Ribbons

Grandmother—or Paw-paw, in Chinese—is Robin and Ian’s maternal grandmother. Grandmother was born in China, where she was a victim of footbinding. Eager to escape the Communist regime, Grandmother traveled with her children to British Hong Kong—an extraordinary feat that Mom remembers as “The Debt” and that helps develop Sacrificing for a Greater Good. With a Chinese takeover looming, Mom arranges for Grandmother to emigrate from Hong Kong and settle, finally, in America. Grandmother’s arrival in San Francisco—and the financial burden it imposes—drives the novel’s central plot.

In the beginning of the novel, Grandmother struggles to connect with Robin, who is yet unaware of her condition. Most notably, Grandmother encourages Robin to quit dancing, concerned that her feet are misshapen. As Robin and Grandmother argue, Grandmother emerges as the novel’s primary antagonist.

This characterization is amended once Robin realizes that Grandmother is a victim of footbinding. As they arrive at a mutual understanding, Grandmother and Robin grow into a more affectionate relationship, highlighting Bridging Generational Divides through Empathy. Slowly, Grandmother shares more details about her life, from her experience in British Hong Kong to her aching decision to push her children toward a new life in America. In fleshing out Grandmother’s story, Laurence Yep transforms her from a stock villain into a fully formed, dynamic character.

As Robin soon appreciates, Grandmother is tough, courageous, and self-sacrificing, and she exercises a tight control over her family. For instance, Robin mentions that “[Grandmother’s] vote counted ten times more than any other single vote” (168). Indeed, despite her old age, and even though her children are grown, Grandmother is quick to correct them when necessary. It’s Grandmother’s influence, for instance, that forces Georgie and Eddy to reimburse Mom and Dad and, in turn, finance Robin’s return to dance. At the novel’s end, Grandmother reveals her plans to move in with Eddy, eager to give Robin and Ian space to grow. However, Yep concludes the novel with a touching scene, suggesting the strength of Grandmother’s connection to Mom and Robin: After sewing ribbons on Robin’s new shoes, Grandmother, Mom, and Robin laughingly tickle Ian.

Mom, or Elaine, is Robin and Ian’s mother. Mom was born in China but immigrated to Hong Kong at a young age, carried by her mother to safety. As a child, Mom was notoriously spunky, and her brothers remember when she punched a bully “right in the jaw” and “sent him flying” (173). Not long after, Mom moved to America, finding work as a public interest attorney. Often, when Mom thinks of her childhood in Hong Kong, she considers The Debt—that is, Grandmother’s incredible journey from China to British Hong Kong. Mom strives constantly to repay Grandmother for this sacrifice; Robin notices, for instance, that it’s the “sole ambition of [her] mother and her brothers to bring their mother from Hong Kong to San Francisco” (21-22). Mom is eager to convince her children of this perspective, too. When Robin complains about having to forfeit her ballet lessons, Mom pressures her: “You don’t want [Grandmother] in Hong Kong when the Communists take over, do you?” (22). Indeed, this emphasis on sacrifice strains Mom and Robin’s relationship, as Mom fails to appreciate Robin’s passion for dance and encourages her instead toward other activities.

In many ways, Mom’s appreciation for Grandmother’s sacrifice makes her ignorant about her own achievements; she, too, has given much to her family and is also worthy of a Debt. Just like Grandmother, Mom left her home country in pursuit of a better opportunity. She puts her family above herself and shoulders the burden alone, financing her brothers’ immigration and even paying “for their college educations” (40). This stoicism almost never falters—that is, until the stress of Grandmother’s arrival pushes her to the brink. One day, for instance, Robin and Ian are shocked to realize that Mom is crying: “Mom almost never cried,” Robin explains (66). Though in the moment this burst of emotion is jarring, it ultimately allows Robin to appreciate her mother’s vulnerability. As Mom continues to let her guard down, she and Robin slowly repair their relationship, especially after she reluctantly considers letting Robin forgo her operation—highlighting Bridging Generational Divides through Empathy. Mom receives money from her brothers and forges a meaningful relationship between herself, her mother, and her daughter, and the novel ends with Mom in a state of happiness.

Dad, or Gilbert, is Robin’s father. Dad is a documentary filmmaker, and Robin speculates that he’s “happier with his equipment” (23). When Robin is forced to give up ballet lessons, Dad advocates on her behalf the most consistently. He tapes her recital, clears the garage for her practice, and is quick to side with Robin when she complains that Mom has confiscated her shoes. In many ways, Dad is Robin’s staunchest ally, and he seeks to offset Mom’s cultural emphasis on sacrifice.

Notably, Dad is a white American. He’s almost an “other” in the household, as the only one without any Chinese heritage or connection to Chinese cultural traditions. This highlights the fact that his family is frequently made to feel like the “other” outside the household, so their home is a sanctuary, whilst he does not have these experiences. In addition to speaking up on Robin’s behalf, Dad gently pressures Mom to ask her brothers for help: “I don’t see why they can’t help” (100), Dad complains, to no avail. Though Dad is a good sport—he picks up Grandmother at the airport, for instance—this resentment only festers. “I’ve put up with a lot from your family,” Dad insists (100), later snapping that “it’s time to think about someone else for a change” (121). He’s ignorant about Grandmother’s footbinding, too, further dividing him from his in-laws and complicating any real chance at understanding. This discontent ultimately contributes to tension between Mom and Dad, and though they try to conceal it, Robin is too perceptive to miss it. Mom defends her family, and as they bicker, Robin remembers that they “never used to talk like that” (101). Even Grandmother notices: “Baby-sit your husband for a change” (132), she jokes as she offers to take Robin and Ian to the park. In the last chapter, Mom and Dad present a slightly more unified front. As Georgie and Eddy share stories about Mom’s youth, Dad looks at Mom “affectionately,” and Robin wonders if “the angry murmurings from their bedroom” might end (173). However, though this moment is noticeably uplifting, the novel’s last scene complicates any feeling of optimism: Mom, Robin, Ian, and Grandmother laugh together raucously, while Dad is conspicuously absent. In excluding Dad from this display of family unity, Yep suggests that his future with Mom is still uncertain.