Shirley Geok-Lin Lim’s “Pantoum for Chinese Women”
In Shirley Geok-lin Lim’s “Pantoum for Chinese Women,” the poet uses the traditional Pantoum form to explore the societal expectations and constraints that are imposed on women in Chinese culture.
Geok-Lin Lim capitalizes on the Pantoum’s repetitive structure—quatrains with a repeated line pattern and abab bcbc cdcd rhyme scheme— and creates a layered narrative, revealing the cultural expectations and harsh realities surrounding the birth and upbringing of female infants. Repeated lines like “Knowing when the time comes that we would” emphasize the inevitable difficulties Chinese women face and society’s standards for women (Lim 261). Such repetition suggests that the problems women in the poem face are fixed and, therefore, are rules that society sets for their lives. Additionally, Geok-Lin Lim explores the devaluation of female lives through the repetition of the line, “For broken clay is never set in glaze” (261). The repetition suggests that society considers women to be "broken clay" who are not deserving of the safety net.
Geok-Lin Lim also uses the Pantoum form to mirror the rigid cultural expectations placed on Chinese women. The fixed rhyme scheme and repeated lines reflect the societal norms that confine women to predetermined roles. Lim uses this form to convey a sense of inevitability, emphasizing how cultural expectations persistently shape and constrain the lives of Chinese women.
The Pantoum requires concise language, and Geok-Lin Lim uses this to her advantage in creating vivid and symbolic imagery. The line “His mother squatting, coughs by the fire’s blaze” paints a vivid picture and conveys a sense of discomfort and struggle (261). In Chinese culture, the woman is the one who squats by a low oven fire to cook. It’s hot, and they inhale the smoke, but it is seen as their responsibility, so all they can do is cough and keep in their discomfort. Through such imagery, the poet is able to express complex feelings and experiences in a limited area because of the Pantoum's simplicity and repetition, which increase the impact of such imagery. Additionally, the short time limit and high level of detail needed almost seem to show how little Chinese women are valued when they try to share their stories and worries.
By examining Lim’s strategic use of the Pantoum form, we can unravel the intricate layers of meaning within “Pantoum for Chinese Women” and gain insight into the poet’s commentary on the oppressive cultural norms faced by women in Chinese society.
Goterra, Vince. “The Pantoum’s Postcolonial Pedigree.” An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art. Edited by Annie Finch and Katherine Varnes, U. of Michigan P, 2002, pp. 254–261.
Shirley, Geok-lin Lim. “Pantoum for Chinese Women.” An Exaltation of Forms: Contemporary Poets Celebrate The Diversity of Their Art, Edited By Annie Finch and Kathrine Varnes, University of Michigan Press, 2002, pp. 216
