40 pages • 1 hour read
GB TranA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The graphic memoir opens with Dzung Chung Tran, GB’s mother, reminding her son that at 30 years old, he’s currently the same age his father was when his parents left Vietnam. On April 25, 1975, Dzung Chung and GB’s father, Tri Huu, boarded a US cargo plane just days before the fall of Saigon. The first illustration features a plane taking off amid a smoke-filled, blood red sky, and the narrative transitions to the modern day, in which GB and his parents are on a flight to Vietnam. GB’s maternal grandmother and paternal grandfather both passed away within months of each other, and the family returns to Vietnam to pay their respects.
GB and his parents visit the seaside town of Vung Tau to attend memorial services for Thi Mot, GB’s maternal grandmother. He assumes the occasion will be sad, but his Uncle Vinh corrects him and tells him the event is celebratory. GB’s mother, Dzung Chung, reunites with many relatives who haven’t seen her in 30 years. Most of the illustrations in Vung Tau depict a bright blue sky and smiling faces. GB meets countless relatives, and the household bustles with laughter, a feast, and lively conversation. At a temple, Tri Huu tells GB the legend of Buddha’s tree, which was replanted in Vietnam from India thousands of years ago.
GB and his father, Tri Huu, visit the grave of Huu Nghiep, GB’s paternal grandfather, who abandoned his family when Tri Huu was three years old. GB mistakenly wears black to the cemetery, unaware of the Asian tradition of wearing white for mourning. Huu Nghiep is buried in a cemetery for war heroes instead of his birth city as his family had wished. Tri Huu has been estranged from his father for almost 50 years. In contrast to Thi Mot’s festive memorial in Vung Tau, GB’s visit with his grandfather’s second wife is cold and withdrawn, and the illustrations are predominantly gray. At her home, GB notices various medals and plaques recognizing his grandfather’s service to the government and finds it ironic that he authored a book on childrearing.
Tri Huu later meets with Do, an old friend, and tells him Huu Nghiep must have died with a broken heart after devoting his life to his political ideals and witnessing the Communist government’s corruption. On their second visit to the home of Huu Nghiep’s widow, GB notices one of his father’s paintings, dated 1972. Tri Huu was a painter in Vietnam, but his rising career was cut short due to the war. GB suspects that his father was in contact with Huu Nghiep despite claiming a 50-year estrangement. Instead of responding to his son’s inquiry about how the painting ended up in Huu Nghiep’s home, however, Tri Huu promptly leaves.
Dzung Chung opens the next section with a retelling of Tri Huu’s childhood. Tri Huu was born in My Tho in 1941 during the Japanese occupation. His father, Huu Nghiep, was a member of the Viet Minh, the resistance group that fought against both the Japanese and subsequent French occupation of Vietnam. When Huu Nghiep joined the Viet Minh forces, Tri Huu’s mother, Le Nhi, fled their home with her children out of fear of retribution against revolutionaries. Le Nhi didn’t hear from her husband for years. After World War II, the French assumed control over Vietnam. Upon her return to My Tho, Le Nhi discovered that a French colonel now occupied her home, and she began a relationship with him. The Colonel was transferred to Saigon, and Le Nhi, pregnant with his child, moved with him. She took Tri Huu and his sister along but left his brother behind with her parents.
Dzung Chung’s own family was less political during this time, and her mother, Thi Mot, didn’t pick sides. Instead, she continued to run her bakery in Lang Son for both French and Vietnamese patrons. The French raided the bakery searching for Viet Minh loyalists, and Dzung Chung’s father was accidentally shot and killed. Thi Mot remarried, and as French and Viet Minh fighting escalated in the North, she moved her family to Vung Tau for safety.
This section returns to the initial days of GB and his parents’ visit to Vietnam to attend his grandparents’ memorials. Although he visited Vietnam before, GB feels out of place and finds himself overwhelmed with the traffic, heat, humidity, and insects. Locals regard his shaved head as bad luck, and a merchant doesn’t understand his pronunciation of pho. His father, Tri Huu, insists on switching to a different hotel because their room’s window is too small.
Tri Huu reunites with his old childhood friend, Do. Back in 1975, Do was unable to leave Vietnam with Tri Huu as planned and remained behind. Tri Huu declines a visit to see his old home in Saigon, stating that he has no intention of being nostalgic. He and Do both comment on the current state of the country and how capitalism has replaced the ideals of communism. Tri Huu tells his son that after the war, the Vietnamese who didn’t fight Americans suffered under the communist regime, particularly the educated class, who were forced into labor camps. Those desperate to flee the country found ways to bribe authorities or steal enough money to secure passage out of Vietnam. Tri Huu’s mother, Le Nhi, left her own parents behind in Vietnam when she fled to the US. Tri Huu informs GB that her parents suffered: His great-grandfather died of a stroke during a protest, and his great-grandmother was murdered during a home robbery. The police confiscated the jewelry she left for her family to inherit.
The family then travels from Saigon to Dzung Chung’s hometown in Lang Son, the place where her mother ran the bakery and her birth father was accidentally shot. Dzung Chung pays her respect at her father’s grave. She has recurring dreams about the tree in the courtyard of her family home, and when she visits the site, she discovers that the area has been cleared. The subsequent page features an illustration of a family tree with her mother, Thi Mot, labeled at the trunk and the roots extending to the numerous family members. Some entries are crossed out, and others bear question marks.
After visiting Lang Son, the family visits Vung Tau, where Thi Mot and her second husband resettled and where her memorial service is held. Illustrations of Dzung Chung cheerfully riding through the seaside town and reminiscing juxtapose images of Tri Huu’s childhood. A young Tri Huu appears smiling and riding a bicycle with his family, though his father, Hu Nghiep, is rendered as a blur. Another panel depicts Huu Nghiep being tortured by Japanese soldiers.
The opening sections of GB Tran’s graphic memoir shift dramatically between different time frames and locations. The book’s nonlinear approach highlights GB’s muddled understanding of his parents’ past and their displacement, foregrounding the theme Nostalgia and Exilic Longing. References to Japanese, French, and American presences in the country intertwine with multiple migrations. During their childhood, Dzung Chung and Tri Huu were forced to leave their respective homes to go into hiding. Their families moved to various cities, fleeing from the North to the South along with almost a million other Vietnamese internal refugees. Their families split apart in various configurations, and a pervasive sense of uncertainty accompanied each movement, emphasizing the theme Separation, Abandonment, and Loss. The lack of a linear, sequential narrative emphasizes the displacement GB’s parents experienced and the ways they navigated a sense of home and family in a country torn apart by war.
In addition, the opening chapters repeatedly feature images of airplanes and suitcases, which symbolize displacement and loss. Page 42 depicts a stark series of panels that alternate between Dzung Chung’s and Tri Huu’s pasts. Devoid of speech bubbles, the panels solemnly shift from the rectangular coffin of Dzung Chung’s father to the rectangular suitcase of Tri Huu’s mother, drawing a parallel between the threat of death and the constant need to relocate for safety. In reference to his father, who had to abandon his art career and paintings to flee the country, GB states, “Sometimes doing what’s right means leaving things behind” (20). The statement refers not just to the belongings, homes and loved ones that the Tran family and other Vietnamese refugees leave behind but also to the loss of a nation and a homeland.
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