Abstract Amy Tan's second novel, The Kitchen God's Wife, published in 1991, has been well received and highly praised. But as for its success and popularity, there are many dissenting options from scholars. They think Amy Tan caters to a western readership and wedges herself into the mainstream of American literature by flattering America while uglifying China and Chinese people, especially Chinese women. Some scholars in the Chinese mainland claim that Tan echoes Feminist Orientalism and ensnares the female protagonist, Winnie, into the cliché of being rescued by an American hero, which can find its origin from Greek Mythology. This thesis argues that the opinions quoted above cannot be established. In fact, while presenting a list of heroines, who discover female solidarity and strength during the time of turmoil, Amy Tan does not put a "hero" into her novel. Comparing The Kitchen God's Wife with serval classical works by women writers such as Jane Eyre (1847), Goblin Market (1862) and Gone with the Wind (1936), the author tries to prove that Tan displays a feminist theme and inherits the tradition of women's writing, which involves subverting stereotypical images of women characters, celebrating female friendship and merging and exchanging identities among women from different backgrounds. Meanwhile, Tan, using the narrative strategy - "talk story" - deprives men of the right of discourse and endows women with a pen(is) to articulate their experience and voice their opinions. Extinguishing barricades between Chinese women and American women, between pure women and fallen women, she asserts a kind of universal womanhood and emphasizes the importance of women's unity.