{"id":3290,"date":"2024-02-19T11:36:20","date_gmt":"2024-02-19T11:36:20","guid":{"rendered":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/?page_id=3290"},"modified":"2024-05-01T10:04:31","modified_gmt":"2024-05-01T09:04:31","slug":"nha-thuyen-march-2024","status":"publish","type":"page","link":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/nha-thuyen-march-2024\/","title":{"rendered":"Nh\u00e3 Thuy\u00ean, March 2024"},"content":{"rendered":"\t\t
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What I am Reading Now\u2026
Nh\u00e3 Thuy\u00ean<\/strong>
March 2024<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In:action. Speak up.\u00a0<\/strong><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201cXem-v\u0103\u0301ng\u201d<\/strong>
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Tr\u0103ng ha\u0323 tu\u00e2\u0300n<\/strong><\/p>

Tr\u0103ng ha\u0323 tu\u00e2\u0300n
Sa\u0300 xu\u00f4\u0301ng \u0111\u00e2\u0300u s\u00f4ng
Xem-v\u0103\u0301ng
\u0110\u00f4i b\u01a1\u0300 im \u0103\u0301ng
Kh\u00f4ng th\u00e2\u0301y ng\u01b0\u01a1\u0300i
Sao co\u0301 bo\u0301ng ng\u01b0\u01a1\u0300i tr\u00f4i
M\u00e2y go\u0301t ba\u0303i b\u00ea\u0323ch \u2013 ma\u0300u<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong>\u2013 ca\u0301 ch\u00ea\u0301t.
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/strong>(Phu\u0300ng Cung, p.79)<\/span><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A failed attempt at translation:<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The waning moon<\/strong><\/p>

The waning moon
Swoops down the river\u2019s head
Soundlessly-watching
<\/span>Two banks, quiet and bare
No one there
Why is there a frail silhouette drifting
A cloud on the river\u2019s heel pales \u2013 the colour of
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u2013 dead fish.<\/span><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The moon wanes, so do I.<\/p>

\u201cnot enough\u201d<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201cWhat one wants to know at the bottom, is what they <\/em>came to find: to which question
there are \u2013 at least \u2013 as many answers as there are faces at the cafe tables.\u201d
(James Baldwin, \u201cA Question of Identity\u201d, p.124)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Speak up<\/em>, a finger of mine touches a phrase in a book, a fresh smell. Why, I ask the page, and to whom, about what, in which way? I have no significant stories to tell and I don\u2019t record sufferings. Mom complains about me not knowing what to do with my mouth. No, entering the roof of the mouth, there is a treasure chest. But it was cursed.<\/p>

\u201cthe position taken\u201d<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201c<\/em>Woman as subject can only redefine while being defined by language. Whatever the position taken (\u201cno position\u201d is also a position, for \u201cI am not political\u201d is a way of accepting \u201cmy politics is someone else\u2019s\u201d)
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/em>(Trinh T. Minh-ha, \u201cCommitment from the Mirror-Writing Box,\u201d p. 44)<\/span><\/p>

Reading in and into a place.
Reading in and into a language.
Reading in and into a body.<\/p>

The fully grey afternoon reassures me that not even a hope will be able to stay. Not even a little sunlight lingers on. But there are several steps to take until the darkness gets condensed and you will be ensnared with its beauty. One: wake the form, erect. Two: walk this way, avoid the names of deaths on the stones, so as not to wake them up. Don\u2019t stumble. To bring back the fragments of your body, to be in solidarity with yourself, to hold up the form.<\/p>

We will not melt into each other, not even in the form of spirits, I promise.<\/p>

\u201cto overcome\u201d<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(Forgive me, \u2018Amir: I\u2019m not saying this to
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>shame you, or to glorify anyone else \u2013 I\u2019m just trying
to overcome my own persistent allergy to reality.)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>(Gregory Carlock, \u201cTo a Syrian Prisoner of Conscience,\u201d p.13)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Poetry itches. Poetry thinks. Poetry acts. Poetry performs.
To overcome this itchy phase of writing.<\/p>

\u201cIch liebe dich\u201d<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In a station, two men were happily insane writing these words of love on the dustbin, not knowing I had abandoned my train quietly admiring them for a while, realising I never knew how to write love, and no one like them had ever taught me to write love for the unwanted.<\/p>

Ich liebe dich<\/em>, dear dustbin, the bearer of the abandoned, the collector of the unrequited, the possessor of the undesired, the carrier of decomposed promises.<\/p>

This love should remain intact, not to touch, not to be used, not to be reused.<\/p>

Oh, I took it so seriously, what you were only teasing me about, years ago, when you said that you didn\u2019t choose to love, you chose to love the wounded love. This city abounds with ruins and absences and recollections but I get lost on the way, approaching the archive of wounds, over and over again.<\/p>

Once you rebuked me for stealing your word, a word lay bare by a riverbank and I had been waiting for so long to see if someone was coming to claim it. Then I unearthed it. I must let it continue, though I could have been more patient waiting.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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****<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Spontaneous words-touch:<\/strong><\/p>

David Grundy: \u201cspeak up\u201d (from A True Account<\/em>. The87Press, 2023.)
James Baldwin: \u201cnot enough\u201d (from Nobody Knows My Name<\/em>. Michael Joseph LTD, 1964.)
Trinh T. Minh-ha: \u201cposition taken\u201d (from Women, Native, Other. <\/em>Indiana University Press, 1989.)
Phu\u0300ng Cung: \u201cxem-v\u0103\u0301ng\u201d (from Xem \u0111\u00eam. <\/em>Nha\u0303 Nam & H\u00f4\u0323i Nha\u0300 V\u0103n [Association of Writers], 2011.)
Gregory Carlock: \u201cto overcome\u201d (from To a Syrian Prisoner of Conscience. <\/em>Falschrum, Berlin 2019.)<\/p>

Reading list of 5:<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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  1. Phu\u0300ng Cung. Xem \u0111\u00eam. <\/em>Nha\u0303 Nam & H\u00f4\u0323i Nha\u0300 V\u0103n
    [Association of Writers], 2011. Vietnamese edition.<\/li>
  2. James Baldwin. Notes of a Native Son<\/em>. Beacon Press, 1984.<\/li>
  3. Trinh T. Minh-ha. Women, Native, Other.
    <\/em>Indiana University Press, 1989.<\/li>
  4. Gregory Carlock. To a Syrian Prisoner of Conscience.
    <\/em>With ink drawings by Stefan Maneval. Falschrum, Berlin, 2019.<\/li>
  5. Author unsourced. \u201cIch liebe dich\u2026\u201d
    <\/em>Words on a dustbin, seen at a station, Berlin, 23 December 2023.<\/li><\/ol>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    Nh\u00e3 Thuy\u00ean <\/strong>was born in Northern Vi\u1ec7t Nam and works as a writer and editor in H\u00e0 N\u1ed9i. Her most recent books are b\u1ea5t\\ \\tu\u1eabn: nh\u1eefng hi\u1ec7n di\u1ec7n [t\u1ef1-] v\u1eafng trong th\u01a1 Vi\u1ec7t<\/em> and its English edition: un\\ \\martyred: [self-]vanishing presences in Vietnamese poetry <\/em>(Roofbook, USA, 2019) and moon fevers <\/em>(Tilted Axis Press, UK, 2019). English translations of her poetry and writing have appeared in the journals of RHINO Poetry<\/em>, Asymptote<\/em>, Diacritics,<\/em> Eleven Eleven<\/em>, Cordite Poetry Review<\/em>, Sand, Full Stop, Cha: An Asian Literary Journal, Tongue, The Margins: Asian American Writer\u2019s Workshop, Words Without Borders, the Lifted Brow, Jacket 2, Mekong Reviews<\/em>, Gulf Coast<\/em>, Exchanges: Journal of Literary Translation, Modern Poetry in Translation, The Kenyon Review<\/em> and some other places. Her main practices are writing between languages, experimenting with translations and poetic exchanges. She\u2019s been talking to walls and soliloquies some nonsense when having no other emergencies of life to deal with. Her next book of poetry v\u1ecb n\u01b0\u1edbc <\/em>(taste of water) <\/em>has been waiting to see the moon. She is currently staying in Berlin as a 2023 DAAD artist-in-Berlin fellow.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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    <\/p>\n

    Please note the views published in <\/span>What I am Reading Now…<\/em> are personal reflections of the contributors.
    These may not necessarily represent the views of the University of Dundee.<\/span>
    <\/p>\n

    Readers who wish to make a donation to support Medical Aid for Palestinians can do so <\/span>here<\/span><\/a>.
    <\/span>\u2014\u2014\u2014<\/span><\/p>\n

    Home<\/a><\/p>\n

    Previous Issue: Dayna Ash, February 2024<\/a>
    Next Issue: Mona Benyamin, April 2024<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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    about projects What I am Reading Now\u2026Nh\u00e3 Thuy\u00ean March 2024 In:action. Speak up.\u00a0\u201cXem-v\u0103\u0301ng\u201d Tr\u0103ng ha\u0323 tu\u00e2\u0300n Tr\u0103ng ha\u0323 tu\u00e2\u0300nSa\u0300 xu\u00f4\u0301ng \u0111\u00e2\u0300u s\u00f4ngXem-v\u0103\u0301ng\u0110\u00f4i b\u01a1\u0300 im \u0103\u0301ngKh\u00f4ng th\u00e2\u0301y ng\u01b0\u01a1\u0300iSao co\u0301 bo\u0301ng ng\u01b0\u01a1\u0300i tr\u00f4iM\u00e2y go\u0301t ba\u0303i b\u00ea\u0323ch \u2013 ma\u0300u\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u2013 ca\u0301 ch\u00ea\u0301t.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (Phu\u0300ng …<\/p>\n","protected":false},"author":271,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3290","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/3290","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/users\/271"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/comments?post=3290"}],"version-history":[{"count":63,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/3290\/revisions"}],"predecessor-version":[{"id":3782,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/3290\/revisions\/3782"}],"wp:attachment":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/media?parent=3290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}