ELAINE H. KIM 93
With The Woman Warrior and China Men, she was constrained by the sense that she
had to work within "what happened, not what you wanted to happen," whereas in
Tripmaster Monkey she felt free to "make up" what she needed (Lecture, UC Irvine,
April 11, 1986).
16. Margaret Miller, "Threads of Identity in Maxine Hong Kingston's The
Woman Warrior," Biography: An Interdisciplinary Quarterly 6:1 (Winter 1983):
13-33.
17. Maxine Hong Kingston, "Cultural Mis-readings by American Reviewers,"
Asian and Western Writers in Dialogue: New Cultural Identities, ed. Guy Amirthanayagam (New York: Macmillan, 1982), pp. 55-57.
18. Amy Tan, The Joy Luck Club (New York: G. P. Putnam's Sons, 1989), p. 48.
19. Cynthia Kadohata, The Floating World (New York: Viking, 1989), pp.
56-57.
20. Ronyoung Kim, Clay Walls (Sag Harbor, New York: The Permanent Press,
1987), p. 10.
21. Joy Kogawa, Obasan (Boston: David R. Godine, 1981), pp. 111-12.
22. June 9, 1980 interview.
23. June 28, 1989 interview.
24. Maxine Hong Kingston, Tripmaster Monkey (New York: Alfred A. Knopf,
1989), pp. 69-70.
25. June 28, 1989 interview.
26. Marilyn Chin, "Writing the Other: A Conversation with Maxine Hong Kingston," Poetry Flash no. 198 (September 1989), p. 4.
27. To those who point to Fa Mu Lan in The Woman Warrior, Kingston remarks
that she does not "totally approve of her," which is why the book does not end with
her story. "We can't and shouldn't model ourselves after her": The Woman Warrior
ends with a song, not a sword (Lecture, UC Irvine, April 11, 1986).
