New Voices in Vietnamese American Literature: A Conversation with Viet Thanh Nguyen, Andrew Lam, and Aimee Phan

2016 ◽  
Vol 90 (5) ◽  
pp. 28
Author(s):  
Aimee Phan
PMLA ◽  
2018 ◽  
Vol 133 (2) ◽  
pp. 396-405
Author(s):  
Caroline Rody

The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.


Author(s):  
Michele Janette

While the Vietnam War looms large in American national culture of the 20th century, Vietnam, Vietnamese people, and Vietnamese American experiences have been little attended to. Vietnamese American literature engages this erasure both in writing about Vietnamese perspectives on that war and by expanding the signification of “Vietnam” beyond being a synonym for a war. Beginning in the 1960s, Vietnamese American literature in English was dominated for the next few decades by memoirs, largely designed to educate American readers about Vietnamese politics and history. Rather than continuing to offer Vietnam as it appears in much other American literature, as a surreal backdrop to a US psychic wound, these writers narrate Vietnam, Vietnamese people, and Vietnamese Americans with autonomous geographical, philosophical, emotional, and intellectual presence and perspective, and often provide direct analysis and critique of both the South Vietnamese regime and its American ally. In the late 20th and 21st centuries, Vietnamese American literature has diversified in both form and content, expanding the field beyond direct engagement with the Vietnam War and the refugee experience, in work that rewrites canonical Western characters and genres, that challenges normative literary forms as well as social identities, and that explores US racialization, consumerism, and popular culture. In addition to writing Vietnam and Vietnamese American experiences into the national American imaginary landscape, this literature reconfigures the demonized and threatening tropes of the threatening, untrustworthy “gook,” and the passive, dependent “victim” figure, into the socially necessary and beneficial “critical refugee.” Through the experiences of marginalization, trauma, and survival, the critical refugee possesses insights and knowledge necessary for a 21st century of increasing displaced populations, whether from war, famine, or natural disaster. This critical perspective is also more transnational than nationalistic or exilic, exploring both physical and imaginary transnational connections.


Author(s):  
Josephine Nock-Hee Park

The first wave of the now-canonical literature of the Vietnam War featured the GI grunt, the wary officer, and the rock-and-roll journalist—all embattled and disillusioned white men. These fictions, memoirs, and reportage came to define the expressive labor shaped by the ethical morass of the war, and these differing genres melded in the cinematic renaissance occasioned by the Vietnam War, which installed a generation of American auteurs. Asian American writers contended with this potent cultural formation, not only to critique the popular imagination of white innocence lost, but to claim the force and even intoxication of this cultural juggernaut. Asian American literary texts from the 1970s onward were shaped by the war and its aftermath—notably including the resistance movements it sparked—and the 21st-century rise of Vietnamese American reckonings with the war’s legacy has instigated significant reappraisals of the aims and effects of the war. The foundational Asian American literary writings of Maxine Hong Kingston and Frank Chin weighed the service of the Asian American soldier in Vietnam in the context of the Third World movements that drove the formation of Asian American studies. A decade later, the publication of bestselling memoirs by Le Ly Hayslip, popularly heralded as the emergence of a Vietnamese American voice, marked the origins of a burgeoning field of writing, wide-ranging in form and genre but arrayed alongside and against the mainstream imagination of Vietnam. The major fiction of Viet Thanh Nguyen’s The Sympathizer (2015) has come to stand as a culminating literary riposte to the canonized first wave of Vietnam War literature: Nguyen’s Pulitzer Prize-winning novel exposes long-standing fictions of U.S. conduct and foregrounds a complex Asian American and refugee perspective. Asian American literature of the Vietnam War expresses a dynamic range of felt responses to the cultural history of the war to produce imaginative work that interrogates the war’s iconic images and reveals its unseen subjects.


2012 ◽  
Vol 46 (4) ◽  
pp. 941-958 ◽  
Author(s):  
HELENA GRICE

Vietnam in the American consciousness is a confluence of images of conflict; where Vietnamese appear they are backdrop to displays of US heroism. There is another story, which Vietnam veteran and filmmaker Oliver Stone calls “the reverse angle, what the war was like from the perspective of the people living in Vietnam.” If America's memory of the conflict is dominated by US perspectives, this is also in images rather than in words. Pictures of monks immolating themselves and people scrambling to board US helicopters have produced a generation who know of Vietnam only through images. One of these images is a bombing mission which dropped napalm on some villagers. AP photographer Nick Ut captured a severely burned Kim Phuc running screaming in the streets; his photo won the Pulitzer Prize and became one of the most infamous images of conflict ever captured; her recently published life story is the reverse angle and, with similar texts by Le Ly Hayslip, Andrew X. Pham and Duong Van Mai Elliot, represents an emergent perspective, a counternarrative of Vietnam, and a new kind of American literature of peace. My essay explores the inscription of the Vietnamese American perspective on the conflict via life writing.


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