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Michael R Burch Dec 2022
** Xuan Huong (1772-1882) was a risqué Vietnamese poetess. Her verse — replete with nods, winks, double entendres and ****** innuendo — was shocking to many readers of her day and will doubtless remain so to some of ours. Huong has been described as "the candid voice of a liberal female in a male-dominated society." Her output has been called "coy, often ***** lyrics." More information about the poet follows these English translations of her poems.

Ốc Nhồi ("The Snail")
by ** Xuan Huong (1772-1882)
loose translation/interpretation by Michael R. Burch

My parents produced a snail,
Night and day it slithers through slimy grass.
If you love me, remove my shell,
But please don't jiggle my little hole!



The Breadfruit or Jackfruit
by ** Xuan Huong (1772-1882)
loose translation/interpretation by Michael R. Burch

My body's like a breadfruit ripening on a tree:
My skin coarse, my pulp thick.
My lord, if you want me, pierce me with your stick,
But don't squeeze or the sap will sully your hands!



Bánh trôi nước ("Floating Sweet Dumpling")
by ** Xuan Huong (1772-1882)
loose translation/interpretation by Michael R. Burch

My powdered body is white and round.
Now I bob. Now I sink.
The hand that kneads me may be rough,
But my heart at the center remains untouched.

Most of Huong's poems were written in Nôm script, a complex Vietnamese adaptation of Chinese characters employed from the 15th to 19th centuries. Through her Nôm poems, Huong helped elevate the status of Vietnamese poetry. A century later, she was called "the Queen of Nôm poetry" by Xuan Dieu, one of Vietnam’s greatest poets.

** Xuan Huong was apparently born in the Quynh Luu district of the north-central province of Nghe An. Xuan Huong means "Spring Fragrance" or "Scent of Springtime." Her father, a scholar named ** Phi Dien, died young. Her mother remarried, as a concubine. Huong grew up near Thang Long (modern Ha Noi), in a male-dominated society in which polygamy was permitted and men were more privileged than women. Huong may or may not have been a concubine herself. Very little is known with any certainty about her life. In 1962, Nguyễn Đức Bính admitted, "I don't know anything about the poetess Hồ Xuân Hương and other people don't know any more than I do." And yet legends do take on lives of their own ...

Keywords/Tags: ** Xuan Huong, Vietnamese, English translations, snail, grass, shell, hole, breadfruit, jackfruit, tree, skin, hands, sap, stain, dumpling, body, powder, powdered, sink, bob, swim, pond, heart, center, red, nom script, spring fragrance, spring essence, concubine
** Xuan Huong, Vietnamese, English translations, snail, grass, shell, hole, breadfruit, jackfruit,
The border to me
XUAN CARLOS ESPINOZA-CUELLAR·WEDNESDAY, OCTOBER 21, 2015
  
The border to me is a constant anguish,
A big pause button,
Often in dreams I dream of Mexico as my lover
And he waits for me,
And waits.
The border to me is my grandma’s rosary,
She said she’d hold on until I could go back,
Until she couldn’t.
I recently found out that for years she’d scold my cousins for using my table games “he’s coming back, and he’ll ask for them…”
And she’d save t hem in her old, rusty closet.
The border to me is a big pause button,
I often dream of going back,
Who will I be then, when I hit play?
Who will I speak with to recover my grandmother’s prayers,
To collect 12 years of unclaimed hugs,
All the wrinkles and gray hairs I missed on her hair,
And every step I couldn’t walk by her.
But one day I will cross back,
In the middle of songs and candles I will conjure her spirit,
And I will look in the back of that old closet
Where she saved my table games
And there I will find her love
And her songs, her advice, her songs,
And the little pieces she left for me, hidden for me,
When she envisioned the day
That this pause would be over.
Maria Vera Oct 2014
it became a perpetual motion
a dance
someone hands the card, another lights
the amount of aching discolored grazed fingers was immense
put your finger on the flint wheel
press it down

karen thought we should make a sign
the scrambles of bruised fingers for a piece of cardboard
my fingers throbbed as i scratched our message on the board
i kept the pink flower locked in the crease of my hand
and threw them in air
“draft card burning here”

it was 7 00 in the morning
october 21 1967
i was only 17
my brother jeffrey was flying a plane over dien bien phu
a friend richard was screaming in the trenches of xuan loc
a lover michael treading through a swamp in mui bai ****

i stepped up to The Police.
The. Men. In. Suits. Stared. At. Me
Blank. Faces. And. No. Expression.
I picked up my Pink Daisy, and brought it up to their bayonets
this is for Jeffrey, for Richard, and for Michael

the men in suits stared at me
in a world of chaos and confusion
all I heard was
Silence.
“La Jeune Fille a la Fleur,” a photograph by Marc Riboud, shows the young pacifist Jane Rose Kasmir planting a flower on the bayonets of guards at the Pentagon during a protest against the Vietnam War on October 21, 1967. The photograph would eventually become the symbol of the flower power movement. I wrote this poem from this photograph.
Lila Lily-Thanh Aug 2010
In those days, at every corner of the city
you could find a coffee shop.

There was never a high-rise building,
everything stood together in an unorganized manner,
for they never mastered the art of urban landscaping.

Street vendors had their own way of singing
their promotion songs. You remembered the tune, the words,
which reminded you of those streets.

The sounds of vehicles and their horns and the winds
never stopped. But in those days, they used to be
purer. Clearer. More innocent, perhaps. Less troubled.

Life never stops being tough,
but it was quite beautiful,
then.

When I grew up
the city was still left with fragments of history.
I had no memory of what had happened before I was born,
yet you felt in the air the gentle sadness, and the subtle beauty
from those French buildings. The architecture
slowly faded away as icons from the war,
becoming part of our modern life.
We had to move on,
and so did everyone who had left.

Those buildings, instead, became icons of my childhood,
of what I remembered about the city.
From my elementary school,
you could see the Notre-Dame Cathedral Basilica to your left,
the Central Post Office right in front of you.
I was always taken home via the street former known as
the Rue Catinat.

I would never forget the way it felt every afternoon.
I'm going home.

Those places have changed, and so have people,
and so have I.
The day they demolished Givral Cafe,
Xuan Thu Bookstore, Passage Eden,
the whole street block of memories,
was the day many of us lost something so deep in our heart.
History was gone once again.
And soon enough,
we would allow ourselves to forget once again.

I keep reminding myself,
Hey, it's ok to change.
My city does not repond to me.
It just becomes so foreign,
as if it has always belonged to somebody else
but me. And I keep digging
into the dust, the traces, the pictures
to find solace in what I could remember
about my changed lover.

They say, in the end it does not matter,
modern society needs revolutions.
Evolutions. Higher skyscrapers. Highways.
A North-South express railway even (Idea rejected.)
We need to catch up with the rest of the world.

Oh, dear men, I am fine with that. I am an easy fellow
who seldom feels too strongly about anything in particular.
But my heart keeps aching from some changes you guys make.
It outraged the day you took down my corner of memories.
I was in Boston reading the news my friends sent me,
picturing myself sitting at those steps in front of the Opera House
looking at the mass of broken bricks and dust
that was once a nice, little, iconic coffee shop-
Givral.

When my friend talked to me about changes around that block,
she talked in a tone that almost seemed guilty.
She did not know how to break the news to me
without also breaking me apart.
For just a few months before that,
we were walking down **** Khoi Street (the Rue Catinat, if you may),
taking pictures of the Opera House,
Givral Café, the Continental Hotel,
joking of how we acted like tourists.

Try being a tourist in your own city.
It means seeing everything with a fresh set of eyes,
trying to record everything,
trying to grasp the essence of everything
within a short amount of time.
I guarantee you it is fun.
And it will reinvigorate your love,
your understanding, your hope.

I was disappointed with some decisions others made.
Yet, being a city girl,
I was raised to adapt to them.
To learn that there will be thousands of other coffee shops
bookstores
landmarks
so many choices to overwhelm me
to drive me away from the time
when I had so few.

Will it eventually work? I do not know.
But that corner of the street (now demolished),
that corner of memory (now fading),
I was there.
Yes, I was there.
I will definitely make further edits to this, but I'd like your inputs on the word flow, grammar, construction/order of ideas, etc.

I haven't been away from my city for long, but the changes have been quite drastic recently. The coffee shop mentioned, Givral Café, was built in 1950 during our French colonization period. Ever since it has been a legendary place where many international journalists and writers and others meet. It was taken down on April 2010.

I was born years after the Vietnam War was over, so my memories are not really associated with anything war-related. My childhood was spent around the city center with French architecture around (the Cathedral and the Post Office are still there; the Opera House was renovated, but the whole street block of Givral and Passage Eden I mentioned is now gone.)

There is not much and there is too much to say about that city. I often find it either too difficult or too easy to write about it. You probably feel the same way about something or someone you're in love with. All the words could be dedicated, yet none would be satisfying enough.

— The End —