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Mother Daughter Exchange Club 27
In the realm of Asian American women's literature, we can see this exclusionary effect in discussions about Amy Tan's works. The criticism about Tan's works centers on the way that the dialogic nature of talk-story functions either to create or to bridge gaps between bi-cultural, bilingual immigrant mothers and their Americanized second-generation daughters. (2) In particular, since Maxine Hong Kingston's Woman Warrior underscored the Chinese tradition of "talk-story" as a major trope in Chinese American women's narratives, focus on this specific oral tradition has become the center of much of the critical work being done about Chinese American women writers. However, in the case of Tan's texts, this critical focus on the importance of talk-story serves to limit the interpretive work to be done on these texts. Studies of Amy Tan's first three novels, The Joy Luck Club (1989), The Kitchen God's Wife (1991), and The Hundred Secret Senses (1995), have correctly identified patterns of tension in her texts that result from the conflict between the oral storytelling of Chinese mothers (what has been identified as talk-story) and their American daughters' initial resistance to and eventual acceptance of that mode of narration. (3) Critical work on Tan's texts has largely ignored aspects of that corpus which separates it from the work of writers like Kingston--the importance of written texts and the literacy of Chinese mothers. (4) Consequently, by failing to recognize that Tan highlights the crafting of written texts as important, critics also have failed to appreciate fully Tan's representation of her Chinese mothers (5) and the work that these texts do within a broader context of literature. 2ff7e9595c
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