Dad and I stood, one on each side of Mom, lying on the hospital bed. She was not yet even forty, but she looked much older. For years she had refused to go to the doctor for the pain inside her that she said was no big deal. By the time an ambulance finally carried her in, the cancer had spread far beyond the limits of surgery. My mind was not in the room. It was the middle of the on-campus recruiting season, and I was focused on resumes, transcripts, and strategically constructed interview schedules. I schemed about how to lie to the corporate recruiters most effectively so that they’d offer to buy me. I understood intellectually that it was terrible to think about this while your mother lay dying. But that understanding didn’t mean I could change how I felt. She was conscious. Dad held her left hand with both of his own. He leaned down to kiss her forehead. He seemed weak and old in a way that startled me. I realized that I knew almost as little about Dad as I did about Mom. Mom smiled at him. “I’m fine.” She turned to me, still smiling. “I know you have to go back to school.” Her voice was very weak and it was difficult to hear her over the hum of the machines hooked up to her. “Go. Don’t worry about me. This is not a big deal. Just do well in school.” I reached out to touch her hand, because I thought that was what I was supposed to do. I was relieved. I was already thinking about the flight back, and the bright California sunshine. She whispered something to Dad. He nodded and left the room. | Hospital Scene: The passage opens with a description of Dad and the narrator standing on either side of Mom’s hospital bed. Mom is lying on the bed, and despite being under forty years old, she appears much older due to her illness. She had ignored pain for years and didn’t seek medical attention, which led to the cancer spreading extensively. Distraction and Focus: The narrator’s mind isn’t fully present in the room with his dying mother. Instead, he’s absorbed in the on-campus recruiting season, focusing on practical matters like resumes, transcripts, and interviews. He’s caught up in the process of securing a successful career. Conflicting Emotions: The narrator acknowledges that it’s morally wrong to be preoccupied with career plans while his mother is dying, but he can’t control his feelings. He’s aware of the emotional dissonance but can’t change how he’s responding. Mother’s Condition: Mom is conscious but weak due to her illness. Dad holds her hand and kisses her forehead, revealing his vulnerability. The narrator notices Dad’s frailty and realizes that he knows very little about his father, paralleling his lack of understanding about his mother. Mom’s Interaction: Mom smiles at Dad and then turns to the narrator, still smiling. Despite her weakened state and the machines around her, she speaks softly to the narrator, recognizing that he has to return to school. She encourages him not to worry about her and emphasizes the importance of doing well in school. Touching Farewell: The narrator reaches out to touch Mom’s hand, a gesture driven by societal expectations. He feels relieved by her reassuring words and is already thinking ahead to his flight back to California. Whispered Conversation: Mom whispers something to Dad, who nods and leaves the room. This interaction suggests that there’s something more profound being communicated between Mom and Dad, possibly about her condition or her wishes. |
| “Jack, if — ” she was caught up in a fit of coughing, and could not speak for some time. “If I…don’t make it, don’t be too sad and hurt your health. Focus on your life. Just keep that box you have in the attic with you, and every year, at Qingming, just take it out and think about me. I’ll be with you always.” Qingming was the Chinese Festival for the Dead. When I was very young, Mom used to write a letter on Qingming to her dead parents back in China, telling them the good news about the past year of her life in America. She would read the letter out loud to me, and if I made a comment about something, she would write it down in the letter too. Then she would fold the letter into a paper crane, and release it, facing west. We would then watch, as the crane flapped its crisp wings on its long journey west, toward the Pacific, toward China, toward the graves of Mom’s family. It had been many years since I last did that with her. “I don’t know anything about the Chinese calendar,” I said. “Just rest, Mom.” “Just keep the box with you and open it once in a while. Just open — ” She began to cough again. “It’s okay, Mom.” I stroked her arm awkwardly. “Haizi, mama ai ni — ” Her cough took over again. Son, Mom loves you. An image from years ago flashed into my memory: Mom saying ai and then putting her hand over her heart. “All right, Mom. Stop talking.” Dad came back, and I said that I needed to get to the airport early because I didn’t want to miss my flight. She died when my plane was somewhere over Nevada. | Mother’s Message: The passage begins with the mother trying to communicate something important to the narrator, Jack. She starts to speak but is interrupted by a fit of coughing, which delays her message. Mother’s Request: The mother wants Jack to promise not to be overly sad if she doesn’t make it through her illness, emphasizing the importance of Jack focusing on his own life and well-being. She suggests that he keep a box in the attic and think about her every year during Qingming, a Chinese Festival for the Dead, assuring him that she’ll always be with him. Qingming Ritual: The passage explains the significance of Qingming, detailing a tradition the mother used to follow: writing a letter to her deceased parents in China, sharing the good news about her life in America, and involving Jack by incorporating his comments into the letter. The letter was then folded into a paper crane, released facing west, symbolically sent on a journey towards China and her family’s graves. Loss of Tradition: The narrative reveals that it had been years since they last performed this ritual together, indicating a distancing from the mother’s cultural tradition. Reassuring the Mother: Jack expresses his lack of knowledge about the Chinese calendar, suggesting that the details of the Qingming ritual are unfamiliar to him. He urges his mother to rest, showing concern for her well-being. Struggle to Speak: The mother continues to cough, struggling to communicate her wishes. Jack tries to comfort her by stroking her arm awkwardly, acknowledging her love for him. Saying Goodbye: The father returns, and Jack tells them he needs to leave early for the airport not to miss his flight. The mother passes away while Jack is on the plane, somewhere over Nevada, as the story indicates that the mother’s health was already in a critical condition during this conversation. |
| Dad aged rapidly after Mom died. The house was too big for him and had to be sold. My girlfriend Susan and I went to help him pack and clean the place. Susan found the shoebox in the attic. The paper menagerie, hidden in the non-insulated darkness of the attic for so long, had become brittle, and the bright wrapping paper patterns had faded. “I’ve never seen origami like this,” Susan said. “Your mum was an amazing artist.” The paper animals did not move. Perhaps whatever magic had animated them stopped when Mom died. Or perhaps I had only imagined that these paper constructions were once alive. The memory of children could not be trusted. It was the first weekend in April, two years after Mom’s death. Susan was out of town on one of her endless trips as a Management Consultant and I was home, lazily flipping through the TV channels. I paused at a documentary about sharks. Suddenly I saw, in my mind, Mom’s hands as they folded and refolded tinfoil to make a shark for me, while Laohu and I watched. A rustle. I looked up and saw that a ball of wrapping paper and torn tape was on the floor next to the bookshelf. I walked over to pick it up for the trash. The ball of paper shifted, unfurled itself, and I saw that it was Laohu, who I hadn’t thought about in a very long time. “Rawrr-sa.” Mom must have put him back together after I had given up. He was smaller than I remembered. Or maybe it was just that back then my fists were smaller. | Dad’s Aging and Selling the House: After the death of Mom, the father aged rapidly, and the house they lived in became too big for him, resulting in the decision to sell it. The protagonist, along with his girlfriend Susan, helps his father pack and clean the house. Rediscovery of the Paper Menagerie: While going through the belongings in the attic, Susan discovers the shoebox containing the paper menagerie. The passage describes how the paper animals, created by the protagonist’s mother, have deteriorated over time, with the vibrant wrapping paper patterns faded due to being hidden away in the non-insulated attic. Recognition of Mom’s Artistry: Susan admires the origami creations, recognizing the artistic skill of the protagonist’s mother. The paper animals, however, no longer display any movement, raising questions about the magic that once seemed to animate them. Memories of Mom: The protagonist recalls a specific memory of his mother folding tinfoil to create a shark for him while he and Laohu (presumably another paper animal) watched. This memory is triggered while watching a documentary about sharks on TV. Reappearance of Laohu: As the protagonist pauses to pick up a ball of wrapping paper and torn tape from the floor, he discovers that it’s actually Laohu, a paper creation he hadn’t thought about in a long time. The realization that Laohu has been restored surprises him, and he notes that Laohu seems smaller than he remembered, perhaps highlighting the difference in perspective between his childhood and the present. Symbolic Significance: The reappearance of Laohu carries emotional weight, symbolizing the enduring connection to his mother and her efforts to mend the paper menagerie, even after the protagonist had given up on it. This moment reinforces the idea of the magic and memories associated with the paper creations, as well as the ongoing impact of the protagonist’s relationship with his mother. |
| Susan had put the paper animals around our apartment as decoration. She probably left Laohu in a hidden corner because he looked so shabby. I sat down on the floor, and reached out a finger. Laohu’stail twitched, and he pounced playfully. I laughed, stroking his back. Laohu purred under my hand. “How’ve you been, old buddy?”Laohu stopped playing. He got up, jumped with feline grace into my lap, and proceeded to unfold himself. In my lap was a square of creased wrapping paper, the plain side up. It was filled with dense Chinese characters. I had never learned to read Chinese, but I knew the characters for son, and they were at the top, where you’d expect them in a letter addressed to you, written in Mom’s awkward, childish handwriting. I went to the computer to check the Internet. Today was Qingming. I took the letter with me downtown, where I knew the Chinese tour buses stopped. I stopped every tourist, asking, “Nin hui du zhongwen ma?” Can you read Chinese? I hadn’t spoken Chinese in so long that I wasn’t sure if they understood. A young woman agreed to help. We sat down on a bench together, and she read the letter to me aloud. The language that I had tried to forget for years came back, and I felt the words sinking into me, through my skin, through my bones, until they squeezed tight around my heart. | Placement of Paper Animals: The passage begins with a description of Susan, the protagonist’s girlfriend, using the paper animals as decorations around their apartment. She likely left Laohu in a hidden corner because he appeared worn and shabby. Reconnecting with Laohu: The protagonist sits on the floor and playfully interacts with Laohu, who responds by pouncing and purring as the protagonist strokes his back. The protagonist addresses Laohu fondly, remarking on their friendship. Surprising Discovery: Laohu stops playing suddenly and unfolds, revealing a square piece of creased wrapping paper with Chinese characters on the plain side. The protagonist recognizes the character for “son” at the top of the letter, written in Mom’s handwriting. The protagonist does not understand Chinese but decides to investigate the letter further. Searching for Translation: The protagonist goes to a computer to verify the date and discovers that it’s Qingming, the Chinese Festival for the Dead. The protagonist then goes downtown, where Chinese tour buses stop, to seek help in translating the letter. Finding Help: The protagonist approaches tourists, asking if they can read Chinese. A young woman agrees to assist and they sit down together on a bench. Translation and Emotional Impact: The woman reads the letter aloud to the protagonist. As the language of the letter, which the protagonist had tried to forget, returns, it evokes strong emotions. The words of the letter have a profound effect on the protagonist, conveying a sense of deep connection and nostalgia. |
| Son, We haven’t talked in a long time. You are so angry when I try to touch you that I’m afraid. And I think maybe this pain I feel all the time now is something serious. So I decided to write to you. I’m going to write in the paper animals I made for you that you used to like so much. The animals will stop moving when I stop breathing. But if I write to you with all my heart, I’ll leave a little of myself behind on this paper, in these words. Then, if you think of me on Qingming, when the spirits of the departed are allowed to visit their families, you’ll make the parts of myself I leave behind come alive too. The creatures I made for you will again leap and run and pounce, and maybe you’ll get to see these words then. Because I have to write with all my heart, I need to write to you in Chinese. All this time I still haven’t told you the story of my life. When you were little, I always thought I’d tell you the story when you were older, so you could understand. But somehow that chance never came up. I was born in 1957, in Sigulu Village, Hebei Province. Your grandparents were both from very poor peasant families with few relatives. Only a few years after I was born, the Great Famines struck China, during which thirty million people died. The first memory I have was waking up to see my mother eating dirt so that she could fill her belly and leave the last bit of flour for me. | Reaching Out: The passage begins with the mother addressing her son, expressing that they haven’t talked in a long time, and she’s noticed his anger when she tries to touch him, which has made her afraid. She mentions experiencing constant pain and feeling that it might be something serious, leading her to decide to write to him. Writing with Love: The mother intends to communicate with her son by writing in the paper animals she made for him, the ones he used to enjoy so much. She understands that these paper creations will stop moving when she stops breathing, but she believes that by writing with all her heart, she can leave a part of herself in the words, and on Qingming (a time when spirits visit their families), he might be able to bring those parts to life again. Unspoken Stories: The mother acknowledges that she hasn’t told her son the story of her life, a narrative she always thought she’d share when he was older so he could understand. However, the opportunity to share this story never arose. Life in China: The mother goes on to share a glimpse of her early life, describing her birth in 1957 in Sigulu Village, Hebei Province, China. She explains that both her parents came from very poor peasant families with few relatives. Challenges: The mother recounts the difficult period in China known as the Great Famines, during which millions of people died. She describes her earliest memory, waking up and witnessing her mother eating dirt to fill her own belly, leaving the last bit of flour for the narrator, the son. |
| Things got better after that. Sigulu is famous for its zhezhi papercraft, and my mother taught me how to make paper animals and give them life. This was practical magic in the life of the village. We made paper birds to chase grasshoppers away from the fields, and paper tigers to keep away the mice. For Chinese New Year my friends and I made red paper dragons. I’ll never forget the sight of all those little dragons zooming across the sky overhead, holding up strings of exploding firecrackers to scare away all the bad memories of the past year. You would have loved it. Then came the Cultural Revolution in 1966. Neighbour turned on neighbour, and brother against brother. Someone remembered that my mother’s brother, my uncle, had left for Hong Kong back in 1946, and became a merchant there. Having a relative in Hong Kong meant we were spies and enemies of the people, and we had to be struggled against in every way. Your poor grandmother — she couldn’t take the abuse and threw herself down a well. Then some boys with hunting muskets dragged your grandfather away one day into the woods, and he never came back. There I was, a ten-year-old orphan. The only relative I had in the world was my uncle in Hong Kong. I snuck away one night and climbed onto a freight train going south. Down in Guangdong Province a few days later, some men caught me stealing food from a field. When they heard that I was trying to get to Hong Kong, they laughed. “It’s your lucky day. Our trade is to bring girls to Hong Kong.” They hid me in the bottom of a truck along with other girls, and smuggled us across the border. | Learning Zhezhi Papercraft: The passage begins with the narrator’s life improving after a difficult period. They lived in Sigulu, known for its zhezhi papercraft, where the narrator’s mother taught them how to make paper animals and bring them to life. This practical magic was useful in the village – paper birds to chase away grasshoppers, paper tigers to deter mice, and red paper dragons for Chinese New Year festivities. Cultural Revolution: The narrative takes a darker turn as the Cultural Revolution (starting in 1966) is introduced. During this tumultuous time, neighbors and family members turned against each other. The narrator’s uncle’s departure to Hong Kong many years earlier led to accusations of being spies, leading to severe struggles against their family. Tragedy strikes, with the narrator’s grandmother taking her own life due to abuse, and the narrator’s grandfather disappearing, likely victim to the turmoil. Becoming an Orphan: The narrator, left as a ten-year-old orphan, had only one surviving relative in the world, their uncle in Hong Kong. The situation became dire, and the narrator decided to escape one night. They climbed onto a freight train heading south, eventually reaching Guangdong Province. Meeting Strangers: In Guangdong, the narrator faced challenges, stealing food from a field. When the strangers learned about the narrator’s desire to reach Hong Kong, they offered a dubious opportunity. They were part of a group involved in smuggling people, primarily girls, to Hong Kong. The narrator was hidden in a truck along with other girls, and they were smuggled across the border. |
| We were taken to a basement and told to stand up and look healthy and intelligent for the buyers. Families paid the warehouse a fee and came by to look us over and select one of us to “adopt.” The Chin family picked me to take care of their two boys. I got up every morning at four to prepare breakfast. I fed and bathed the boys. I shopped for food. I did the laundry and swept the floors. I followed the boys around and did their bidding. At night I was locked into a cupboard in the kitchen to sleep. If I was slow or did anything wrong I was beaten. If the boys did anything wrong I was beaten. If I was caught trying to learn English I was beaten. “Why do you want to learn English?” Mr. Chin asked. “You want to go to the police? We’ll tell the police that you are a mainlander illegally in Hong Kong. They’d love to have you in their prison.” Six years I lived like this. One day, an old woman who sold fish to me in the morning market pulled me aside. “I know girls like you. How old are you now, sixteen? One day, the man who owns you will get drunk, and he’ll look at you and pull you to him and you can’t stop him. The wife will find out, and then you will think you really have gone to hell. You have to get out of this life. I know someone who can help.” She told me about American men who wanted Asian wives. If I can cook, clean, and take care of my American husband, he’ll give me a good life. It was the only hope I had. And that was how I got into the catalogue with all those lies and met your father. It is not a very romantic story, but it is my story. In the suburbs of Connecticut, I was lonely. Your father was kind and gentle with me, and I was very grateful to him. But no one understood me, and I understood nothing. | Basement Selection: The narrator describes being taken to a basement where potential adoptive families came to choose a child to adopt. Families paid a fee to the warehouse to adopt one of the children on display. Selected by the Chin Family: The Chin family chose the narrator to take care of their two boys. The narrator’s daily routine involved waking up at four in the morning, preparing breakfast, caring for the boys, shopping, cleaning, and essentially fulfilling all their needs. Harsh Treatment: The narrator endured harsh treatment, including being locked in a cupboard at night and facing beatings for any perceived mistakes or attempts to learn English. Mr. Chin threatened the narrator, using her status as a mainlander in Hong Kong to instill fear. Escape Plan: After six years in this oppressive situation, the narrator received advice from an old woman who sold fish at the market. The woman shared a possible way out: marrying an American man who wanted an Asian wife, someone who could take care of household duties and offer them a better life. The Catalogue: The narrator entered a catalogue for such arrangements, containing falsehoods, and eventually met the father, leading to their marriage. The narrator admits that the story is not romantic but reflects their own experience. Loneliness in Connecticut: The narrator’s life in the suburbs of Connecticut was marked by loneliness. Although the father was kind and gentle, the narrator felt misunderstood, and there was a lack of connection and understanding. |
| But then you were born! I was so happy when I looked into your face and saw shades of my mother, my father, and myself. I had lost my entire family, all of Sigulu, everything I ever knew and loved. But there you were, and your face was proof that they were real. I hadn’t made them up. Now I had someone to talk to. I would teach you my language, and we could together remake a small piece of everything that I loved and lost. When you said your first words to me, in Chinese that had the same accent as my mother and me, I cried for hours. When I made the first zhezhi animals for you, and you laughed, I felt there were no worries in the world. You grew up a little, and now you could even help your father and me talk to each other. I was really at home now. I finally found a good life. I wished my parents could be here, so that I could cook for them, and give them a good life too. But my parents were no longer around. You know what the Chinese think is the saddest feeling in the world? It’s for a child to finally grow the desire to take care of his parents, only to realize that they were long gone. Son, I know that you do not like your Chinese eyes, which are my eyes. I know that you do not like your Chinese hair, which is my hair. But can you understand how much joy your very existence brought to me? And can you understand how it felt when you stopped talking to me and won’t let me talk to you in Chinese? I felt I was losing everything all over again. Why won’t you talk to me, son? The pain makes it hard to write. | Joy of Parenthood: The passage begins with the mother expressing the immense happiness she felt when her child was born. She saw shades of her own family members in the child’s face, giving her proof that her lost family was real, not something she had made up. Connection Through Language: The mother sees her child as someone she can talk to, someone she can teach her language, and together, they can recreate a small piece of what she had loved and lost. The child’s first words in Chinese, with the same accent as the mother and her own mother, brought the mother to tears of joy. Shared Happiness: The mother’s act of making zhezhi animals for the child, and the child’s laughter in response, brought a sense of happiness and contentment. The child growing up and helping the parents communicate further solidified the feeling of being at home. Yearning for Parents: The mother expresses a deep longing for her parents to be there, to share in the good life she’s found, but acknowledges they are no longer alive. The passage highlights the poignant feeling of wanting to take care of parents when they’re no longer present. The Pain of Distance: The mother acknowledges the child’s feelings, that the child doesn’t like certain physical features that resemble her own, but she emphasizes how much joy the child’s existence brings her. She’s hurt by the fact that the child has stopped talking to her in Chinese, and this distance makes it hard for her to write. |
| The young woman handed the paper back to me. I could not bear to look into her face. Without looking up, I asked for her help in tracing out the character for ai on the paper below Mom’s letter. I wrote the character again and again on the paper, intertwining my pen strokes with her words. The young woman reached out and put a hand on my shoulder. Then she got up and left, leaving me alone with my mother. Following the creases, I refolded the paper back into Laohu. I cradled him in the crook of my arm, and as he purred, we began the walk home. | Returning the Paper: The passage begins with the young woman handing the paper back to the narrator, who finds it difficult to look at the young woman’s face. This suggests a sensitive or emotional moment. Requesting Help: The narrator asks the young woman for assistance in tracing the character “ai” (meaning love) on the paper, beneath their mother’s letter. They repeatedly write the character on the paper, blending their pen strokes with the words of their mother’s letter. A Comforting Gesture: The young woman reaches out and places a hand on the narrator’s shoulder, which is a comforting gesture in this emotional moment. The Young Woman Leaves: After this gesture, the young woman gets up and leaves, leaving the narrator alone with the letter from their mother. Folding the Paper: Following the creases, the narrator carefully refolds the paper back into the form of Laohu, the paper menagerie. This act symbolizes preserving the memories and the connection with the past. Heading Home: With Laohu cradled in their arm, the narrator and Laohu begin the walk home, creating a sense of comfort and closure as Laohu “purred.” |
Ma’am can you please upload theme in the story paper menagerie.