女性族裔作家的作品被收录于教学大纲很大程度是由于其有别于“传统”美国文学宏大的叙事方式。但是对这些作家作品中的口语叙事模式及其作者差异性的过度强调,从某种意义上将之置于经典之外。对谭恩美作品的批评研究大多忽略了其文本当中书面文本以及中国母亲读写能力的重要性。《接骨师之女》这部小说对女性书写的文学特质的强烈关注表明,在书写和笔头文本中所展现出来的写作能力代表着比口述叙事更为重要、甚至更为有效的传承文化记忆和代际文化身份的方式。通过分析书面文本的重要性,本研究将展示谭恩美在作品中如何呈现书写能力和写作方式,以期揭示批评上存在的问题,即仅通过对口语传统的理解就确定其属于非西方叙事模式。对《接骨师之女》中作者身份的误读反映了在形成和应对文学经典时所必需的收录与排斥机制,以及在认识作品价值方面起到限制作用的噤声功能。 The works of female ethnic writers included in the syllabus are largely due to their ambiguous narrative style from the “traditional” American literature. However, the overemphasis on the oral narrative patterns and the author’s differences in the works of these writers places them somehow beyond the canons. Most criticisms of Amy Tan’s works ignore the importance of writing in her texts and the ability of Chinese mothers to read and write. The strong concern with the literary genres of female writing in The Novel of the Bonesetter indicates that the ability to write in written and written texts represents a more important and even more effective legacy of cultural memory than oral narratives and Intergenerational cultural identity of the way. By analyzing the importance of written texts, this study will show how Tan Enmei presented his writing ability and writing style in his works with a view to revealing the criticism’s existing problems that his non-Western narrative patterns were identified only through his understanding of oral traditions. The misreading of the author’s identity in the book “The Girl of the Bone Master” reflects the inclusion and exclusion mechanisms necessary in the formation and response of the literary canon and the hysterical function that plays a limiting role in recognizing the value of the work.