Download Free Vietnamese Folk Poetry Book in PDF and EPUB Free Download. You can read online Vietnamese Folk Poetry and write the review.

A bilingual anthology of lyric poem-songs from Vietnam's oral folk tradition, this revised edition includes new poems and an eloquent Introduction explicating poetry's importance in Vietnamese culture.
He has organized the poems - which range from ancient to very recent works - around nine main themes that include Vietnamese views of society, responses to foreign influences, and feelings about such universal themes as relationships between men and women, the role of art in life, and conflicts among social classes.
Six poets. Eighty-one poems. They offer more than just a view of the Vietnamese-American war seen from the inside: they are a slice, albeit a living slice, of Vietnam's culture and history enduring one of the most horrific and longest wars of the twentieth-century. They are, in a sense, to borrow a phrase from Philip Gambone, a long love poem to ... its people. For that reason it is more than a record of war: it's a record of human struggle in the face of extremity, of love, life, and death. There is in each of the poems an unmistakable quality of heart, a heart that has never failed to feel the deep pain of its fellow human beings. And it is that quality of heart--that deep pain--that gives the poets and their friends the abiding strength to struggle, to overcome, and to endure. --Nguyen Ba Chung.
Featured on NPR's "Fresh Air" "Sometimes books really do change the world... This one will set in motion a project that may transform Vietnamese culture."--Utne Reader Ho Xuan Huong--whose name translates as "Spring Essence"--is one of the most important and popular poets in Vietnam. A concubine, she became renowned for her poetic skills, writing subtly risque poems which used double entendre and sexual innuendo as a vehicle for social, religious, and political commentary. The publication of Spring Essence is a major historical and cultural event. It features a "tri-graphic" presentation of English translations alongside both the modern Vietnamese alphabet and the nearly extinct calligraphic Nom writing system, the hand-drawn calligraphy in which Ho Xuan Huong originally wrote her poems. It represents the first time that this calligraphy--the carrier of Vietnamese culture for over a thousand years--will be printed using moveable type. From the technology demonstrated in this book scholars worldwide can begin to recover an important part of Vietnam's literary history. Meanwhile, readers of all interests will be fascinated by the poetry of Ho Xuan Huong, and the scholarship of John Balaban. "It's not every day that a poet gets to save a language, although some might argue that is precisely the point of poetry."-- Publishers Weekly "Move over, Sappho and Emily Dickinson."-- Providence Sunday Journal "In the simple landscape of daily objects-jackfruit, river snails, a loom, a chess set, and perhaps most famously a paper fan--Ho found metaphors for sex, which turned into trenchant indictments of the plight of women and the arrogance, hypocrisy and corruption of men... Balaban's deft translations are a beautiful and significant contribution to the West's growing awareness of Vietnam's splendid literary heritage."--The New York Times Book Review The translator, John Balaban, was twice a National Book Award finalist for his own poetry and is one of the preeminent American authorities on Vietnamese literature. During the war Balaban served as a conscientious objector, working to bring war-injured children better medical care. He later returned to Vietnam to record folk poetry. Like Alan Lomax's pioneering work in American music, Balaban was to first to record Vietnam's oral tradition. This important work led him to the poetry of Ho Xuan Huong. Ngo Than Nhan, a computational linguist from NYU's Courant Institute of Mathematics, has digitized the ancient Nom calligraphy.
2021 NATIONAL BOOK AWARD FINALIST FOR POETRY Hoa Nguyen’s latest collection is a poetic meditation on historical, personal, and cultural pressures pre- and post-“Fall-of-Saigon” and comprises a verse biography on her mother, Diep Anh Nguyen, a stunt motorcyclist in an all-woman Vietnamese circus troupe. Multilayered, plaintive, and provocative, the poems in A Thousand Times You Lose Your Treasure are alive with archive and inhabit histories. In turns lyrical and unsettling, her poetry sings of language and loss; dialogues with time, myth and place; and communes with past and future ghosts.
Through the story of the brief, brave life of a promising poet, the president and CEO of New York's Metropolitan Museum of Art evokes the turmoil and tragedy of the Vietnam War era. In That Time tells the story of the American experience in Vietnam through the life of Michael O'Donnell, a bright young musician and poet who served as a soldier and helicopter pilot. O'Donnell wrote with great sensitivity and poetic force, and his best-known poem is among the most beloved of the war. In 1970, during an attempt to rescue fellow soldiers stranded under heavy fire, O'Donnell's helicopter was shot down in the jungles of Cambodia. He remained missing in action for almost three decades. Although he never fired a shot in Vietnam, O'Donnell served in one of the most dangerous roles of the war, all the while using poetry to express his inner feelings and to reflect on the tragedy that was unfolding around him. O'Donnell's life is both a powerful, personal story and a compelling, universal one about how America lost its way in the 1960s, but also how hope can flower in the margins of even the darkest chapters of the American story.
“A monumental contribution to international literature.” —BLOOMSBURY REVIEW Vietnam—the very word raises many associations for Westerners. Yet while the country has been ravaged by a modern history of colonialism and war, its ancient culture is rich and multilayered, and within it poetry has long had a special place. In this groundbreaking anthology, coeditors and translators Nguyen Do and Paul Hoover present a revelatory portrait of contemporary Vietnamese poetry. What emerges from this conversation of outsiders and insiders, Vietnamese and American voices, is a worldly sensibility descended from the geographical and historical crossroads of Vietnam in the modern era. Reflecting influences as diverse as traditional folk stories and American Modernism, the twenty-one poets included in Black Dog, Black Night, many of whom have never before been published in English, introduce readers to a fresh, uncensored, and utterly unique poetic vision.
During the Vietnam war, John Balaban traveled the Vietnamese countryside alone, taping, transcribing, and translating oral folk poems known as "ca dao." No one had ever done this before, and it was Balaban's belief that his project would help end the war.The young American poet walked up to farmers, fishermen, seamstresses, and monks and said, "Sing me your favorite poem," and they did. "Folk poetry is so much a part of everybody's life, my request didn't seem like such a strange proposition," Balaban writes.The resulting collection-the first in any Western -language-became a phenomenon within the American Vietnamese community, but the book slipped out of print after the original publisher folded in the '70s. This revised, bilingual edition includes new poems and an eloquent introduction explicating poetry's importance in Vietnamese culture.
Since its publication in the early nineteenth century, this long narrative poem has stood unchallenged as the supreme masterpiece of Vietnamese literature. Thông’s new and absorbingly readable translation (on pages facing the Vietnamese text) is illuminated by notes that give comparative passages from the Chinese novel on which the poem was based, details on Chinese allusions, and literal translations with background information explaining Vietnamese proverbs and folk sayings.
Beyond the Bronze Pillars is an innovative and iconoclastic look at the politico-cultural relationship between Vietnam and China in the sixteenth to nineteenth centuries. Overturning the established view that historically the Vietnamese sought to maintain a separate cultural identity and engaged in tributary relations with the Middle Kingdom solely to avoid invasion, Liam Kelley shows how Vietnamese literati sought to unify their cultural practices with those in China while fully recognizing their country’s political subservience. He does so by examining a body of writings known as Vietnamese "envoy poetry." Far from advocating their own cultural distinctiveness, Vietnamese envoy poets expressed a profound identification with what we would now call the Sinitic world and their political status as vassals in it. In mining a body of rich primary sources that no Western historian has previously employed, Kelley provides startling insights into the pre-modern Vietnamese view of their world and its politico-cultural relationship with China.