Artwork in headers by Trang T. Lê.
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Yearly Archives: 2019
Our conversations are limited to my third-grade level comprehension so I can tell you to eat your dinner and drink your milk or to change your clothes, but we cannot discuss the difference between inductive and deductive reasoning. We don't talk about where you go after death because I don't know the word for heaven or how to explain reincarnation.
It is only the failure of the American imagination and perception—a failure and inability to recognize and make space for the full imaginative agency of Vietnamese visions—that has perpetuated the notion of a dearth or naivety of art of the Vietnamese diaspora.
I never considered poetry as career and forever reject the corporate model to poetry. I never approached making art like that; I sought to be more like my dream: to remain a student to poetry and to be myself.
The frightening monoculture of China looms over Taiwan like hurricane clouds. But we have our own history, our own culture, our own ethnic makeup—many Taiwanese have Japanese and Aborigine blood—and our own way of making beef noodle soup. It’s not just niúròumiàn, 牛肉麵 — it’s Táiwān niúròumiàn, 台灣牛肉麵.
Embracing my diasporic existence means I get to be empowered within that complex “in-between” space.
Vietnam War movies are all the rage, again. With this, there still isn't any evidence that they show Vietnamese people or specifically Vietnamese women as whole humans.
Fire Summer begins with the political intrigue of counterrevolution in Vietnam, but it is fundamentally a quest narrative full of detours and discoveries. In the world Lam creates, strong emotions change reality. Due to the love that binds the living and the dead, the dead remain vibrant.