In retrospect to the history of translating contemporary Taiwanese fiction into other languages, it is usually not the author but the other translators that do the practice of translation. With the notable exception of Pai Hsien-yung’s (白先勇) stories, self-translation is fairly uncommon. Regarding translation studies, scholars also tend to favor the works of professional translators as the subject of research. Among the very few instances of self-translated works, most of them have been retouched or co-translated by other experts, which makes Wang Zhenhe’s (王禎和) “An Oxcart for Dowry” stand out as a rare example of "purely" self-translated work. In this multilingual era, “lo-globalization” has become a trend. Writers may create in their mother tongue and then translate their works into a hegemonic language by themselves. How does this mode of communication differ in terms of the translated works done by other translators? Also, one may question whether the translated works so done are author-centered or reader-centered. As far as these issues are concerned, so far, nothing has been discussed scholarly; therefore, it should be a topic worthy of notice. This paper examines Wang Zhenhe’s self-translated story “An Oxcart for Dowry” in Chinese Stories from Taiwan, 1960-1970 published in 1976. In this paper, Wang’s translation strategies are analyzed based on the “eight translation approaches” developed by Ping Ke in his EnglishEnglish-Chinese and Chinese-English translation,1 which systematically explains the concepts of translation workarounds. Meanwhile, the author will explore the gains and losses of self-translation practice, and discuss the role positioning of author-cum-translator.