{"id":28540,"date":"2017-02-20T00:00:58","date_gmt":"2017-02-20T08:00:58","guid":{"rendered":"https:\/\/dvan.org\/?p=28540"},"modified":"2018-10-14T20:01:25","modified_gmt":"2018-10-15T03:01:25","slug":"eric-nguyen-reviews-hoa-nguyens-violet-energy-ingots","status":"publish","type":"post","link":"https:\/\/dvan.org\/2017\/02\/eric-nguyen-reviews-hoa-nguyens-violet-energy-ingots\/","title":{"rendered":"Eric Nguyen Reviews Hoa Nguyen\u2019s \u2018Violet Energy Ingots\u2019"},"content":{"rendered":"

diaCRITIC Eric Nguyen reviews <\/em>Violet Energy Ingots, Hoa Nguyen’s newest poetry collection.<\/em><\/p>\n

\"Poet
Poet Hoa Nguyen<\/figcaption><\/figure>\n

The best of Hoa Nguyen\u2019s poetry is challenging. There is no hand holding and very few concrete objects to grasp. What is there to grasp is a hodgepodge of voices and influences, and when readers do<\/em> get ahold of these, the poet only snaps them away to redirect our attentions elsewhere. In lesser hands, this could be problematic, but after twelve chapbooks and now five full-length collections, it\u2019s a hallmark of Nguyen\u2019s poetry. \u201cI love when poems disrupt expectations, are dissonant, cut and bend in unexpected ways,\u201d she says in an interview with The Rusty Toque<\/em><\/a>.<\/em> The technique allows for meaning-making by readers, she later states, making the reading of any one of Nguyen’s poems a daunting yet liberating task.<\/p>\n

Nguyen newest book, Violet Energy Ingots<\/em>, shows the poet at the top of her form. Like her previous work, these poems are collages with scenes from domestic life, allusions to the literary canon, surreal imagery, found quotes, and the occasional pop song lyric. Sometimes it happens in the span of a few lines. In \u201cDo I Plunge,\u201d the poet writes:<\/p>\n

Imagine Ezra without books<\/p>\n

In the open-air \u201ctiger cage\u201d<\/p>\n

Rained-on\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 old<\/p>\n

Aphrodite as a splay of hope<\/p>\n

 <\/p>\n

It\u2019s the last day of the Horse year<\/p>\n

Does this mean the ass end<\/p>\n

or a wisp of the tail?<\/p><\/blockquote>\n

Within eight lines, we go from a literary historical reference (\u201cEzra [Pound] without books\/in the open-air \u2018tiger cage\u2019\u201d) to Greek mythology (\u201cAphrodite\u201d) to Chinese astrology, the trail of thought ending with a tongue in cheek question.<\/p>\n

Quick shifts abound not only in content but on the sound level as well. As naturalistic observations in “Angel Going Pow” move from flower to bird to moon, so do the sounds the poet uses. In the first stanza, a bucolic vista of flowers is interrupted by a mischievous robin. The soft assonance in \u201cpansies,\u201d is at odds with the more violent consonance of \u201ctwerp\u201d and \u201ctwirping\u201d and even \u201cpear\u201d:<\/p>\n

Pansies the yellow-faced<\/p>\n

Pansies bearded\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 & the robin<\/p>\n

Is a twerp<\/p>\n

Twirping in the pear<\/p><\/blockquote>\n

This tension, though, is soon tempered: \u201cWe wondered together\/whether the moon undoes the sun,\u201d Nguyen writes, two lines softened with \u201cWe wondered\u201d and \u201cwhether.\u201d<\/p>\n

On both the literary and sonic levels, Nguyen\u2019s poems are akin to a jazz score where the player is free to improvise on stage. Nguyen is that jazz player. The most charming aspects of these poems are when she shows her poet self to her audience, moments where ostensible mistakes or writerly weaknesses are confessed. “Empire seeks power,” she writes in “Red Voice,\u201d \u201cI wrote that as \u2018Vampire Empire,\u2019 she admits.\u201d In \u201cHow the Sun Shivers,\u201d in a defeated parenthetical aside after struggling for an analogy, the poet sighs, \u201cJust take it.\u201d<\/p>\n

These moments lend themselves to a surprising intimacy in poems where we don’t expect it. Indeed, the avant-garde tradition Nguyen writes from is often impersonal and focused instead on deconstructing language. Nguyen does this same deconstruction, but at the same time, readers are thrust into the speaker’s steam-of-conscious-like thoughts.<\/p>\n

\"Violet
Violet Energy Ingots<\/figcaption><\/figure>\n

The personal is important in Violet Energy Ingots<\/em>, which charts different terrain from the author\u2019s previous works. Of course, history and politics (and Vietnam) have always been present in Nguyen’s previous poetry. In As Long As Trees Last<\/em>, Nguyen\u2019s previous collection, poems like \u201cAgent Orange Poem\u201d and \u201cRage Sonnet\u201d reference the violence of the Vietnam War. But in such instances, the speaker is removed. She is neither casualty nor culprit, but a reporter or viewer (from afar) of events. The poems in Violet Energy Ingots<\/em> sees the speaker situating herself into history and into the world.<\/p>\n

In \u201cHaunted Sonnet\u201d, the speaker’s meditation is abruptly interrupted at the volta with \u201cWhat do you know about Vietnam?\u201d A mid-poem line in \u201cA Brief History of War,\u201d seems to answer this when the speaker positions herself as war survivor: \u201cI\u2019m stained\/by the world here.\u201d<\/p>\n

One of the collection\u2019s quieter poems, \u201cMekong I,\u201d\u2014invoking the Mekong Delta where Nguyen was born\u2014doesn\u2019t have an apparent \u201cI,\u201d but one is implied nonetheless when speaker commands (herself to) \u201crow from here to there,\u201d mimicking not only what the river does to objects as \u201csift and sorter,\u201d but also what many did when they emigrated because of war, a type of migration punctuated by loss. (Though it should be noted that Nguyen immigrated to the United States well before the mass exodus). This same loss is echoed in “Hid” when the speaker declares:<\/p>\n

I was born in the river<\/p>\n

I have never known you\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Father<\/p>\n

Pacific Island fish eater<\/p><\/blockquote>\n

Nguyen, however, doesn\u2019t limit herself to the history of the Vietnam War. She interrogates American and world history (\u201cWho Was Andrew Jackson?,\u201d \u201cPharaoh\u201d) and her own guilt of finding joy in calling Machiavelli \u201ca secret hero of mine\u201d (\u201cMachiavelli Notes\u201d) and using \u201c3rd-world-made\u201d Christmas ornaments, that is participating in exploitational capitalism (\u201cThread Cord\u201d). That these moments of historical and material critiques happen in the same instances of mundane life, such as cooking or taking care of children, implies that history is deeply ingrained into our personal lives and existences.<\/p>\n

In such a light, the project of Violet Energy Ingots<\/em> seems to be not how to reconcile one\u2019s personal life with the history of oppression, but how to own up to both the oppressions we\u2019ve experienced and to the oppressions we perpetuate. Such politics makes Nguyen a powerful poet, whose message isn\u2019t one of protests and rallying cries but rather one of knowledge: the necessity of understanding what has happened and where we can go. Nguyen doesn\u2019t have all the answers; in one of book\u2019s most powerful poem (\u201cA September Eleventh Poem\u201d) the speaker tries to explain the 9\/11 terrorist attacks to her children, but fails in a futile \u201cfucked what-if\/fucked as if.\u201d Nevertheless, Nguyen\u2019s poetry seems to be the first step towards building utopia.<\/p>\n

In \u201cBloodlands\u201d the speaker tells us to:<\/p>\n

Fly and fly\u00a0\u00a0\u00a0\u00a0\u00a0 with heavy wings<\/p><\/blockquote>\n

This seems to summarize what Nguyen does. Her poems in their energy let us soar, but her critical exploration of history reminds us that we all have \u201cheavy wings.\u201d She ends the poem on an optimistic note: \u201cI should like to see a flower.\u201d There is messy beauty in these poems and beauty in Nguyen\u2019s vision.<\/p>\n

Buy the book here<\/a>.<\/p>\n

 <\/p>\n

Violet Energy Ingots<\/em><\/p>\n

Hoa Nguyen<\/p>\n

Wave Books<\/p>\n

104 pages<\/p>\n

$18.00<\/p>\n

 <\/p>\n

–<\/p>\n

Eric Nguyen\u00a0<\/strong>has a MFA in creative writing from McNeese State University and BA in sociology from the University of Maryland. He has been awarded writing fellowships from the Lambda Literary Foundation and Voices of Our Nation Arts (VONA).<\/p>\n

\n
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Reviewed by Eric Nguyen. The best of Hoa Nguyen\u2019s poetry is challenging. There is no hand holding and very few concrete objects to grasp. \u201cI love when poems disrupt expectations, are dissonant, cut and bend in unexpected ways,\u201d she says in an interview with The Rusty Toque<\/i>. <\/p>\n","protected":false},"author":88890,"featured_media":31975,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_vp_format_video_url":"","_vp_image_focal_point":[]},"categories":[575,98],"tags":[314,375,1164,1597,1616,1783,1406,747],"yoast_head":"\nEric Nguyen Reviews Hoa Nguyen\u2019s \u2018Violet Energy Ingots\u2019 - DVAN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dvan.org\/2017\/02\/eric-nguyen-reviews-hoa-nguyens-violet-energy-ingots\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eric Nguyen Reviews Hoa Nguyen\u2019s \u2018Violet Energy Ingots\u2019 - DVAN\" \/>\n<meta property=\"og:description\" content=\"Reviewed by Eric Nguyen. 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