Upon the publication of her first novel, The Joy Luck Club (1989), Amy Tan became an instant star in the publishing world; and her second novel, The Kitchen God's Wife (1991), was also a triumph. Tan's skillful renditions of mother-daughter relationships reach the hearts of millions of readers. Moreover, her work-which comes more than a dozen years after Maxine Hong Kingston's The Woman Warrior (1976)-has helped create a renaissance of Chinese American writing. Despite the fact that Tan refuses to be pegged a mother-daughter expert, yet both The Joy Luck Club and The Kitchen God's Wife center around the love and antagonism between Chinese immigrant mothers and their American daughters. In The Hundred Secret Senses (1995), The Bonesetter's Daughter (2001), and Saving Fish from Drowning (2005), Tan continues to concentrate on the conflicts and final reconciliation between mother and daughter figures as she again and again invokes Chinese history and landscape to contextualize her portrayal of Chinese American experiences. China, in these texts, becomes a phantom space haunted by family secrets and ghostly past and serves to set off the protagonists' American present. In this paper I delve into Tan's deployment of what I call ”narrative of transnational uncanny” in the three novelistic texts to discuss her technologies of representing China and Chinese American ethnicity.