On Earth We're Briefly Gorgeous is a letter from a son to a mother who cannot read.
With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years.
A story of Mother and daughter(s); daughter and son. Son and Trevor. Sisters Rose and Mai. Grandfather.
And the Buffalo
Old Grandma "Her skin had stopped trying, the eyes fallen into her skull, as if peering from inside the brain itself. She resembles a wood carving, shriveled and striated with deep lines. The only indication that she's alive is her favorite yellow blanket, now grey, rising and falling on her chest.
You say her name the fourth time, and her eyes open, searching each of our faces.
Every grain of rice you leave behind is one maggot you eat in hell.
I remember looking at you for a long time and, because I was six, I thought I could simply transmit my thoughts into your head if I stared hard enough. I remember crying in range. How you had no idea. How you put your hand underneath my shirt and scratched my back anyways. I remember sleeping like that, calmed - my crushed cow expanding on the nightstand like a slow-motion color bomb.
The possession of a name, after all being all they share. 'Lan' meaning Orchid.
Rose past sense of Rise.
You once told me that memory is a choice. But if you were god, you'd know it's a flood.
And because I am your son, I said, "Sorry". Because I am your son, my apology had become, by then, an extension of myself. It was my Hello.
Because that's what mothers do. They wait. They stand still untill their children belong to someone else.
It is no accident, Ma, that the comma resembles a fetus - that curve of continuation. We were all once inside our mothers, saying, with our entire curved and silent selves, more, more, more. I want to insist that our being alive is beautiful enough to be worthy of replication. And so what? So what if all I ever made of my life was more of it?
A comma superimposed by a period the mouth so naturally makes. Isn't that the saddest thing in the world, Ma? A comma forced to be a period?
We had decided, shortly after we met, because our friends were already dying from overdoses, to never tell each other goodbye or goodnight.
What were we before we were we?
What Simone Weil said: Perfect joy excludes even the very feeling of joy, for in the soul filled by the object, no corner is left for saying "I".
To ask what's good? was to move, right away, to joy. It was pushing aside what was inevitable to reach the exceptional. Not great or well or wonderful, but simply good. Because good was more often enough, was a precious spark we sought and harvested of and for one another.
With stunning grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are.
The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years.
Yes there was a war. Yes, we came from its epicenter. In that war, a woman gifted herself a new name -Lan - in that naming claimed herself beautiful, then made that beauty into something worth keeping. From that a daughter was born, and from that daughter, a son.
All this time I told myself we were born from war - but I was wrong, Ma. We were born from beauty.
Let no one mistake us for the fruit of violence - but that violence, having passed though the fruit, failed to spoil it.
As Vuong explains in his 2016 poetry collection, “Night Sky With Exit Wounds,” his grandfather was a U.S. soldier who found a farm girl in Vietnam. “Thus my mother exists,” he writes. “Thus I exist. Thus no bombs = no family = no me.”
What Vuong does in this novel with language and form, how he moves between poetry and prose, is extraordinary.
"Freedom...is nothing but the distance between the hunter and its prey." ~ Bei Dao's Poem "Accomplices" (The August Sleepwalker)
“All freedom is relative—you know too well—and sometimes it’s no freedom at all, but simply the cage widening far away from you, the bars abstracted with distance but still there, as when they “free” wild animals into nature preserves only to contain them yet again by larger borders. But I took it anyway, that widening.”
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