There is a constant effort by literary critics to think about Yoko Tawada's work from the perspective of form, genre and literary category. Among the possible categorizations, they define it as: postmodern literature (KERSTING, 2006), exophonic (WRIGHT, 2008; NEUMANN, 2019), “migration” (ESSELBORN, 2007; KURITA, 2015), “travel” ( KRAENZIE, 2008); contemporary German literature (BANOUN, 2010; DE ABREU, 2017), literature without a fixed address (PORTO, 2022), Weltliteratur (STURM-TRIGONAKIS, 2007; TYERNEY, 2010), among others. The different nomenclatures show the diversity and irreducible richness of a multiform work. There is a continuous interest in academic research, in part, perhaps, due to the challenges it imposes on researchers, or even due to the wide projection surface in the different literary discourses proposed by researchers in the area of literary criticism and comparativism. The tendency to think about literature from a post-colonial perspective stands out. This article seeks to promote reflection on the need to theorize new ways of thinking about literature precisely because of the existence of writers like Tawada. This reflection starts from the conceptualization proposed by Ottmar Ette (2017) of Weltliteratur, exposed in his work Literatures of the World: Beyond World Literature to arrive at the reasons for the reformulation of the term.