JUDY KRAVIS

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Tuesday, 23 March 2021

Ocean Vuong

Two wild ducks on the pond in the morning and I'm just passing through. Later, they're gone and I'm settled here as if winter hadn't been, with my shoes off and a pond bag at my side with the debris of summers past underneath diary and book: On Earth We're Briefly Gorgeous. Coming after Joan Didion, Ocean Vuong's writing is like a tender and delicate and perplexing meal the day after being stabbed. She self-lacerating and he a quietly fierce apologian of his life. 

On Earth We're Briefly Gorgeous changed complexion with every subsequent read. At first I relished the language, the learnedness of it. Ocean Vuong, aka Little Dog, came to America from Vietnam when he was a child, with his mother, who spoke no English and couldn't read. Her son learned English from that day forth, read English literature until it had soaked through his brain and filled his needs.

Maybe I understand too well the need to populate the head with sentences, written by others and then written by you, maybe that is why I liked the book less each time I read another few sections. Or I have read too many New Yorker articles about extreme lives. These accounts are well-formed and accurate, and can leave you gasping, but they're not poetic. Ocean Vuong is a poet. His language seeks to render every cranny, to convert every memory into a mix of close detail and imagery and reflection. Like this moment with his Aunt Lan.

"Help me, Little Dog," She pressed my hands to her chest. "Help me stay young, get this snow off of my life—get it all off my life." I came to know, in those afternoons, that madness can sometimes lead to discovery, that the mind, fractured and short-wired, is not entirely wrong. The room filled and refilled with our voices as the snow fell from her head, the hardwood around my knees whitening as the past unfolded around us.

This is great writing, almost too great. You can open the book anywhere and find such moments. The writer's need to write like this in order to fulfil his history, not just narrate it, is almost painful. The need to gather up language to him and write like this, reminds me of myself. Though I leave out the story even more than he does.

He gives us the story of Tiger Woods, the story of his, Little Dog's, first love, the death and burial of Aunt Lan, the chemicals of the nail salon where his mother worked, the phantom fathers, the power of a boiled egg to heal a bruise, the faces of Oxycontin-gaunt trailer trash in Connecticut howling "What's good?" as you walked by. He gives us plenty.

I read to the end but I want to get away. Though that may be the flavour of the times showing through. Even up at the pond the silence is suspect.

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