Amy Tan opens her Joy Luck Club with a fake Chinese fairy tale about a duck that wants to be a swan and a mother who dreams of her daughter being born in America, where she’ll grow up speaking perfect English and no one will laugh at her and where a “woman’s worth is [not] measured by the loudness of her husband’s belch.” The fairy tale is not Chinese but white racist. It is not informed by any Chinese intelligence. This is Confucian culture as seen through the interchangeable Chinese/Japanese/Korean/Vietnamese mix (depending on which is the yellow enemy of the moment) of Hollywood. “They sell their daughters at thirteen years old into marriage or worse… . They know nothing of the love we have for our women,” says Cary Grant in Destination Tokyo.
Ducks in the barnyard are not the subject of Chinese fairy tales, except as
food. Swans are not the symbols of physical female beauty, vanity, and promiscuity that they are in the West. Chinese admire the fact that swans mate for life;
they represent romantic love and familial bliss. There is nothing in Chinese fairy
tales to justify characterizing the Chinese as measuring a woman’s worth by the
loudness of her husband’s belch.
Frank Chin. “Come All Ye Asian American Writers of the Real and the Fake”.
In Chan, Jeffery Paul; Chin, Frank; Inada, Lawson Fusao et al.. The Big Aiiieeeee! An Anthology of Chinese American and Japanese American Literature. New York, N.Y., U.S.A.: Meridan, 1991.