Maxine Hong Kingston`s Woman Warrior is a text that illustrates many specific tendencies of women`s autobiographical writing which not only offers an alternative to the linear, self-referential mode of classical autobiography but also deconstructs the political economy of patriarchal culture. Unlike traditional autobiographers like St. Augustine or Rousseau who have the singular aim to mirror their authentic self by confessing the truth of their life, Kingston does not pretend to depict what Maxine Hong Kingston really is but seeks to construct her textual body as a writing subject, whose pleasure arises from the possibility of re-describing, rather than representing, what she considers as harmful and oppressive to the women of the world in which she now inhabits as well as of the world which she has inherited from her Chinese ancestors. Especially, by rewriting from her own American feminist consciousness the stories which her Chinese immigrant mother has told her, Kingston performs a cross-cultural redefinition of woman`s identity that resists the constraints of patriarchal discourse, and produces a political text that displaces the rigid boundary between the First and `Third worlds or between the mainstream and the marginal, minority existences. Also, the relay of "talk-stories" between Maxine and her mother establishes a Chodorovian mother-daughter continuum which creates, by means of the mother tongue expressed in an lrigarayan female language of "two lips," an aesthetic space of theatre and songs in which the erotic commence between selves and others takes place, facilitating fluid translations between them, while withholding the circuit of the economy of phallogocentrism which operates only for self-aggrandizement at the expense of others.