Family Devotions by David Henry Hwang
"Family Devotions" is a play by David Henry Hwang that explores the complexities of Asian American identity through a semi-autobiographical lens. The narrative unfolds in an idealized American setting, reflecting the superficiality of the American Dream, as a family of first-generation Chinese Americans awaits the return of their brother, Di-Gou, who has lived in Communist China for thirty years. The play delves into themes of cultural dislocation, faith, and the clash between Western narratives and Asian heritage.
As the family anticipates Di-Gou's arrival, they cling to the hope of his Christian testimony, influenced by their lineage from a notable Chinese Christian figure, See-goh-poo. However, when Di-Gou arrives and rejects his Christian upbringing, the family dynamic shifts dramatically, culminating in a profound revelation about identity and heritage. The play's climax features a blend of traditional and modern elements, as Di-Gou's struggle with his identity reflects broader questions regarding the experiences of Asian Americans in reconciling cultural tradition with the realities of life in America.
Ultimately, "Family Devotions" serves as an allegory for cultural awakening, urging Asian Americans to embrace their heritage while challenging the assumptions of Western culture. The characters' journey highlights the importance of self-acceptance and the complexity of familial and cultural ties in shaping individual identity.
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Subject Terms
Family Devotions by David Henry Hwang
First produced: 1981
First published: 1983
The Work
Family Devotions was written when David Henry Hwang was primarily interested in writing for and about the identity of Asian Americans. The play is autobiographical in that Hwang was raised an evangelical Christian; Family Devotions advocates casting off the Western mythology imposed upon Asian cultures.
The play is set in an idealized house with an enclosed patio and tennis court, representing a shallow, materialistic American Dream. The extended families of Ama and Popo, first-generation Chinese Americans, are awaiting the arrival of Di-Gou, their brother whom they have not seen for thirty years and who is arriving from Communist China. As they anticipate Di-Gou’s arrival, the women discuss the atrocities of the Communists, whose evil rule they are certain Di-Gou will be grateful to escape. The family descended from the great Chinese Christian evangelist See-goh-poo, and, as a boy, Di-Gou witnessed her miracles, so Ama and Popo anticipate hearing Di-Gou repeat his fervent testimony. When he arrives, however, Di-Gou quietly disavows ever being Christian. Di-Gou confides to Popo’s grandson, Chester, that to establish a true American identity, he must believe the stories “written on his face,” and these stories reflect many generations.
In act 2 the sisters organize a family devotional and invite Di-Gou to witness for Christ, but a family squabble erupts. Di-Gou is left with the women, who physically force him to submit before their neon cross. They implore him to remember See-goh-poo’s miracles. Chester rushes in to rescue Di-Gou, and the scene transforms into a kind of Chinese opera. Di-Gou rises up speaking in tongues, the gas grill bursts into flame, and Chester interprets the revelation: Di-Gou witnessed See-goh-poo give birth out of wedlock, claiming evangelicalism to deceive her family. Di-Gou proclaims that because they now know the truth, their stories are meaningless. The old sisters collapse, dead, and Di-Gou realizes that “No one leaves America.” The play ends with Chester standing where Di-Gou first stood, and the “shape of his face begins to change,” a metaphor for the beginning acceptance of his Chinese heritage.
Family Devotions is an allegory depicting a cultural awakening of the individual. The world is reversed; “civilized” Christians behave as heathens, and the “heathen” Asian offers wisdom, solace, and love. Hwang calls for Asian Americans to embrace their Asian heritage.
Bibliography
Gerard, Jeremy. “David Hwang: Riding the Hyphen.” The New York Times Magazine, March 13, 1988, 44, 88-89.
Hwang, David Henry. Introduction to FOB and Other Plays. New York: Plume, 1990.
Street, Douglas. David Henry Hwang. Boise, Idaho: Boise State University Press, 1989.