On Complex Children’s Literature: A Conversation between Hà Dinh and Cathy Linh Che

I've always had this story in my heart. I left the refugee camp when I was five years old, and I just remember glimpses of things that happened at the camp that stayed with me. And one of those memories that stayed with me was when we left the camp on departure day. I witnessed how much my siblings struggled with leaving camp because of the relationships and friendships that they built, how loved they were loved by their friends, and how that love was reciprocated

“To live with opacity, to live with uncertainty”: A Conversation with Thuy Linh Nguyen Tu

I have been trying to think about the ways in which the everyday engagements with these objects—and in many ways we think of them as feminized and thus degraded objects, right?—actually open us up into these kind of really big questions about our economic life, our world-making, as you mentioned earlier, the ways in which we understand ourselves in relationship to our world and our history. I think I was always interested in that project of trying to think about how people engage with these everyday banal objects—a lipstick, a scarf—to give themselves a way to articulate these questions that are maybe really hard to even talk about. I think that's what this book sits on: that kind of long trajectory of “thinking about” that is a kind of methodological and also phenomenological project. 

In the Diaspora: March 2024

►How Vietnam is using e-scooters to save businesses from power outages►GDP (current US$) - Viet Nam (World Bank national accounts data, and OECD National...

Southeast Asia Now

Our special issue, Southeast Asia Now, aims to highlight current art and stories from the region.

Stranger to the Country

Among unconventional themes, the expression of pain in Lynh Bacardi’s work—the greatest depth of despair in lives of the social margins manifested—sheds light on what otherwise can be invisible to Vietnamese society.

Đây là một câu hỏi: Tôi viết tiếng Việt (một bài thơ mãi chưa xong)

Tiếng Việt chấm tôi: mi là người Việt.

This is a question: I write in Vietnamese (a not-yet-done poem)

The Vietnamese language punctuates me: you are a Viet person.


It’s true, you can’t block the path of a bulldozer. My father said it’s because a bulldozer doesn’t have feelings.


A curse crashed into the town’s shores.

Make _________ Great Again

The running thread throughout the selected works as addressing boundaries and borders, what’s considered in and out of a state, the inner and outer, and the private and public spheres of the social, economic, and political.