Whereas the short story of the 1980s was the province of straight white Americans, Tan is something different: multi-national, sometimes queer, not white. In short, Tan writes into new territory, exciting territory.
"Accuracy, though, was never Nao’s goal. Instead, Sheep Machine is a meditation on the act of seeing. Nao asks: what do we see and how do we describe it? It is a question of truth: is what I see true and can I tell you what I see truthfully?"
"To have Vietnamese representation on stage is imperative, inspiring, moving, and bloody outstanding. I cackled like a maniac whilst keeping myself from a full on effin’ sob fest. In fact, I am still processing these waves of emotion."
Huế 1968 is nonfiction storytelling at its best—reading like the perfect adventure story… That said, however, I am disappointed, daresay devastated (again…) at the absence of the voices of the Army of the Republic of Vietnam (ARVN), who serve as nothing more than background in a story for which they played a key role. […]
"The North is trying to erase the political memory of the South, but those memories remain in the people who took part, in the memories of family members still in Vietnam, and among those who fled to countries such as Australia and the U.S.," Nguyen says. We are slowly losing time with our warriors...