Writer Amy Tan attending "Book Autographing Day" on May 23, 1992 at the ABA Convention Center in Anaheim, California. Photo by Ron Galella, Ltd./Ron Galella Collection via Getty Images
By
Amy Tan
Text Type
Poem
Words
525
Lexile
910L
Published
1987
I fell in love with the minister’s son the winter I turned 14. He was not Chinese, but as white as Mary in the manger. For Christmas I prayed for this blond-haired boy, Robert, and a slim new American nose.
When I found out that my parents had invited the minister’s family over for Christmas Eve dinner, I cried. What would Robert think of our shabby Chinese Christmas? What would he think of our noisy Chinese relatives who lacked proper American manners? What terrible disappointment would he feel upon seeing not a roasted turkey and sweet potatoes but Chinese food?
On Christmas Eve I saw that my mother had outdone herself in creating a strange menu. She was pulling black veins out of the backs of fleshy prawns. The kitchen was littered with appalling mounds of raw food: A slimy rock cod with bulging eyes that pleaded not to be thrown into a pan of hot oil. Tofu, which looked like stacked wedges of rubbery white sponges. A bowl soaking dried fungus back to life. A plate of squid, their backs crisscrossed with knife markings so they resembled bicycle tires.
And then they arrived—the minister’s family and all my relatives in a clamor of doorbells and rumpled Christmas packages. Robert grunted hello, and I pretended he was not worthy of existence.
Dinner threw me deeper into despair. My relatives licked the ends of their chopsticks and reached across the table, dipping them into the dozen or so plates of food. Robert and his family waited patiently for platters to be passed to them. My relatives murmured with pleasure when my mother brought out the whole steamed fish. Robert grimaced. Then my father poked his chopsticks just below the fish eye and plucked out the soft meat. “Amy, your favorite,” he said, offering me the tender fish cheek. I wanted to disappear.
At the end of the meal my father leaned back and belched loudly, thanking my mother for her fine cooking. “It’s a polite Chinese custom to show you are satisfied,” explained my father to our astonished guests. Robert was looking down at his plate with a reddened face. The minister managed to muster up a quiet burp. I was stunned into silence for the rest of the night.
After everyone had gone, my mother said to me, “You want to be the same as American girls on the outside.” She handed me an early gift. It was a miniskirt in beige tweed. “But inside you must always be Chinese. You must be proud you are different. Your only shame is to have shame.”
And even though I didn’t agree with her then, I knew that she understood how much I had suffered during the evening’s dinner. It wasn’t until many years later—long after I had gotten over my crush on Robert—that I was able to fully appreciate her lesson and the true purpose behind our particular menu. For Christmas Eve that year, she had chosen all my favorite foods.
Students consider their own duality and share ideas with a partner using a Think-Pair-Share routine.
Say: In this unit, we will study how people can be shaped by more than one connection at the same time. We will also examine and compare poetry and prose, talking about their structures and how each form of writing conveys ideas and feelings.
Think-Pair-Share
Say these Directions: Take a moment to think of two or more roles that you fill in your life, such as being a big brother or sister, a player on a team, a student at school, or the leader of a group.
Ask: Do you feel and behave exactly the same in your different roles? What is the same? What is different?
At school, I try to sound confident and independent, but at home I am quieter and I follow family routines. With my parents, I can feel very young, but when I take care of my little sister, I feel very grown up. But in all my roles, even though I might behave differently, I’m the same person inside.
Connection to Today's Learning:
Say: We will be reading poetry and prose pieces that examine the idea of duality. Duality means “two sides.” For a person, it means the feeling of having more than one way of being, almost of having two selves.
Direct students to the poem “Two” in Red, White, and Whole and the first two paragraphs of “Fish Cheeks.” Display a Venn diagram. Write “Two” on the left portion of the diagram. Write “Fish Cheeks” on the right side. Write “Both” in the center.
Generating Situations, Context, and Examples
Say these Directions: We are going to read and compare the poem “Two” and the beginning of the narrative “Fish Cheeks.” As we read, think about the ways they are similar and different.
Read the texts aloud, while students follow along in their books. Ask the following questions after reading each text:
Ask: What did you notice about the structure of this text? What did you notice about its theme?
I noticed that it was written in short lines. I noticed that it was about being Indian or not Indian.
I noticed that it was written in paragraphs. I noticed that it was about being Chinese in America.
Once you have finished reading aloud both texts, ask:
Ask: What did the two have in common?
They were both about being both American and part of another nationality or culture.
Display a Venn Diagram and model the first steps of completing the diagram. Label the left column of the diagram, “Two,” and the right column of the diagram, “Fish Cheeks.” In the common section of the diagram, write “theme: cultural duality.” Divide students into pairs.
Say these Directions: Look at the Venn Diagram labeled “Two” and “Fish Cheeks,” with cultural duality already written in the “both” section. With a partner, complete the diagram by comparing the texts, noting similarities and differences in structure, topic, tone, and other details.
Give students 5 minutes to work on their diagrams, then reconvene the class to discuss the texts in a whole-class discussion:
Say these Directions: Discuss these questions as you complete your Venn Diagram graphic organizer:
Ask: What tells you that “Fish Cheeks” is prose, not poetry?
“Fish Cheeks” is prose because it is written in full sentences and grouped into paragraphs without line breaks.
Ask: How do the line breaks in the poem “Two” affect how you read the words?
The line breaks make me pause after each word, so each word feels more important.
Write “poetry” on the diagram under “Two” and “prose” under “Fish Cheeks.”
“Two”
Both
“Fish Cheeks”
Poetry
Written in stanzas
Unconventional punctuation
Takes place inside and outside of the narrator’s home
Indian ethnicity
Cultural duality
First-person narration
Stories about childhood
Prose
Written in paragraphs
Standard punctuation
Takes place inside the narrator’s home
Chinese ethnicity
🎯PURPOSE
Support students in using precise language to define poetry and prose. As they progress through this section, help them complete the Venn diagram with precise terms.
Language Focus:
Use text structure words such as prose, poetry, line breaks, stanza, paragraph, first person (“I”).
Include descriptions of sound, feel, emotion, and theme.
Encourage links between structure and feeling/theme, using explanation language such as because and so.
🗣️SAY / ASK
Prompt students to point to visible features such as complete sentences, paragraphs, and line breaks.
When students give one-word answers about the look, sound, or feel of the poetry or prose, press for explanation by asking what on the page made them think that.
If students notice that prose always has punctuation at the end of sentences and poetry may have lines without punctuation, say: “We can write ‘sentences’ for prose and ‘not always sentences’ for poetry.”
If students notice that the prose has paragraphs, say: “We can write ‘paragraphs’ for prose.”
If students notice that the poetry also has sections, say: “Sections in poetry are called stanzas. We can write ‘stanzas” for poetry.”
This text is prose/poetry because it is organized into __________.
The line breaks make me pause on the word __________, so it feels __________.
The texts have similar themes, but the prose/poetry feels more emotional because ________.
Validate students’ individual reactions and interpretations of the texts. Both pieces have a personal nature, and not all readers respond in the same way to literary forms and themes.
Encourage multilingual learners to use another shared language as they discuss concepts before translating conclusions back into English.
By the end of this section of the lesson, have a completed Venn diagram on display for reference.
👁️WATCH FOR / SUPPORT IF NEEDED
If students confuse “short text” with “poetry” → Prompt: “Look again at how the words are arranged. Is the text grouped into sentences and a paragraph or broken into lines and stanzas?”
If students struggle to discuss how each text portrays feelings → Prompt: “Read the text aloud again. What happens to your voice? How does that feel?”
Student names at least one structural feature to justify prose or poetry.
Student explains an effect of a line break using causal language such as because or so.
Reflection (RL.7.4, RL.7.5)
Use the Reflection routine to reflect on your understanding of text structure by comparing two texts.
How confident are you in your ability to explain the difference between prose and poetry?
Check for Understanding (RL.7.4, L.7.5)
Write a one- or two-sentence working definition of prose.
Teacher Tip: If needed, prompt students to begin with “Prose is . . .”
Connection to Today's Learning:
Say: Now that you have a working definition of prose and poetry, you are ready to examine both genres more deeply, and to write your own poetry.
Situation
Try this
Struggling with: Identifying structure
Direct students to trace the shape of each sample with a finger and name what they see first: sentence, paragraph, or line. Ask students which text seems more like the lyrics of a song. Describing sound and feel: Read each piece aloud.
Ask students to stop the reading when they can name an emotion that is being portrayed. Written expression: Allow students to say their two-sentence definition aloud to a partner first or use speech-to-text before writing it down.
Ready for extension
Invite students to revise the prose sample into two to three lines of poetry and discuss how the sound, feel, or meaning changes.
Students read “Two” aloud and analyze it in a whole-group discussion. In Part B, students draft their own poems discussing their personal duality.
Part A: Reading Poetry (RL.7.4) (10 minutes)
Have students read the poem aloud, switching readers for each stanza. Allow a moment for students to respond about the content after each stanza. Then, lead a class discussion about the poem. Give students a moment after each response to write answers in the Student Edition.
Say: Now that we have identified the characteristics of poetry, let’s take a closer look at the poem “Two.” We have already identified the theme of the poem: cultural duality for a young person who is both Indian and American.
[SE note: Follow each question with 3-4 WOLs, depending on fit.]
Whole Group Discussion
Say these Directions: Read the poem aloud, switching readers for each stanza. Pause after each stanza to briefly discuss the content, then take a moment to write your responses. Afterward, we will continue with a whole-class discussion.
Ask: Why does the poet start by saying, “I have two lives”?
The whole poem is about contrasting what she does with Indian friends and family and what she does in a non-Indian setting, such as school.
Ask: What feelings about each “life” does the poet convey? How?
She shows that both “lives” are fun. For example, in both lives, there are “giggles about boys.” She names foods for both “lives,” but they are different foods. I get the feeling that Indian food is more comfortable.
Ask: How does the poet use water as a symbol? How does the symbol of water change between the second and third stanzas?
In the second stanza, she swims in a river. In the third stanza, she floats in the sea. This gives the impression of more effort and maybe less control in a river, where she may have to swim and she may be carried by a current. Floating in a sea implies comfort and less effort. It seems more relaxed and easy.
Ask: What is the effect of the last stanza and especially the last line?
The poet summarizes that she has good times in both “lives.” But the last line, “But only in one place do I have my parents,” suggests that she is much more comfortable at home with her family.
Ask: How does the genre or text type, poetry, help convey the poet’s feelings?
Each line gives an impression, not just a description of something that happened. The reader can interpret lines by thinking about why the poet chose each word. When we read the poem, it makes us pause and take a moment to feel what is being said.
Say: In the next activity, you will think more about “having two lives” or “having two selves” and get ready to write your own poem about duality. In “Two,” the poet describes duality based on two cultures. Your poem will talk about whatever duality you want to express, such as filling different roles at home and at school.
🎯PURPOSE
Students will start planning the contrasts that they want to use as a basis for their poetry composition about duality. Prompt them to think about “two lives” in their own experience, the experience of someone they know, or an imagined person.
Language Focus:
Use contrast words such as but, however, while, at the same time.
Use explanation language such as “this is why I chose” or “I want to show the feeling of.”
Identify pairs of descriptive words that they could use to show contrast between experiences, such as happy/sad, nervous/comfortable, funny/serious, formal/informal.
Identify possible symbols that could be used to convey feeling, such as darkness to represent sadness or sunshine to represent happiness.
🗣️SAY / ASK
If students offer only category labels, prompt them to replace each label with an image, object, sound, or setting.
Encourage students to say contrasting words aloud and listen for how the words sound together before choosing them.
”You said ‘school me and home me.’ What words could you use to describe the differences, such as loud or quiet, as in ‘my loud hallway self and my quiet kitchen self”?
“You said, ‘I feel more comfortable with my friends.’ What symbol could you use to show the difference, as in ‘When I am with them, I am wrapped in a blanket of sunshine’?”
One duality I could write about is __________ and __________.
These words create a feeling of __________ because __________.
A stronger image for that side could be __________.
Encourage students to include words, objects, foods, sounds, or routines from home and community life as valid poetic images.
👁️WATCH FOR / SUPPORT IF NEEDED
If students choose two ideas that do not really contrast → Prompt: “What is different in sound, place, or feeling between these two parts?”
If students stay at a very general level → Prompt: “Replace one abstract word with something a reader could see or hear.”
Student selects contrasting ideas and words and describes contrasts using contrast key words.
Student revises a general pair into more specific word choices.
Student explains how a chosen word creates a feeling or tone.
Pulse Check (RL.7.4)
Which wording best shows a specific example of duality?
I have two things in my life.
Incorrect: This choice names a situation in a vague way, but it does not create a clear contrast or image.
I am different sometimes.
Incorrect: This choice states a general idea, but it does not use specific words that help the reader see or feel duality.
I am loud in the cafeteria/quiet under the kitchen light.
Correct: This choice uses specific contrasting words and images to show two sides of the speaker’s life.
I have many events every day.
Incorrect: This choice is broad and informational. It does not focus on two distinct sides or create a poetic contrast.
Situation
Try this
Struggling with: Developing a safe topic
Remind students that they do not have to write about their own personal life. Let students write from an imagined speaker or from a public role rather than a private experience if it is more comfortable, guiding them to use the first person “I” nonetheless.
Coming up with contrasting details: Guide students to identify just one feature of one “life” and then think of how that feature is different in the other “life.” From there, they can do the same process for other features, one at a time.
Ready for extension
Invite students to test two different word pairs for the same contrast and choose the pair with stronger connotation. Ask students to create a contrast that includes both setting and sound in one line.
Part B: Draft and Revise a Poem about Duality (W.7.10) (20 minutes)
Students will use a Quick Write routine (3–5 minutes) to brainstorm ideas for their poem. They will then work with classmates to continue to shape their draft.
Quick Write
Say these Directions: You will write a short poem of your own called "Two," beginning with the line "I have two lives." First, you will jot down ideas in a Quick Write. Then you will shape them into a draft of at most 8 lines. Finally, you will work with classmates to revise and strengthen your poems.
Say: Step 1: Quick Write In your Journal or Student Edition, begin with the line “I have two lives” and jot down phrases or lines about the idea of “Two.” (The “I” of the poem can be you or someone else in life or fiction.) You might write about:
A place that feels like home and a place that doesn't — or two places that both do
Two languages, two kinds of food, or two sets of rules
Two roles you play
Try to think of at least one specific image, sound, smell, taste, or feeling.
Students use ideas and language from their QuickWrite to develop a draft of their poem.
Say:Step 2: Shape (a few minutes) Your Poem:Use your Quick Write to now turn your words into poetic form, focusing on one type of duality. Remember: It should begin with the line “I have two lives,” and have no more than 8 lines.
As you draft:
Select one specific image, sound, or other sense memory that seems strong or interesting
Develop another image, sound, or sense that contrasts with it
Consider where to break lines to emphasize what is strongest or most important
Display the sample poem if students need more support or guidance.
Two
I have two lives,
one in sneakers squeaking on the gym floor,
one under a lamp with homework stacked like bricks.
In one, my name is shouted across the court.
In the other, it is softened over tea at home.
Both lives tug at me
like two hands on the same rope,
and I am learning to hold on to both.
Say: Notice that this poem does not explain everything in a big paragraph. It starts with the line “I have two lives,” then each new line adds an image to describe those lives. The strongest lines use both sound and setting, for example: “sneakers squeaking” feels different from “tea at home.” The poem is short, so each line has a purpose.
Say: Build your poem upon a clear contrast. Revise sentences that sound like an explanation. Like Rajani LaRocca’s “Two,” a short poem can feel very powerful when every word matters.
When students have completed their writing, reconvene the class and reorganize them into small groups.
🎯PURPOSE
Support students in drafting a short poem that uses concise lines, concrete images, and contrast language to express duality. All poems should be called “Two” and open with the line “I have two lives.”
Language Focus:
Use first-person poetic language and poetic structure (lines and stanzas).
Construct the poem line by line with concise and precise language.
Include imagery and clear contrasts.
🗣️SAY / ASK
Remind students that a poem does not need full explanation in every line; strong images can carry meaning.
When students draft long prose sentences, coach them to break one sentence into shorter lines at meaningful points.
A sentence like “I act one way at school and another at home” can be changed to “At school, my voice races down the hall / at home, it folds into steam above dinner.”
An idea that includes only a direct statement can be changed to one that uses an image to represent a feeling.
I have two lives, one __________ and one __________. I will express this in my poem by ______.
In one life, I am __________. I will express this in my poem by ______.
The image of __________ shows my duality because __________. I will use this in my poem to represent _____.
Welcome primary-language words, family references, and community details when students feel that those choices best express their identity.
👁️WATCH FOR / SUPPORT IF NEEDED
If students write a full paragraph instead of a poem → Prompt: “Keep your idea, but break it into short lines where you want the reader to pause.”
If students explain too much and use few images → Prompt: “Replace one explanation line with something the reader can see, hear, or touch.”
Student begins with the required line and sustains a clear contrast across the poem.
Student uses at least one concrete image rather than only abstract explanation.
Teacher Feedback Look-Fors
Circulate and provide real-time feedback as students write. Use the following checklist of observable language behaviors:
Target 1 (The Craft Move): Student begins with the required opening line and maintains focus on one clear duality
Target 2 (Precision): Student uses specific nouns, verbs, or sensory images.
Target 3 (Structure): Student uses line breaks intentionally
Target 4 (Standard):Student produces a complete poem draft within the short writing time and can explain how word choice supports meaning.
Rehearse and Refine
Say these Directions: In groups of three, read your poem aloud twice. The first time, listeners just listen. The second time, listeners use the Peer Feedback Form to jot one line that clearly shows duality and one word they want to hear more about. Then the writer chooses one line to revise.
If time permits, reconvene the class and ask students to share their plans for revision.
Ask: What is one line you might revise after hearing your poem aloud?
I might revise “I am different at home” because it sounds too general. I could change it to “At home, my voice folds into the kitchen steam” to make the image stronger.
Situation
Try this
Struggling with: Starting the poem
Offer this frame: I have two lives, / one __________ / one __________. Creating line breaks: Guide students to place a line break after an important image or contrast word so that the reader will pause there. Drafting by hand: Allow students to orally rehearse the poem with a partner first or use speech-to-text before copying a final version.
Ready for extension
Invite students to add a final line that hints at how the two lives connect rather than only how they differ. Ask students to revise one line for stronger sound or rhythm by changing a verb or noun.
Have students reflect on how specific word choice or imagery helped them show contrast.
Quick Write
Say these Directions: Today you learned that poets make meaning with line breaks, images, and carefully chosen words. Later in this unit, you will analyze how other poems in Red, White, and Whole use imagery or symbolism to show important connections. The poem you started writing today is practice for making those same craft choices on purpose.
Ask: Which word, phrase, or image helped you show two sides most clearly today, and how will that help you in the unit performance task?
The phrase “quiet under the kitchen light” helped me see how specific words can show one side of a person without a big explanation. In my own poem, I used “locker slam” and “rice steaming” to show two parts of my life. This will help me later because I will need to notice and use imagery when I analyze and write poetry.
Instruct students to finish reading the essay “Fish Cheeks” by Amy Tan.
Ask students to respond to the following questions in their Journal: