The Best 13 Books on Viet Thanh Nguyen
One World Two is the eagerly awaited follow-up to One World and another globe-trotting collection of stories. But it is more than simply an anthology of short fiction, as it contains representative literature from all over the world, conveying the reader on thought-provoking journeys across continents, cultures and landscapes.
One World Two is even more ambitious than Volume One in its geographic scope, featuring twenty-one writers drawn from every continent. Most of the stories are unique to this volume, while others are appearing for the first time in English (Egypt's Mansoura Ez-Eldin and Brazil's Vanessa Barbara). The themes and writing styles are as richly diverse as their writers' origins.
The collection is built around a loose theme of building bridges. It is interested in the human condition as a dynamic central line linking individuals, cultures and experiences: east and west, north and south, and, perhaps most importantly, past, present and future.
This book features established stars such as Edwidge Danticat (Breath, Eyes, Memory), Viet Thanh Nguyen (The Sympathizer) and Aminatta Forna (The Hired Man) and authors who are steadily building a reputation such as Fan Wu, Ana Menéndez and Daniel Alarcon.
In order of appearance, the authors are: Yewande Omotoso, Viet Thanh Nguyen, Heidi North-Bailey, Ana Menéndez, Mathew Howard, Okwiri Oduor, Desiree Bailey, Vamba Sherif, Alice Melike Ulgezer, Daniel Alarcon, Mansoura Ez-Eldin, Aminatta Forna, Nahid Rachlin, Samuel Munene, Vanessa Barbara, Ret'sepile Makamane, Fan Wu, Olufemi Terry, Balli Kaur Jaswal, Chris Brazier, and Edwidge Danticat. Edited and compiled by Ovo Adagha and Chris Brazier.
“The notion of home has always been elusive. But as evidenced in these stories, poems, and testaments, perhaps home is not so much a place, but a feeling one embodies. I read this book and see my people—see us—and feel, in our collective outsiderhood, at home.” —Ocean Vuong, author of Night Sky with Exit Wounds
Asian diasporic writers imagine “home” in the twenty-first century through an array of fiction, memoir, and poetry. Both urgent and meditative, this anthology moves beyond the model-minority myth and showcases the singular intimacies of individuals figuring out what it means to belong.
With the same incisiveness as in The Sympathizer, in The Refugees Viet Thanh Nguyen gives voice to the hopes and expectations of people making life-changing decisions to leave one country for another, and the rifts in identity, loyalties, romantic relationships, and family that accompany relocation. From a young Vietnamese refugee who suffers profound culture shock when he comes to live with two gay men in San Francisco, to a woman whose husband is suffering from dementia and starts to confuse her for a former lover, to a girl living in Ho Chi Minh City whose older half-sister comes back from America having seemingly accomplished everything she never will, the stories are a captivating testament to the dreams and hardships of migration.
The second work of fiction by a major new voice in American letters, The Refugees is a beautifully written and sharply observed book about the aspirations of those who leave one country for another, and the relationships and desires for self-fulfillment that define our lives.
The Pacific has long been a space of conquest, exploration, fantasy, and resistance. Pacific Islanders had established civilizations and cultures of travel well before European explorers arrived, initiating centuries of upheaval and transformation. The twentieth century, with its various wars fought in and over the Pacific, is only the most recent era to witness military strife and economic competition. While “Asia Pacific” and “Pacific Rim” were late twentieth-century terms that dealt with the importance of the Pacific to the economic, political, and cultural arrangements that span Asia and the Americas, a new term has arisen―the transpacific. In the twenty-first century, U.S. efforts to dominate the ocean are symbolized not only in the “Pacific pivot” of American policy but also the development of a Transpacific Partnership. This partnership brings together a dozen countries―not including China―in a trade pact whose aim is to cement U.S. influence. That pact signals how the transpacific, up to now an academic term, has reached mass consciousness.
Recognizing the increasing importance of the transpacific as a word and concept, this anthology proposes a framework for transpacific studies that examines the flows of culture, capital, ideas, and labor across the Pacific. These flows involve Asia, the Americas, and the Pacific Islands. The introduction to the anthology by its editors, Janet Hoskins and Viet Thanh Nguyen, consider the advantages and limitations of models found in Asian studies, American studies, and Asian American studies for dealing with these flows. The editors argue that transpacific studies can draw from all three in order to provide a critical model for considering the geopolitical struggle over the Pacific, with its attendant possibilities for inequality and exploitation. Transpacific studies also sheds light on the cultural and political movements, artistic works, and ideas that have arisen to contest state, corporate, and military ambitions. In sum, the transpacific as a concept illuminates how flows across the Pacific can be harnessed for purposes of both domination and resistance.
The anthology’s contributors include geographers (Brenda S. A. Yeoh, Weiqiang Lin), sociologists (Yen Le Espiritu, Hung Cam Thai), literary critics (John Carlos Rowe, J. Francisco Benitez, Yunte Huang, Viet Thanh Nguyen), and anthropologists (Xiang Biao, Heonik Kwon, Nancy Lutkehaus, Janet Hoskins), as well as a historian (Laurie J. Sears), and a film scholar (Akira Lippit). Together these contributors demonstrate how a transpacific model can be deployed across multiple disciplines and from varied locations, with scholars working from the United States, Singapore, Japan and England. Topics include the Cold War, the Chinese state, U.S. imperialism, diasporic and refugee cultures and economies, national cinemas, transpacific art, and the view of the transpacific from Asia. These varied topics are a result of the anthology’s purpose in bringing scholars into conversation and illuminating how location influences the perception of the transpacific. But regardless of the individual view, what the essays gathered here collectively demonstrate is the energy, excitement, and insight that can be generated from within a transpacific framework.
Finalist, National Book Critics Circle Award
Finalist, National Book Award in Nonfiction
A New York Times Book Review “The Year in Reading” Selection
All wars are fought twice, the first time on the battlefield, the second time in memory. From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War―a conflict that lives on in the collective memory of both nations.
“[A] gorgeous, multifaceted examination of the war Americans call the Vietnam War―and which Vietnamese call the American War…As a writer, [Nguyen] brings every conceivable gift―wisdom, wit, compassion, curiosity―to the impossible yet crucial work of arriving at what he calls ‘a just memory’ of this war.”
―Kate Tuttle, Los Angeles Times
“In Nothing Ever Dies, his unusually thoughtful consideration of war, self-deception and forgiveness, Viet Thanh Nguyen penetrates deeply into memories of the Vietnamese war…[An] important book, which hits hard at self-serving myths.”
―Jonathan Mirsky, Literary Review
“Ultimately, Nguyen’s lucid, arresting, and richly sourced inquiry, in the mode of Susan Sontag and W. G. Sebald, is a call for true and just stories of war and its perpetual legacy.”
―Donna Seaman, Booklist (starred review)
À la fois fresque épique, reconstitution historique et œuvre politique, un premier roman à l'ampleur exceptionnelle, qui nous mène du Saigon de 1975 en plein chaos au Los Angeles des années 1980. Saisissant de réalisme et souvent profondément drôle, porté par une prose électrique, un véritable chef-d'œuvre psychologique. La révélation littéraire de l'année.
Au Vietnam et en Californie, de 1975 à 1980
Avril 1975, Saïgon est en plein chaos. À l'abri d'une villa, entre deux whiskies, un général de l'armée du Sud Vietnam et son capitaine dressent la liste de ceux à qui ils vont délivrer le plus précieux des sésames : une place dans les derniers avions qui décollent encore de la ville.
Mais ce que le général ignore, c'est que son capitaine est un agent double au service des communistes.
Arrivé en Californie, tandis que le général et ses compatriotes exilés tentent de recréer un petit bout de Vietnam sous le soleil de L.A., notre homme observe et rend des comptes dans des lettres codées à son meilleur ami resté au pays. Dans ce microcosme où chacun soupçonne l'autre, notre homme lutte pour ne pas dévoiler sa véritable identité, parfois au prix de décisions aux conséquences dramatiques. Et face à cette femme dont il pourrait bien être amoureux, sa loyauté vacille...
Prix Pulitzer 2016, Prix Edgar du Meilleur Premier Roman 2016, finaliste du prix PEN/Faulkner, un premier roman choc.
Translation Prize 2018 de la French-American Foundation
MacArthur Foundation Fellowship, "Genius Grant", 2017
Lauréat de l'Association for Asian American Studies Award for Best Book in Creative Writing (Prose) 2017
Prix Pulitzer 2016
Prix Edgar 2016
Andrew Carnegie Medal for Excellence in Fiction 2016
Prix Dayton Literary Peace for Fiction 2016
Asian/Pacific American Award for Literature (Adult Fiction) 2015-2016
California Book Award for First Fiction 2016
Prix Center for Fiction First Novel 2015
Today the world faces an enormous refugee crisis: 68.5 million people fleeing persecution and conflict from Myanmar to South Sudan and Syria, a figure worse than flight of Jewish and other Europeans during World War II and beyond anything the world has seen in this generation. Yet in the United States, United Kingdom, and other countries with the means to welcome refugees, anti-immigration politics and fear seem poised to shut the door. Even for readers seeking to help, the sheer scale of the problem renders the experience of refugees hard to comprehend.
Viet Nguyen, called “one of our great chroniclers of displacement” (Joyce Carol Oates, The New Yorker), brings together writers originally from Mexico, Bosnia, Iran, Afghanistan, Soviet Ukraine, Hungary, Chile, Ethiopia, and others to make their stories heard. They are formidable in their own right—MacArthur Genius grant recipients, National Book Award and National Book Critics Circle Award finalists, filmmakers, speakers, lawyers, professors, and New Yorker contributors—and they are all refugees, many as children arriving in London and Toronto, Oklahoma and Minnesota, South Africa and Germany. Their 17 contributions are as diverse as their own lives have been, and yet hold just as many themes in common.
Reyna Grande questions the line between “official” refugee and “illegal” immigrant, chronicling the disintegration of the family forced to leave her behind; Fatima Bhutto visits Alejandro Iñárritu’s virtual reality border crossing installation “Flesh and Sand”; Aleksandar Hemon recounts a gay Bosnian’s answer to his question, “How did you get here?”; Thi Bui offers two uniquely striking graphic panels; David Bezmozgis writes about uncovering new details about his past and attending a hearing for a new refugee; and Hmong writer Kao Kalia Yang recalls the courage of children in a camp in Thailand.
These essays reveal moments of uncertainty, resilience in the face of trauma, and a reimagining of identity, forming a compelling look at what it means to be forced to leave home and find a place of refuge. The Displaced is also a commitment: ABRAMS will donate 10 percent of the cover price of this book, a minimum of $25,000 annually, to the International Rescue Committee, a not-for-profit organization dedicated to providing humanitarian aid, relief, and resettlement to refugees and other victims of oppression or violent conflict.
List of Contributors:
Novuyo Rosa Tshuma
Kao Kalia Yang
A bordo di un C-130, con un volo coperto, il Generale si appresta a raggiungere gli Stati Uniti con la famiglia e parte dei suoi uomini. Ufficiale magro dal portamento impeccabile, il Generale crede in Dio, nella moglie, nei figli, nei francesi, negli americani e nellassoluta fedeltà del suo uomo di fiducia, il solo tra i suoi sottoposti ad abitare a casa sua: il Capitano. Non sa che il Capitano è, in realtà, una spia, un dormiente, un uomo con due facce che fotografa in gran segreto ogni rapporto e dispaccio e li invia a Man, suo addestratore tra le fila Vietcong.
Figlio illegittimo di una vietnamita e di un prete cattolico francese, il Capitano ha studiato in un piccolo college della California meridionale, spedito da quelle parti da Man con una borsa di studio e il compito di apprendere la «mentalità degli Stati Uniti», un paese che, ai suoi occhi, si rivela subito cosí scioccamente narcisista da definire tutto «super» (i supermercati, le superstrade, Superman, il Super Bowl ecc.). Animato da unautentica fede nel comunismo, rientrato in patria, ha sostenuto con tale rigore la sua parte di agente doppogiochista da risultare insospettabile agli occhi di tutti, anche a quelli di Bon, lamico di lunga data che è entrato a far parte del famigerato «Phoenix Program» della CIA.
In una Saigon in preda alla confusione, al caos e al terrore, il Capitano, il Generale e un nutrito gruppo di fuggiaschi scappano sotto la tempesta di fuoco dei Vietcong, tra una pioggia di razzi e granate che lasciano sulla pista dellaeroporto della città i corpi inerti di moglie e figlio di Bon.
Una volta a Los Angeles, nella città del futile mondo del cinema, gli orrori della guerra sembrano lontani. Ma un dilemma atroce attende il Capitano: seguire «le cose che contano», come lideologia e il credo politico, oppure lasciare prevalere le «illusioni della giovinezza», salvando la vita a Bon, lamico con cui ha sigillato un patto di sangue durante ladolescenza?
Romanzo che offre il ritratto impareggiabile di un «uomo con due menti diverse», di un «rivoluzionario» che dinanzi al terribile esito dei suoi ideali non cessa per questo di «scrutare loscurità con pensieri scandalosi, speranze eccessive e sogni proibiti», Il simpatizzante ha riscosso, al suo apparire negli Stati Uniti, lentusiasmo di critica e pubblico, vincendo il Premio Pulitzer 2016 per la narrativa e figurando come «libro dellanno» sul New York Times e i maggiori organi di stampa internazionali.
«Il simpatizzante non è soltanto un magistrale romanzo di spionaggio, ma unopera che annuncia la nuova letteratura americana del XXI secolo».
«Un personaggio memorabile con cuore e mente profondamente divisi. La mirabile descrizione che Nguyen avanza della personalità ambivalente del suo eroe ne fa uno scrittore degno di maestri quali Conrad, Greene e le Carré».
New York Times
«Abbiamo atteso a lungo il grande romanzo sulla guerra del Vietnam, e ora eccolo, è arrivato».
Vietnam Veterans of America