Preface 1
Introduction 9
Chapter 1 The Iron Curtain of Language： Place and Placement 17
The Iron Curtain of Language 17
Place and Placement 31
The Glass Ceiling of Gender and Genre 38
Chapter 2 The Postmodern Chaotic Arabesque and the Oriental Wife’s Tale： A Replacement and Re-Orientation 52
The Exotic Is Familiar： Arabian Nights and American Chimera 52
The East Is in the West： From Diotima to Flower Orchid 62
The Economics of Exploitation in Literary Exchanges 64
The Woman Warrior as a Postmodern Chaotic Arabesque 67
Chapter 3 Translating a Heroic Tradition of Chinese Women：The Woman Warrior 74
The Missionary Tradition and the Heroic Tradition 74
The River-Merchant’s Wife and the Master Narrative of American Orientalism 95
The Myth of No Name Woman and Hawthorne’s The Scarlet Letter 108
Transnational Influence and Revolutionary Theater 119
Golden Mountain Women and the Might of a Mother Tongue 126
The Legacy of “the Eastern Palace” in the Disneyland of Western Movies 144
Daughters of Immortal Fame on the Borderland of Barbarian Battlefields 167
The Redemption of a Woman Writer in Chinese History ， Poetry ，and Play 177
Chapter 4 Deconstructing the Master Narrative of the Yellow Peril： China Men 193
Literary Fathers Chinese and American：“On Discovery” of Flowers in the Mirror 193
The Coolie Fiction and the Yellow Peril：Media and Missionary Power 207
Life， Liberty， and the Pursuit of Happiness：From the Sandalwood to the Sierra Nevada Mountains 229
Literacy， Laws， and the Legacy of Language：“The Father from China” and “The Wild Man of the Green Swamp ” 256
Wars and Wisdom of Survivors：“The American Father” and “The Brother in Vietnam ” 275
Translation and the Mortality of the Teacher’s Tongue：“The Adventures of Lo Bun Sun” 293
Chapter 5 Re-Orienting American Orientalism through the Black Curtain in a Puppet Show： Tripmaster Monkey 303
“Hippies， Indians， Chinese， Quakers， Women Martin Luther King Jr.，and Vegetarians ” 304
“She was no China Man the way he was China Man” 311
Wittman Ah Sing/Whitman I Sing/Wit Man Ah Sing/Noman Asing/No Man I Sing 315
“The Present-day U.S.A.Incarnation of the King of the Monkeys.” 321
“Chineseness does not come to an actor through genetic memory.” 333
“It’s the business of a playwright to bring thoughts into reality.” 339
“My love story is the talk of Chinatown.” 351
“What have you done to educate the world lately？” 364
Postscript “Five Books of Peace” 372
Appendix： What Is Common in Chinese World Literature？ — Speech on International Women’s Day at Fudan University 374
Bibliography 379
Acknowledgement 403
About the Author 407