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The suppression of the women's voice is a conspicuous strategy formulated by patriarchal culture to keep a tight rein on the presence of women both in social and traditional realms. Much-eulogized movement of western feminism has largely disregarded the experiences and sufferings of women, which invited counter feminist movements such as Black feminism, Indian feminism, and many diverse cultural oriented feminist movements. Consequently, this plurality has definitely increased the scope of feminism in a plausible manner. Tradition, myth and culture are the grappling forces against which the discourse of feminism has to flourish. The patriarchal exclusion of women from the cultural scenario has rendered them voiceless, conspicuously in countries like China which cherishes profuse cultural heritage. The Chinese practiced polygamy and considered having concubines as an insignia of their aristocracy. Furthermore, the inferior status of the Mongolian race has further problematised the troubled consciousness as far as the Chinese women diaspora is concerned. There are only a handful of works by the Chinese American women writers which genuinely be able to capture the subtlest nuances of their divided existence. Maxine Hong Kingston’s autobiographical work, The Woman Warrior: Memoirs of a Girlhood Among Ghosts occupies a prominent place in the literary oeuvre of feminism as it effectively confronts the injustices meted out to women. This article is an attempt to analyse Kingston's superlative skill in juxtaposing tradition, tales and reality and how far she succeeds in asserting her true self with the power of her narrative proficiency.