“If you want to see a community turn against an artwork that depicts them, make it the only one. If that artwork is by a woman, about women, and openly feminist, half the job’s already done. … [The Joy Luck Club‘s] greatest achievement — becoming the most prominent example of Asian-American representation on screen for a quarter century — is also what has relegated it to being a relic and, for many Asians, an embarrassment.” Well, argues Inkoo Kang, it’s time to get over all that.