I regularly teach a survey course on the history of Vietnam, and I’m often struck by the stark differences between my introduction to the subject compared to my students. I grew up in a Vietnamese-American household, and I first learned history from my mother, who always taught in Vietnamese. She based her lessons on her […]
PARTICULARITY AND UNIVERSALITY IN THE TEACHING OF PREMODERN VIETNAMESE HISTORY Read More »
Phạm Duy’s “Riddles” (“Đố ai,” 1954?) is a charming song that mixes tradition and modernity. It is the last track on Saigon Rock & Soul, and this post will probably be my last one in my series-within-a-series translating the lyrics of songs from that CD. “Riddles” exemplifies a Vietnamese musical genre known as “new folk
MEMORABLE MUSIC: PHẠM’ DUY’S “RIDDLES” (“ĐỐ AI”), TRACK 17 ON SAIGON ROCK & SOUL Read More »
Tuấn Lê’s “Mad at Him, Angry at Her” (“Hờn anh giận em,” 1970?) is a clever duet about a soldier and his wife in the Republic of Vietnam (RVN, or South Vietnam). The song speaks to the burden that war imposed on soldiers and their romantic partners. “Mad at Him, Angry at Her” is the
Hoàng Thi Thơ’s “The Pin in My Hair” (“Cái trâm em cài,” 1971?) is a sweet song about a young woman whose boyfriend is away fighting, and she treasures the hairpin that he made for her as a memento of their love. The song was composed sometime in the early 1970s in the Republic of
Huy Thanh’s “A Girl’s Destiny” (“Duyên phận con gái,” year unknown) is yet another song in which love trumps wealth, similar to Nguyễn Trung Cang’s “Our Treasure” (“Kho tàng của chúng ta”). “A Girl’s Destiny” is the thirteenth track on Saigon Rock & Soul, and this post is a continuation of my mini-series translating the
Nguyễn Trung Cang’s song “Our Treasure” (“Kho tang của chúng ta,” 1971?) is an idealistic celebration of love and friendship that was composed in the Republic of Vietnam (RVN, or South Vietnam) in the early 1970s. The song’s narrator considers such sentiments to be the greatest treasure of all, compares them to priceless jewels, and
Nguyễn Trung Cang’s “A Cocky Song” (“Bài Ca Ngông”) is an anthem to individualism. The song was released in the Republic of Vietnam (RVN, or South Vietnam) sometime in the early 1970s. The narrator of the song is a cocky young man who insists on living his truth. He rejects all blandishments of wealth and
Saigon Rock & Soul: Classic Tracks 1968-1974 (2012) started a trend when it was released some ten years ago. The CD was the very first collection of remastered period recordings from the Republic of Vietnam (RVN, or South Vietnam) and heralded a wave of similar CDs that have appeared in the decade since. Saigon Rock
Nguyễn Thanh Trịnh’s What If We Were in Love (Ví dụ ta yêu nhau, 1974) is a clever frame narrative about romantic love set in the Republic of Vietnam (RVN, or South Vietnam). The book starts with a letter from an unnamed young man urging his love interest, Nhỏ, to imagine that they are in
Nguyễn Mộng Giác’s One-Way Street (Đường một chiều, 1974) is an absolute page-turner. Set in the Republic of Vietnam (RVN, or South Vietnam), the novel starts with the shocking murder of Thúy while her husband Major Lộc is away fighting in the Central Highlands as part of the Army of the Republic of Vietnam. There’s