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Named one of the most anticipated books of 2019, On Earth We’re Briefly Gorgeous is Ocean Vuong’s novel debut. In 2016, Vuong’s poetry collection, Night Sky with Exit Wounds, earned national recognition, winning the T.S. Eliot Prize for Poetry and the Whiting Award. On Earth We’re Briefly Gorgeous sings with Vuong’s poetic voice, snipping the narrative form into bites of elegant prose.

On Earth We’re Briefly Gorgeous is written as a letter from a queer Vietnamese son to an illiterate Vietnamese immigrant mother; the novel is in English–a language out of the mother’s command. The premise itself is sentimental, and when compounded with the tender vignettes of Vietnamese matriarchy, poor immigrant lives, and deep war histories, the novel pushes emotional boundaries in a way that I found deeply Vietnamese. Vietnamese language and storytelling consistently play with words and imagery. Simple wording can give way to florid descriptions that toy with serious subjects like death, while also providing dissections of words (see Vuong’s surgery of the word nhớ). This novel exemplifies the importance of specificity.

As the neoliberal impulse of universalism continues to assert itself with the rising representation of minority voices, Vuong is able to capture the minutiae of a Việt American queer experience with subtlety. As a queer Việt American, I finished the book with dozens of dog-eared pages, sometimes frustrated that I wasn’t able to flag both sides of a page. Tiny details sparked memories from my childhood I hadn’t even stopped to consider: “…her breath a mix of Ricola cough drops and the meaty scent of sleep…”, a search for oxtail at the butcher, “bahgeddy” or spaghetti, Cool Ranch Doritos with jasmine tea. Amidst these were new threads: a gay hate crime in Vietnam to the recent Pulse shooting in Orlando, a death of a young lover to death of family, links of our collective Vietnamese history to contemporary Việt Nam burial customs

For those of us who read Vietnamese, Vuong inserts a gift in his spelling of Ma. The Vietnamese language has a variety of words for mom, but the Vietnamese Americans I know fall into two main camps, me or má. Vuong does not shy from using Vietnamese within his novel. He maintains the language of his mother and grandma throughout, adding the appropriate accents where necessary. His use of Ma for his mother then is a deliberate choice, hinting to the close assimilation of Việt Americans, but also Ma in Vietnamese means ghost, a choice that will overshoot many but those of us who understand this significance deeply.*

I highly recommend picking up a copy of On Earth We’re Briefly Gorgeous as soon as you can. Enjoy the richness that Vuong brings, the specificity that he captures brilliantly, and the nuance that his minority voice adds to American histories. Vuong’s writing captures joy and grief in stark relief and I look forward to his burgeoning career. I leave you with a particularly beautiful image that the main character recalls early in the novel (no spoilers):

You once told me that the human eye is god’s loneliest creation. How so much of the world passes through the pupil and still it holds nothing. The eye, alone in its socket, doesn’t even know there’s another one, just like it, an inch away, just as hungry, as empty.

On Earth We’re Briefly Gorgeous

*I later found out Vuong gave this away in his New York Times interview! Still claiming this (and the entire novel) as something for us Viet kids–which Vuong also openly declares in the same interview.

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Timmy Pham lives in New York City and once said he would be happy with rice and ruốc as his last meal (read the book, you’ll get it).