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In the first book-length study of Vietnamese American literature, Isabelle Thuy Pelaud probes the complexities of Vietnamese American identity and politics. She provides an analytical introduction to the literature, showing how generational differences play out in genre and text. In addition, she asks, can the term Vietnamese American be disassociated from representations of the war without erasing its legacy? Pelaud delineates the historical, social, and cultural terrains of the writing as well as the critical receptions and responses to them. She moves beyond the common focus on the Vietnam war to develop an interpretive framework that integrates post-colonialism with the multi-generational refugee, immigrant, and transnational experiences at the center of Vietnamese American narratives. Her readings of key works, such as Andrew Pham'sCatfish and Mandala and Lan Cao's Monkey Bridgeshow how trauma, racism, class and gender play a role in shaping the identities of Vietnamese American characters and narrators.

(AALDP 6) The second interview between Viet Thanh Nguyen and Andrew Lam was conducted in front of a live audience in the city of San José, a place that both authors called home for a number of years. In \"Mobilizing the Vietnamese Body: Dance Theory, Critical Refugee Studies, and the Aftermaths of War in Andrew X. Pham's Catfish and Mandala,\" Quynh Nhu Le and Ying Zhu combine their disciplinary knowledges in literature and dance to analyze how Pham corporeally represents his identity. [...]I want to thank my assistant managing editors, Jessie Fussell and Olivia Lee for their dedication and professionalism.

This article explores the representation of cross-cultural love in the postwar narratives of Vietnamese women. The end of the Vietnam War in 1975 and Vietnam's reunification under a communist regime led to one of the most visible diasporas of the late twentieth century, in which more than two million Vietnamese left their homeland in order to seek refuge overseas. The main countries of resettlement were the United States, Australia, Canada and France. Vietnamese women in Australia who chose to marry outside their culture constitute a minority not only within the diaspora but also within Australian society and the Vietnamese Australian community. In contrast to the largely negative representations of cross-cultural relationships in novels and memoirs of colonial and wartime Vietnam, these women's accounts highlight underlying commonalities between themselves and their European partners such as a shared understanding of political asylum or war. The narratives of these women illustrate cross-cultural 'rencontres' that were made possible by the refugee or migration experience, and that signify a distinct shift in the representation of exogamous relationships for Vietnamese women. Oral history provides these women with the opportunity to narrate not only the self but also the interaction between the self and the other, and to frame and structure their experiences of intermarriage in a positive light.

Vietnam and Beyond: Tim O’Brien and the Power of Storytelling is a comprehensive, in-depth study of one of the most thought-provoking writers of the Vietnam war generation. This volume breaks away from previous readings of O’Brien’s development as a trauma artist and an outspoken chronicler of the American involvement in Vietnam: its thematic, rather than chronological, approach contextualizes O’Brien’s work beyond the confines of war literature. The necessary exploration of O’Brien’s recurrent engagement with the conflict in Vietnam leads to a thorough discussion of the writer’s revision of key American (and western) ideas and concerns: the association between courage, heroism and masculinity, the celebration of the pioneering spirit in the frontier narrative, the sense of superiority in the encounter with foreign civilizations, the fraught relationship between power and truth, or reality and imagination, and the attempt and the right to speak about unspeakable events. All these themes, as Ciocia illustrates, highlight O’Brien’s compelling preoccupation with the role and the ethical responsibility of the storyteller. With his clear privileging of ‘story-truth’ over ‘happening-truth’, O’Brien makes a bold, serious investment in the power of fiction, as testified by his formal experimentations, metanarrative reflections and sustained meditations on matters such as individual agency, moral accountability and authenticity. Approached from this fresh perspective, O’Brien emerges as a figure deserving to find a wider audience and demanding renewed scholarly attention for his remarkable achievements as a contemporary mythographer, an acute observer of the human condition and a sharp critic of American culture.

\"Viet Thanh Nguyen became the first Vietnamese American writer to win the Pulitzer Prize for his debut novel, The Sympathizer, this year. His achievement was particularly emotional and rewarding for the Vietnamese American literary community because for over two decades he'd been actively working with other writers and artists to promote Vietnamese literature and visual art and culture. Here, Nguyen joins fellow authors Andrew Lam (East Eats West: Writing in Two Hemispheres and Birds of Paradise Lost) and Aimee Phan (We Should Never Meet and The Reeducation of Cherry Truong) to discuss their writing, their inspirations, the diasporic Vietnamese literary community, and the future of Vietnamese American literature.\" (World Literature Today)

Given the dichotomy of responses to Lau and her work, what are the \"signposts\" that lead to such responses? [...] in the politics of representation, which epistemological assumptions render a signpost recognizable as a \"signpost,\" and how do these signposts orient our critical analyses within the terrain of Asian American and Asian Canadian literary studies?

This essay analyzes forms of historical mediation through auto/biographical writing by proposing how history may be mediated structurally and thematically. Using K. Connie Kang's Home was the Land of Morning Calm (1995) and Duong Van Mai Elliott's The Sacred Willow (1999), the article explores how Asian/American family memoirs also create cultural memory to empower a community through historical knowledge and awareness of cultural location in society.

Contemporary memoir, however, comes laden with this idea, at least for me, that it deals with personal trauma and involves baring one's soul or a facsimile of it. The success of the book led to many speaking engagements and opportunities to write essays for newspapers and magazines. First was the spirit of children's literature, of which I'd read quite a bit because I became a father just as I finished the novel. [...]the memoir should be fairly easy to read.