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47 pages 1 hour read

Vietgone

Fiction | Play | Adult | Published in 2015

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Themes

The Strength of Familial Love

Throughout Vietgone, many characters struggle with forced separation from their families and loved ones due to the war. As the Viet Cong closes in on Saigon, Tong and Quang contend with how to save as many of their loved ones as possible despite their limited resources and connections. Tong obtains two tickets of escape from the embassy and begs her brother to join her, though Khue ultimately refuses: “No, Khue, I’m not going to leave you here. I’m not I’m not I’m not! You’re going to go, do you hear me? You’re going to come with me to America and we’re going to become American and eat greasy foods and listen to Elvis!” (31). As the older sibling, Tong feels a strong duty to protect her brother and urges him to join her in building a new life in the US. She understands that the journey toward assimilation will be difficult and wants Khue with her. After he refuses, she struggles in the US because she worries for him and uses their separation to harden herself against becoming emotionally attached to Quang.

Although Khue is Tong’s first choice to come with her to the US, her mother, Huong, joins her instead. For much of the play, Huong and Tong argue and annoy each other: Tong wishes to begin a new life, while Huong hopes to return to Vietnam. As Tong begins to assimilate more and even begins dating Bobby, however, Huong realizes that her daughter needs her support and guidance to avoid entering into a lackluster love life with Bobby: “one amazing daughter who’s a survivor, a warrior, and a woman who saved me from a war…but that doesn’t mean she has to keep fighting on her own alone. Love doesn’t make you weak, it’s what gives us strength during the fight” (89-90).

Huong’s uncharacteristic support for Tong takes her off guard. However, Huong’s guidance leads Tong to a life in which love, whether through family or romance, is a strengthening force. For so long after leaving her beloved brother behind in Vietnam, Tong views love as a weakness, and this holds her back, making it easy for her to commit to Bobby. Once her mother points this out, Tong chooses Quang over Bobby, prioritizing a life of passion and love over one of convenience. Thus, Huong helps her daughter face and overcome her sadness that Khue isn’t with them, as well as build a new family with a man who prioritizes Tong’s well-being rather than his own. In helping her daughter, Huong comes to embrace their new life as a family in the US. Ultimately, her love for her daughter enables Huong to overcome her own resistance to leaving her life in Vietnam behind.

The Complexity of the Refugee Experience

Much of Vietgone occurs in a US refugee camp, depicting Vietnamese refugees’ struggles after the Vietnam War. Among the largest obstacles the characters face in the play is the composite effect of American racism and alienation. Resistance to their presence derives from not only long-standing racist beliefs in the US but also political discontent surrounding the war. Nhan recognizes this struggle as not unique to them but one that affects refugees and immigrants everywhere: “Maaan, I don’t wanna be an immigrant. Immigrants talk funny. People are mean to immigrants. When the Chinese come to Vietnam, no one’s nice to them. That’s what we are now” (43). Nhan remembers how Chinese immigrants in Vietnam often face alienation and discrimination because of their differences, and he realizes that Vietnamese immigrants in the US are experiencing the same dynamic. Through this epiphany, he realizes the struggle ahead, understanding that similar prejudice will now be directed toward him and other Vietnamese refugees. Having once helped Americans in Vietnam, characters like Nhan, Tong, and Quang at times expect Americans to treat them as equals but are shocked to find that this isn’t true as they build new lives as refugees.

The complexity of the refugee experience doesn’t merely center on US acceptance (or lack thereof) toward the Vietnamese refugees but also connects to the diverse opinions surrounding the war. In the Epilogue, as the Playwright interviews Quang, he discusses his own opinions about the war and American involvement in it. The Playwright’s opinions lean toward opposing American involvement in the war, but Quang wholeheartedly disagrees:

Very nice, very ‘smart’ young people apologizing for ‘America’s interference.’ I tell you before ‘America’s interference,’ we were getting slaughtered. And now, forty years later, all I hear is politicians using Vietnam as a symbol for a mistake (97).

Because of Quang’s experiences, his views are at odds with those of many Americans, and many refugees face this reality in the US as they watch a nation turn against the support they believe was essential to their safety. This disconnect demonstrates the dual realities in which refugees live, one reality in the US and the other in Vietnam. This fractured existence makes assimilation even more difficult as pressure continuously mounts to adjust to American beliefs that are at odds with the experiences of refugees.

Exploring Inner Conflict Through Music

Vietgone is a stylistically unique play because it uses music to explore characters’ emotions and beliefs. Throughout the play, Tong and Quang break into song when facing emotionally challenging scenarios and memories. Music allows them more freedom to express themselves, and the lyrics help convey a deeper understanding of their experiences as refugees. Early in the play, Tong expresses the confusing reality of life after the war as a refugee:

IRONICALLY WE’RE THE ONES THEY CALL THE LUCKY ONES
BUT CAN WE MAKE A NEW LIFE NOW THAT OUR OLD LIVES ARE DONE?
AMERICA TRIES TO HELP US ALL START OVER
BY PUTTING US IN CAMPS IN THE MIDDLE OF NOWHERE (23).

To many, escaping from Vietnam at the end of the war is a stroke of luck, in which new opportunity awaits in the US. However, this hope is quickly squashed by the reality of life as a refugee. Tong and others are placed in camps, which are disconnected from major metropolitan areas, making it difficult for them to find work and culturally assimilate. She doesn’t see this as luck, feeling both the pain of losing her brother and the uncertainty of the future.

The use of music in Vietgone helps amplify the play’s other themes because the characters can express themselves more candidly through their lyrics than in conversation. When they sing, they express their own thoughts and beliefs, particularly around topics that are difficult to address in conversations with others. For instance, Quang often sings about the pain of being disconnected from his family and homeland. He sings about his struggles as an immigrant:

NO MOTHERFUCKER ACTUALLY WANTS TO HAVE WAR—
BUT YA NEVER HAD WAR KNOCKING ON YOUR FRONT DOOR
NEVER HAD IT BLOWING UP YOUR STREETS
GOT NO IDEA WHAT DYING EVEN TRULY MEANS (59).

The disconnect between Quang’s own experiences and the many opinions of Americans is a serious point of contention for him. When Hippie Dude apologizes and tells him how much he disagrees with American involvement in Vietnam, he acts as though he expects gratitude from Quang. Quang, however, resents Hippie Dude’s belief that his opinions are of the same value as Quang’s lived trauma and pain. Only through his music and singing can Quang express his relationship with The Complexity of the Refugee Experience at a more substantial level.

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