Within contemporary Japanese literature, Yoko Tawada occupies a singular position, one which went across and over geographic and linguistic borders. Since she moved in 1982 to Germany, she has been writing all sorts of texts, straddling two continents and two languages. Tawada's work differs from“ exile literature” in the way that she isn't turned either towards the country of origin and mothertongue, or the host country and second language. In today's so-called globalized world, Tawada's stance, not shutting herself inside a unique national or linguistic identity, is particularly interesting. For her, neither is Germany the land of her dreams, nor is Japan a nostalgic homeland, and she rather considers both spaces with an erudite and critical look.This presentation's aim is to analyse Tawada's relation to Europe and how it is dealt with and represented in her work. Since her debut, she attaches great importance to the question of the“ location”, as shown in her first collection of poems : There is nothing only where you are. There, she starts interrogating and playing with the idea of Europe, as well as its very existence as a continent or an object of representation. Since then, she often focuses Europe in various other works （including We mustn't say it but actually Europe doesn't exist, Where Europe begins, or Gothard Railway）.Tawada's“deconstructive”（in Derrida's sense） posture enables her poetic and political critic, and helps her create her own original cartography, a phenomenon which also relates to Deleuze and Guattari's “ rhizome”. Thus, using Tawada's works handling the question of Europe, we would like to ultimately determine in what way Tawada's relation to Europe defines her peculiar place within world literature.