through her numerous books toward correcting Westerners' distorted image of the Chinese" ( H. Liu65). These articles are politically partial and have done much injustice to her and her books.
Furthermore, Pearl Buck was, after all, an American, and so, when the representative works of Chinese-Americans were selected or anthologized, she was ineligible for consideration. For instance, The Heath Anthology of American Literature is now the most multicultural collection, and one of the editors is Professor Amy Ling, whose specialty is multi-ethnic literature in the United States and Chinamerican literature. She selected works on Chinese themes by Edith Maud Eaton [ 1865-1914], Maxine Hong Kingston [b. 1940], Amy Tan [b. 1952], Gish Jen [b. 1955], Cathy Song [b. 1955], and David Henry Hwang [b. 1957] among others. Pearl Buck would bridge the chronological gap between Eaton and Kingston nicely, but Pearl Buck was not anthologized, not because her works have less artistic value than theirs, but because she had no Chinese blood. In the traditional classification of literature by nationality and race she was again an outsider, as she was when living in China, when attending Randolph-Macon Woman's College, and when settling down in the United States. An excerpt of Younghill Kang East Goes West is included in the anthology, and in the headnote, Elaine H. Kim mentioned that Kang once commented that "it was his great misfortune that Pearl Buck's Pulitzer Prize-winning novel about China, The Good Earth, was published in the same year as The Great Roof, eclipsing his own tale of Asia" ( 1949). If Kang could live to see Ling's selection, he would sigh, "Such is the fate of an outsider!"