Memory Is Another Country: Women of the Vietnamese Diaspora by Nathalie Huynh Chau Nguyen

By Nathalie Huynh Chau Nguyen

The act of remembering is a method of bringing the previous alive and an inventive method of facing loss. it's been the topic of a lot contemporary scholarship and is of specific relevance at a time of common transnational migration. This booklet is a helpful and unique contribution to the sector of diaspora reviews. in keeping with in-depth oral narratives of 40 Vietnamese girls, it offers with topics either common and particular to this diaspora: divergent thoughts in households, the importance of place of birth, the go back to Vietnam, cross-cultural relationships, intergenerational tensions, and the problems of silence and unstated trauma between Vietnamese refugees. it's the first research to use reminiscence and trauma theories to a considerable base of oral narratives by means of Vietnamese girls within the West. Nguyen argues that figuring out of those narratives offers not just an perception into the way in which Vietnamese girls have handled loss, but in addition illuminates the adventure of the broader Vietnamese diaspora and different refugees.

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Our spouses rarely know us for our first 20 or 30 years, and it is rare for friendships to last from earliest childhood until the very end of our lives. 4 Their memories reveal distinct approaches to understanding past selves and histories, as well as the history of their family. ”5 When siblings have experienced major upheavals in the form of war, loss of country, and exodus, their memories convey individual recreations and interpretations of shared events, as well as their family dynamics. They also, however, situate the siblings’ experiences within a wider framework of collective loss and mourning.

Nga, Suong, and Kiet left together on the same boat, 44 Memory Is Another Country while Anh, who had two small children by that time, failed to make it to the rendezvous in Can Tho. Suong remembers: We waited and waited and waited, but there was no sign of them. There were other small boats, but their group didn’t turn up. We were very concerned about their wellbeing, and then the boat owner decided, well, he had to, you know, to keep going. Otherwise, the police would have discovered our escape plans.

I was given a song about “You bastards,” and I couldn’t sing it. I just stood there and cried. Some people hated me and one of the other performers gave me a hard time and any time the speaker was on she said: “Why don’t you just get out of my face, you bastard,” and I’d cry in my mosquito net at night. I remember one time, we were travelling in the North, and that day we had to serve a group of people from Russia. It was around ’79, ’80. I had to learn Russian and [East] German songs and other songs I didn’t know the meaning of.

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