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Ghostly China: Amy Tan’s Narrative of Transnational Uncanny in The Hundred Secret Senses, The Bonese

By Pin-chia Feng
REAL: Review of English and American Literature [Yingmei wenxue pinglun]

Upon the publication of her first novel, The Joy Luck Club (1989), Amy Tan became an instant star in the publishing world; and her second novel, The Kitchen God’s Wife (1991), was also a triumph. Tan’s skillful renditions of mother-daughter relationships reach the hearts of millions of readers. Moreover, her work—which comes more than a dozen years after Maxine Hong Kingston’s The Woman Warrior (1976)—has helped create a renaissance of Chinese American writing. Despite the fact that Tan refuses to be pegged a mother-daughter expert, yet both The Joy Luck Club and The Kitchen God’s Wife center around the love and antagonism between Chinese immigrant mothers and their American daughters. In The Hundred Secret Senses (1995), The Bonesetter’s Daughter (2001), and Saving Fish from Drowning (2005), Tan continues to concentrate on the conflicts and final reconciliation between mother and daughter figures as she again and again invokes Chinese history and landscape to contextualize her portrayal of Chinese American experiences.

“The Writer at the Far Margin.” The Rhetoric of Artistic Ethics in Don DeLillo’s Novels

By Paula Martín Salván
European Journal of American Studies

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This website provides scholars with a one-stop shop for the latest research published in American studies journals throughout the world. Organized by the International Initiative of the American Studies Association and funded by the Andrew W. Mellon Foundation, this site is the outcome of a collaboration between numerous journal editors around the world.