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It is true that symbiosis, as a relational view of the female self, defines almost every mother-daughter novel in twentieth-century fiction in the United States, such as the example of Amy Tan's The Joy Luck Club, yet it is by no means the only composite of female subject-making when addressing late twentieth century narratives. (1) For instance, Fae Myenne Ng's Bone, published in 1993, revolves around the theme of subject-formation of excluding and including others, meaning not only family members, but also one's ethnic roots. Even more, this text is never consistent on the theme of self-constitution, since it offers at least two oppositional, albeit dovetailing, paradigms of processing one's being, that is, ones that function according to metonymic or synecdochic relations. By drawing only, in part, on Nessima Tarchouna's article in turn, entitled "Messing with Identity: E. M. Forster's A Passage to India", this essay uses Fae Myenne Ng's Bone as a focal example for exploring the ways in which the female inscription of the "I" is redefined in keeping with a process of ambivalence while being syncretically negotiated. I read the novel as an ambivalent reconfiguration of subject-making, as one that advocates a dualistic mode of forging and performing the ethnic self. By relocating Bone to liminal positions of dependence and independence, the essay addresses itself to an increasingly complex process of self-negotiation with and without the other. It tries to prove that Ng's text enacts fundamentally distinct, yet interconnected processes of selfhood which attend to the dialectics of relational/irrelational qualities of the human condition.