American readers are familiar with the Vietnam War poetry of Bruce Weigl and Yusef Komunyakaa, etc., some may even have read former NVA Bao Ninh's novel, The Sorrows of War, but almost no one has read the war poetry of the South Vietnamese, on whose land much of the fighting took place, but that's not so unusual, is it? How many know what Iraqi and Afghan poets are writing? Among the best South Vietnamese poets of his generation is Tran Da Tu. He was born in Hai Duong, northern Vietnam in 1940. In 1954, during the partition of the country, he went to Saigon, where he became a journalist and prominent poet. During 1963, he was jailed by the Ngo Dinh Diem government for his dissident views, then imprisoned for 12 years by the Communists from 1976-1988, after the collapse of South Vietnam. His wife, the famous novelist and poet Nha Ca, the only South Vietnamese female writer among 10 black-listed as "cultural guerrillas" by the Communist regime, was also imprisoned from 1976-1977. In 1989, a year after Tran Da Tu was released from prison, the couple and their children received political asylum from the Swedish government, but later moved to the US and now live in Southern California. His war poetry reads as if it were written, well, right now. I translate four:
Love Tokens
I’ll give you a roll of barbwire
A vine for this modern epoch
Climbing all over our souls
That’s our love, take it, don’t ask
I’ll give you a car bomb
A car bomb exploding on a crowded street
On a crowded street exploding flesh and bones
That’s our festival, don’t you understand
I’ll give you a savage war
In the land of so many mothers
Where our people eat bullets and bombs instead of rice
Where there aren’t enough banana leaves to string together
To replace mourning cloths for the heads of children
I’ll give you twenty endless years
Twenty years seven thousand nights of artillery
Seven thousand nights of artillery lulling you to sleep
Are you sleeping yet or are you still awake
On a hammock swinging between two smashed poles
White hair and whiskers covering up fifteen years
A river stinking of blood drowning the full moon
Where no sun could ever hope to rise
I’m still here, sweetie, so many love tokens
Metal handcuffs to wear, sacks of sand for pillows
Punji sticks to scratch your back, fire hoses to wash your face
How do we know which gift to send each other
And for how long until we get sated
Lastly, I’ll give you a tear gas grenade
A tear gland for this modern epoch
A type of tear neither sad nor happy
Drenching my face as I wait.
Saigon, 1964
Toy for Future Children
A blind and deaf bullet buried in the field
Dozing through decades of blood and bones
Then one morning
In a bustling future
As the children return to the field
Returning to goof around and chase each other
The blind and deaf bullet will be dug up
Will be dug up and awaken
In the middle of this happiness
As the children shriek and crow
The bullet will wake up
Wake up and open its eyes
Open its eyes and explode
Explode and the children will die
Die with their bodies and faces shattered
O my children
What more can I say
What can say to my children, to my children
To a pitiful future.
[Saigon, 1964]
Fragmented War
The loose change are still warring on the table
Amid paint brushes, cheap plays, vague poetry and confused papers
An endless economic war
A weird adventure inside a bowl’s rim
How do we exit from it
Beside stripping ourselves naked
To search and sketch ourselves, to confess
Is there a body not as obscure as the night
A desire not as messy as a storm
That’s when history assumes the enemy’s face
I punch his chin hurting my hand
Hear love dissolving like a breath exhaling
While the past is as exhausted as an illusion
As you look down
How do we exit from it
Beside finding each other
To weep, lament and swap stories
Is there a history not as treacherous as you
A truth not as ragged as mother
These are mornings you must stand on the balcony
Evenings you must wander the streets
Suns that must be put into frames
Nights that must appear as words
And how do we exit from it
Beside dying
So as to finish, fall and exterminate ourselves.
Saigon, 1965
Standing
Standing there. Standing on Freedom Street*
Standing beneath the brightest streetlamp
Standing to solicit and to shift back and forth
Standing to gesture and to jiggle
Standing to pant with rubber-stuffed bosom
Standing shamelessly with diseased asset
Standing there. Standing there since when
Since when and until when
O my sisters, how would I know.
Saigon, 1965
*i.e., Tu Do Street, much frequented by prostitutes servicing American GIs during wartime
My reading of Tran Da Tu's "Love Tokens" in Vietnamese and English, as filmed by C.A.Conrad:
Linh Dinh was born in Saigon, Vietnam in 1963, came to the U.S. in 1975, and has also lived in Italy...
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