Böcker i Diasporic Vietnamese Artists N-serien

While mainstream Vietnamese history chronicles a few woman warriors of the past and some contemporary female activists, Vietnamese women always have performed their roles in the quiet shadows of men. To illuminate those shadows, Quan Manh Ha and Quynh H. Vo have brought into English the first anthology of its kind, featuring twenty-two contemporary stories written by Vietnamese women whose narratives make visible the multitudinous lives of Vietnamese women over the last two decades. All the stories in Longings appear in English for the first time, inviting new readers to appreciate the "Longings" or aspirations of Vietnamese women as they have had to face suffering and struggle, hope and despair, sorrow and joy, while navigating an uncharted course through the social and economic waves that have lifted or lowered their lives since the US-Vietnam normalization in the mid-1990s. The wife in Da Ngan's "The Innermost Feelings of White Pillows" suppresses sexual frustration at her husband's impotence by stuffing her pillows with new fibers. The rural women in Tran Thuy Mai's "Green Plums" have no choice but to become prostitutes to earn a living. The mother in Pham Thi Phong Diep's "Mother and Son" demonstrates an unconditional sacrifice and ineffable love for her adopted son despite his insolence and ingratitude. A woman in Nguyen Thi Chau Giang's "Late Moon" violates all prescribed gender norms in order to live freely. Longings brings together stories by both well-established and emerging Vietnamese writers, those who come from various regions in Vietnam and represent the diversity and richness in Vietnamese short fiction. This anthology expands the audience for deserving authors and broadens perspective on the heterogeneous voices, narrative styles, and thematic interests of women who contribute to the growing corpus of contemporary Vietnamese short fiction.

Breaking a thirty-year silence, B¿o Ninh has permitted at last the publication of a new work in English. Ninh is perhaps Vietnam's foremost chronicler of the war, which he joined at age 17. Bringing to life the full range of his inventive and poetic language, Quan Manh Ha and Cab Tran are granting to English readers B¿o Ninh's first book-length work since The Sorrow of War, which catapulted him to fame and which was banned in Vietnam until 2006. In Hà N¿i at Midnight, ten stories are appearing in the West for the first time. Juxtaposed with tranquility and geniality are abandoned landscapes and defoliated forests. Polluted rivers and streams, the war-torn sky, pungent air filled with the stench of decomposing human corpses, and the deafening roar of helicopters and bombers hovering in the gloom dominate the settings of B¿o Ninh's stories. Intertwined with these horrific images are human tears shed during farewell ceremonies, when recruits are separated from their loved ones, when parents live in anxiety and hope while their children are fighting in remote regions, and when soldiers bury their comrades and burden themselves with the fallen's unfulfilled wishes. Hà N¿i at Midnight delineates the complex outpourings of war and the way it remakes human relationships.

Through poems and images, a local reveals the true history of the Mekong Delta