The Joy Luck Club

by Amy Tan

  None of our friends could ever believe we fight over something as stupid as fleas, but they would also never believe that our problems are much, much deeper than that, so deep I don't even know where bottom is.

  And now that my mother is here—she is staying for a week, or until the electricians are done rewiring her building in San Francisco—we have to pretend nothing is the matter.

  Meanwhile she asks over and over again why we had to pay so much for a renovated barn and a mildew-lined pool on four acres of land, two of which are covered with redwood trees and poison oak. Actually she doesn't really ask, she just says, "Aii, so much money, so much," as we show her different parts of the house and land. And her laments always compel Harold to explain to my mother in simple terms: "Well, you see, it's the details that cost so much. Like this wood floor. It's hand-bleached. And the walls here, this marbleized effect, it's hand-sponged. It's really worth it."

  And my mother nods and agrees: "Bleach and sponge cost so much."

  During our brief tour of the house, she's already found the flaws. She says the slant of the floor makes her feel as if she is "running down." She thinks the guest room where she will be staying—which is really a former hayloft shaped by a sloped roof—has "two lopsides." She sees spiders in high corners and even fleas jumping up in the air—pah! pah! pah!—like little spatters of hot oil. My mothers knows, underneath all the fancy details that cost so much, this house is still a barn.

  She can see all this. And it annoys me that all she sees are the bad parts. But then I look around and everything she's said is true. And this convinces me she can see what else is going on, between Harold and me. She knows what's going to happen to us. Because I remember something else she saw when I was eight years old.

  My mother had looked in my rice bowl and told me I would marry a bad man.

  "Aii, Lena," she had said after that dinner so many years ago, "your future husband have one pock mark for every rice you not finish."

  She put my bowl down. "I once know a pock-mark man. Mean man, bad man."

  And I thought of a mean neighbor boy who had tiny pits in his cheeks, and it was true, those marks were the size of rice grains. This boy was about twelve and his name was Arnold.

  Arnold would shoot rubber bands at my legs whenever I walked past his building on my way home from school, and one time he ran over my doll with his bicycle, crushing her legs below the knees. I didn't want this cruel boy to be my future husband. So I picked up that cold bowl of rice and scraped the last few grains into my mouth, then smiled at my mother, confident my future husband would be not Arnold but someone whose face was as smooth as the porcelain in my now clean bowl.

  But my mother sighed. "Yesterday, you not finish rice either." I thought of those unfinished mouthfuls of rice, and then the grains that lined my bowl the day before, and the day before that. By the minute, my eight-year-old heart grew more and more terror-stricken over the growing possibility that my future husband was fated to be this mean boy Arnold. And thanks to my poor eating habits, his hideous face would eventually resemble the craters of the moon.

  This would have been a funny incident to remember from my childhood, but it is actually a memory I recall from time to time with a mixture of nausea and remorse. My loathing for Arnold had grown to such a point that I eventually found a way to make him die. I let one thing result from another. Of course, all of it could have been just loosely connected coincidences. And whether that's true or not, I know the intention was there. Because when I want something to happen—or not happen—I begin to look at all events and all things as relevant, an opportunity to take or avoid.

  I found the opportunity. The same week my mother told me about the rice bowl and my future husband, I saw a shocking film at Sunday school. I remember the teacher had dimmed the lights so that all we could see were silhouettes of one another. Then the teacher looked at us, a roomful of squirmy, well-fed Chinese-American children, and she said, "This film will show you why you should give tithings to God, to do God's work."

  She said, "I want you to think about a nickel's worth of candy money, or however much you eat each week—your Good and Plentys, your Necco wafers, your jujubes—and compare that to what you are about to see. And I also want you to think about what your true blessings in life really are."

  And then she set the film projector clattering away. The film showed missionaries in Africa and India. These good souls worked with people whose legs were swollen to the size of tree trunks, whose numb limbs had become as twisted as jungle vines. But the most terrible of the afflictions were men and women with leprosy. Their faces were covered with every kind of misery I could imagine: pits and pustules, cracks and bumps, and fissures that I was sure erupted with the same vehemence as snails writhing in a bed of salt. If my mother had been in the room, she would have told me these poor people were victims of future husbands and wives who had failed to eat platefuls of food.

  After seeing this film, I did a terrible thing. I saw what I had to do so I would not have to marry Arnold. I began to leave more rice in my bowl. And then I extended my prodigal ways beyond Chinese food. I did not finish my creamed corn, broccoli, Rice Krispies, or peanut butter sandwiches. And once, when I bit into a candy bar and saw how lumpy it was, how full of secret dark spots and creamy goo, I sacrificed that as well.

  I considered that probably nothing would happen to Arnold, that he might not get leprosy, move to Africa and die. And this somehow balanced the dark possibility that he might.

  He didn't die right away. In fact, it was some five years later, by which time I had become quite thin. I had stopped eating, not because of Arnold, whom I had long forgotten, but to be fashionably anorexic like all the other thirteen-year-old girls who were dieting and finding other ways to suffer as teenagers. I was sitting at the breakfast table, waiting for my mother to finish packing a sack lunch which I always promptly threw away as soon as I rounded the corner. My father was eating with his fingers, dabbing the ends of his bacon into the egg yolks with one hand, while holding the newspaper with the other.

  "Oh my, listen to this," he said, still dabbing. And that's when he announced that Arnold Reisman, a boy who lived in our old neighborhood in Oakland, had died of complications from measles. He had just been accepted to Cal State Hayward and was planning to become a podiatrist.

  "'Doctors were at first baffled by the disease, which they report is extremely rare and generally attacks children between the ages of ten and twenty, months to years after they have contracted the measles virus,' " read my father. "'The boy had had a mild case of the measles when he was twelve, reported his mother. Problems this year were first noticed when the boy developed motor coordination problems and mental lethargy which increased until he fell into a coma. The boy, age seventeen, never regained consciousness.'

  "Didn't you know that boy?" asked my father, and I stood there mute.

  "This is shame," said my mother, looking at me. "This is terrible shame."

  And I thought she could see through me and that she knew I was the one who had caused Arnold to die. I was terrified.

  That night, in my room, I gorged myself. I had stolen a halfgallon of strawberry ice cream from the freezer, and I forced spoonful after spoonful down my throat. And later, for several hours after that, I sat hunched on the fire escape landing outside my bedroom, retching back into the ice cream container. And I remember wondering why it was that eating something good could make me feel so terrible, while vomiting something terrible could make me feel so good.

  The thought that I could have caused Arnold's death is not so ridiculous. Perhaps he was destined to be my husband. Because I think to myself, even today, how can the world in all its chaos come up with so many coincidences, so many similarities and exact opposites? Why did Arnold single me out for his rubber-band torture? How is it that he contracted measles the same year I began consciously to hate him? And why did I think of Arnold in the first place—when my mother looked in my rice bowl—and
then come to hate him so much? Isn't hate merely the result of wounded love?

  And even when I can finally dismiss all of this as ridiculous, I still feel that somehow, for the most part, we deserve what we get. I didn't get Arnold. I got Harold.

  Harold and I work at the same architectural firm, Livotny & Associates. Only Harold Livotny is a partner and I am an associate. We met eight years ago, before he started Livotny & Associates. I was twenty-eight, a project assistant, and he was thirty-four. We both worked in the restaurant design and development division of Harned Kelley & Davis.

  We started seeing each other for working lunches, to talk about the projects, and we would always split the tab right in half, even though I usually ordered only a salad because I have this tendency to gain weight easily. Later, when we started meeting secretly for dinner, we still divided the bill.

  And we just continued that way, everything right down the middle. If anything, I encouraged it. Sometimes I insisted on paying for the whole thing: meal, drinks, and tip. And it really didn't bother me.

  "Lena, you're really extraordinary," Harold said after six months of dinners, five months of post-prandial lovemaking, and one week of timid and silly love confessions. We were lying in bed, between new purple sheets I had just bought for him. His old set of white sheets was stained in revealing places, not very romantic.

  And he nuzzled my neck and whispered, "I don't think I've ever met another woman, who's so together…"—and I remember feeling a hiccup of fear upon hearing the words "another woman," because I could imagine dozens, hundreds of adoring women eager to buy Harold breakfast, lunch, and dinner to feel the pleasure of his breath on their skin.

  Then he bit my neck and said in a rush, "Nor anyone who's as soft and squishy and lovable as you are."

  And with that, I swooned inside, caught off balance by this latest revelation of love, wondering how such a remarkable person as Harold could think I was extraordinary.

  Now that I'm angry at Harold, it's hard to remember what was so remarkable about him. And I know they're there, the good qualities, because I wasn't that stupid to fall in love with him, to marry him. All I can remember is how awfully lucky I felt, and consequently how worried I was that all this undeserved good fortune would someday slip away. When I fantasized about moving in with him, I also dredged up my deepest fears: that he would tell me I smelled bad, that I had terrible bathroom habits, that my taste in music and television was appalling. I worried that Harold would someday get a new prescription for his glasses and he'd put them on one morning, look me up and down, and say, "Why, gosh, you aren't the girl I thought you were, are you?"

  And I think that feeling of fear never left me, that I would be caught someday, exposed as a sham of a woman. But recently, a friend of mine, Rose, who's in therapy now because her marriage has already fallen apart, told me those kinds of thoughts are commonplace in women like us.

  "At first I thought it was because I was raised with all this Chinese humility," Rose said. "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 your culture, your ethnicity? And I remembered reading an article about baby boomers, how we expect the best and when we get it we worry that maybe we should have expected more, because it's all diminishing returns after a certain age."

  And after my talk with Rose, I felt better about myself and I thought, Of course, Harold and I are equals, in many respects. He's not exactly handsome in the classic sense, although clear-skinned and certainly attractive in that wiry intellectual way. And I may not be a raving beauty, but a lot of women in my aerobics class tell me I'm "exotic" in an unusual way, and they're jealous that my breasts don't sag, now that small breasts are in. Plus, one of my clients said I have incredible vitality and exuberance.

  So I think I deserve someone like Harold, and I mean in the good sense and not like bad karma. We're equals. I'm also smart. I have common sense. And I'm intuitive, highly so. I was the one who told Harold he was good enough to start his own firm.

  When we were still working at Harned Kelley & Davis, I said, "Harold, this firm knows just what a good deal it has with you. You're the goose who lays the golden egg. If you started your own business today, you'd walk away with more than half of the restaurant clients."

  And he said, laughing, "Half? Boy, that's love."

  And I shouted back, laughing with him, "More than half! You're that good. You're the best there is in restaurant design and development. You know it and I know it, and so do a lot of restaurant developers."

  That was the night he decided to "go for it," as he put it, which is a phrase I have personally detested ever since a bank I used to work for adopted the slogan for its employee productivity contest.

  But still, I said to Harold, "Harold, I want to help you go for it, too. I mean, you're going to need money to start this business."

  He wouldn't hear of taking any money from me, not as a favor, not as a loan, not as an investment, or even as the down payment on a partnership. He said he valued our relationship too much. He didn't want to contaminate it with money. He explained, "I wouldn't want a handout any more than you'd want one. As long as we keep the money thing separate, we'll always be sure of our love for each other."

  I wanted to protest. I wanted to say, "No! I'm not really this way about money, the way we've been doing it. I'm really into giving freely. I want…" But I didn't know where to begin. I wanted to ask him who, what woman, had hurt him this way, that made him so scared about accepting love in all its wonderful forms. But then I heard him saying what I'd been waiting to hear for a long, long time.

  "Actually, you could help me out if you moved in with me. I mean, that way I could use the five hundred dollars' rent you paid to me…"

  "That's a wonderful idea," I said immediately, knowing how embarrassed he was to have to ask me that way. I was so deliriously happy that it didn't matter that the rent on my studio was really only four hundred thirty-five. Besides, Harold's place was much nicer, a two-bedroom flat with a two-hundred-forty-degree view of the bay. It was worth the extra money, no matter whom I shared the place with.

  So within the year, Harold and I quit Harned Kelley & Davis and he started Livotny & Associates, and I went to work there as a project coordinator. And no, he didn't get half the restaurant clients of Harned Kelley & Davis. In fact, Harned Kelley & Davis threatened to sue if he walked away with even one client over the next year. So I gave him pep talks in the evening when he was discouraged. I told him how he should do more avantgarde thematic restaurant design, to differentiate himself from the other firms.

  "Who needs another brass and oakwood bar and grill?" I said. "Who wants another pasta place in sleek Italian moderno? How many places can you go to with police cars lurching out of the walls? This town is chockablock with restaurants that are just clones of the same old themes. You can find a niche. Do something different every time. Get the Hong Kong investors who are willing to sink some bucks into American ingenuity."

  He gave me his adoring smile, the one that said, "I love it when you're so naive." And I adored his looking at me like that.

  So I stammered out my love. "You…you…could do new theme eating places…a…a…Home on the Range! All the home-cooked mom stuff, mom at the kitchen range with a gingham apron and mom waitresses leaning over telling you to finish your soup.

  "And maybe…maybe you could do a novel-menu restaurant…foods from fiction…sandwiches from Lawrence Sanders murder mysteries, just desserts from Nora Ephron's Heartburn. And something else with a magic theme, or jokes and gags, or…"

  Harold actually listened to me. He took those ideas and he applied them in an educated, methodical way. He made it happen. But still, I remember, it was my idea.

  And today Livotny & Associates is a growing firm of twelve full-time people, which specializes in thematic restaurant design, what I still like to call "theme eating." Harold is the concept man, the chief ar
chitect, the designer, the person who makes the final sales presentation to a new client. I work under the interior designer, because, as Harold explains, it would not seem fair to the other employees if he promoted me just because we are now married—that was five years ago, two years after he started Livotny & Associates. And even though I am very good at what I do, I have never been formally trained in this area. When I was majoring in Asian-American studies, I took only one relevant course, in theater set design, for a college production of Madama Butterfly.

  At Livotny & Associates, I procure the theme elements. For one restaurant called The Fisherman's Tale, one of my prized findings was a yellow varnished wood boat stenciled with the name "Overbored," and I was the one who thought the menus should dangle from miniature fishing poles, and the napkins be printed with rulers that have inches translating into feet. For a Lawrence of Arabia deli called Tray Sheik, I was the one who thought the place should have a bazaar effect, and I found the replicas of cobras lying on fake Hollywood boulders.

  I love my work when I don't think about it too much. And when I do think about it, how much I get paid, how hard I work, how fair Harold is to everybody except me, I get upset.

  So really, we're equals, except that Harold makes about seven times more than what I make. He knows this, too, because he signs my monthly check, and then I deposit it into my separate checking account.

  Lately, however, this business about being equals started to bother me. It's been on my mind, only I didn't really know it. I just felt a little uneasy about something. And then about a week ago, it all became clear. I was putting the breakfast dishes away and Harold was warming up the car so we could go to work. And I saw the newspaper spread open on the kitchen counter, Harold's glasses on top, his favorite coffee mug with the chipped handle off to the side. And for some reason, seeing all these little domestic signs of familiarity, our daily ritual, made me swoon inside. But it was as if I were seeing Harold the first time we made love, this feeling of surrendering everything to him, with abandon, without caring what I got in return.