在黃玉雪的《華人五女》、趙健秀的《唐老亞》和伍慧明的《骨》這三位華裔美籍作家的作品中，中國的形象是以多種不同的面貌呈現，而非單一的刻板形象。從他們的共同認同，亦即族裔與文化認同，中國的形象是以好的與壞的兩種面向被呈現；對這些出生與成長於美國的華裔美國人而言，他們對於這些與生俱有的遺傳和文化傳承，比如外觀、語言、飲食與節慶等都有一種矛盾的情結。儘管如此，當他們在作品中重現對中國的此種雙重形象時，他們卻也具體化了來自中國的影響力。從舊金山的唐人街，我們知道故事中的人物也像中國人一樣對家鄉具有特殊的感情。作者們也展現出故事中人物在使用主流英語時，不時穿插了中國的成語與諺語，這也是使他們不同的地方。他們甚至呈現了食物對中國人的意義，對中國人來說食物不僅是食物，它們更具有特別的意義；除此之外，他們所慶祝的節慶也具有儀式的意涵。在主角們自我追尋的過程中，他們了解到必須與自己的「族裔陰影」和平相處，這種處理手法與湯婷婷的《女鬥士》手法迥然不同；同時，這也說明了三位作家們在其作品一同展現的寬容態度亦是中國哲學的理念的具體化表現。

In these three Chinese-American writers’ works, Jade Snow Wong’s Fifth Chinese Daughter (1989), Frank Chin’s Donald Duk (1991), and Fae Myenne Ng’s Bone (1994), the image of China is represented as various visages instead of a stereotyped one. From their shared identity—racial and cultural identity, the image of China is described from both bad and good sides. To these born and bred Chinese-Americans, they have contradictory feeling toward their racial and cultural heredity, such as appearance, language, foodways, and festivals. Nevertheless, as they represent the double-edged image of China in their works, they also embody the influence from China. As San Francisco’s Chinatown is their hometown, we know that, like most Chinese always do, they have special feeling for it. They also demonstrate that the use of Chinese saying or proverb in the mainstream language makes it distinctive for them. And they even display in their books that Chinese food is not just food, but something significant to them. Besides, the festivals they celebrate often have ritual implications. On their self-search journeys, they realize they have to get along with their “racial shadow,” which is very different from what Kingston Hong Maxine in her The Woman Warrior presents. Meanwhile, the easy attitude the three writers shared in their works is seen and embodied as part of the doctrine of Chinese philosophy.