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I sympathize with Book Hunter and with the cause of cultural and artistic freedom that Hà Thủy Nguyên and Lê Duy Nam uphold. It seems that enhanced liberties in Vietnam should ultimately mesh well with current government policies for economic integration. After all, if a nation is open to business with other societies, it follows that everyone will also be exposed to different ways of thinking about the humanities, art, and literature.
On Earth We’re Briefly Gorgeous is a book-length letter of a 28-year-old gay Vietnamese American man to his mother. It is a letter she cannot read, but it doesn’t make it less important. Through impressionistic scenes, Little Dog, the novel’s narrator, builds not only a picture of the life he has with his mother but a landscape of love, memory, and ultimately history.
“People here,” he says, “still think Vietnam is a jungle—brown savages, an exotic Asian whore who you can’t possess, but still satisfies all your sexual demands. It’s burnt into the American imagination. You can’t change that.” In a quietly controlled book, it’s an unexpected moment of rage, where the author and her character lay bare the type of narrative she’s working against.
The displacement felt in these moments is like a gut punch, and I can feel my children feeling it, through my feeling it. They watch me as I read to them. I, too, am a refugee, I tell them. What a thing it is to be removed from a land, to flee from it, to begin again.
My writing, therefore, uses inviting language—language some might call accessible—to make the world legible to subjects like my mother, and to make subjects like my mother legible to the world.