Abstract

In her debut collection The Truffle Eye (2014), the Vietnamese-Israeli poet Vaan Nguyen brings a mix of cultural and linguistic affiliations to her Hebrew writing that is arguably standard in today’s multilingual and multicultural Israeli society, particularly in the cosmopolitan milieu of Tel Aviv, where she locates much of her work. But as the daughter of Vietnamese refugees who have settled in Israel, Vaan also engages and challenges—through the double position of the insider/outsider—the discourse of exile and return and the politics of memory in Israeli culture. In the 2005 film The Journey of Vaan Nguyen, the Israeli filmmaker Duki Dror offered a nuanced portrait of the friction between Nguyen’s Israeli and Vietnamese identities and her family’s Israeli present and Vietnamese past. In this article, I address how Vaan negotiates and articulates her double position through a close examination of scenes from the film and selections from The Truffle Eye. Against the problematic reception and reading of her poetry as exotic, I argue that the cosmopolitan and transnational movements that shape her work evince a characteristically twenty-first century Israeli mode of travel and translation.

pdf

Additional Information

ISSN
1534-5165
Print ISSN
0882-8539
Pages
pp. 83-110
Launched on MUSE
2015-06-20
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.