Amy despises all the men Chinese or American, regardless of the common American value, which praises Americans but demeans the Chinese。 Ma Yu explains that the subversion results from the feminism。 Similarly, Interpretation of the Male Images in The Joy Luck Club (Xu Yan, Sheng Zhouli and Li Lan, 2011) points out that the white men in the book are deceptive saviors; they are handsome, well-shaped and romantic ideal husbands, who finally turn out to be mean, selfish, and merciless at the end of a marriage。 Zhao studies the image of the male characters described in Amy Tan's novels by using comparative literature imagology theory and method, and concludes that from the angle of Imagology, Amy's intentional positive description of the American white men is a reflection of her personal understanding of the images of the "other" in the American society and her cultural standpoint。 Shao Li also researched into the male images in Amy Tan's works from the angle of comparison, whereas in regard to the white men, she stressed particularly on the reason why American white men are embellished。 She also noticed that in The Bonesetter's Daughter, Amy praises the American men both in physical appearance and moral quality; even though, they may still have defaults and wrong-doings, women in the novel favour them。 According to Wang Yu, all the nine American male characters in the first and third parts are written positive, The Fate of Male Characters in the Chinese American Literary—taking The Bonesetter's Daughter as an example (2013)。 Chen Aimin considers that some American-born Chinese writers, standing in the American point, judging their parents and predecessors with the American value, make an utmost effort to twist the Chinese images to satisfy the western world and its curiosity about the mysterious orient。 Wang further explained Aimin's idea by listing the literary evidence in The Bonesetter's Daughter。 He states that the tragedy that has happened to Precious Auntie's family is drenched by the incapability and ineffectiveness of the men in the family, who have grandiose aims but puny abilities, who leave the heavy labor work to the women at home but manage a front-shop in Beijing, who cannot safeguard their shop but cause a fire to the shop, and who choose to get her daughter married in order to escape from the debt。 All these deeds that Amy Tan creates in her novel are a symbol of voluntary compromise with the Orientalism (The Fate of Male Characters in the Chinese American Literary—taking The Bonesetter's Daughter as an example, 2013 in Journal of Foreign Language), which is also a demonstration of feminism。 The popularity of white men among the potential Chinese immigrants can also be noticed in The Bonesetter's Daughter, when considering marrying an American citizen to gain an American citizenship, Lu Ling wanted her sister Gao Ling to "marry the one who takes you the fastest" (Amy Tan, 2002: 334), despite of how they looked like, whether they could get along with each other。 Her eagerness is the strongest prove of the brilliant impression that the American men leave on the Chinese suffering women。 Based on Xiong Jie and Wang Wei's Disappearance of Father's Love—Interpreting the Father Image in Amy Tan's Works From Feminism, Lena St。 Clair's father in The Joy Luck Club, Winnie's father in The Kitchen God's Wife, and Lu Ling's father in The Bonesetter's Daughter indicate that the American male image in Amy Tan's works is plentiful, deep engraved in people's mind, while the Chinese one is either blurred that you can barely hear their sound, or merciless that make their daughters' lives unfortunate。 This is also regarded as a praise of the American men and as a blame for the Chinese men。 Some scholars above succeed in pointing out the negative image of Chinese characters in Amy's novels, but they fail to find that Amy also doesn't give priority to white men as well—she intends subversion against patriarchy。