and, finally, the universality of Tan’s themes’’ (Koenig 82). Even less ebullient reviews acknowledged the fact that Tan’s novel ‘‘strikes deep roots’’ (Pollard 44) and that readers ‘‘cannot help being charmed, however, by the sharpness of observation. With the delicacy of a butterfly she touches on matter that is ineradicable and profound’’ (19). is marvelously alert to the rich ambivalence in her material. From the Times Educational Supplement came the following: ‘‘Amy Tan. Publishers Weekly called the novel ‘‘intensely poetic, startlingly imaginative and moving,’’ describing it as ‘‘on the order of Maxine Hong Kingston’s work, but more accessible, its Oriental orientation an irresistible magnet. The majority of reviews of The Joy Luck Club were strongly positive. Before the end of its first year, it had been named a selection for both the Book-of-the-Month Club and the Quality Paperback Club foreign rights had been sold for Italy, France, Japan, Sweden, and Israel serial rights went to the Atlantic magazine, Ladies Home Journal, and San Francisco Focus and audio rights had been purchased by Dove. The book was a tremendous critical and commercial success from the beginning. With the publication of her first novel, The Joy Luck Club, in 1988, Amy Tan (born February 19, 1952) became a household name. Critical Analysis of Amy Tan’s The Joy Luck Club
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