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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A second-generation Vietnamese American, GB was born in North Carolina in 1976. As a young man, GB knows very little about his family’s history, and his ignorance comes from a combination of his father’s refusal to discuss the past and his own disinterest in his Vietnamese heritage. GB represents the experience of assimilation and the ways that adopting new cultural practices risks erasing traditions. GB depicts himself as a stranger in his parents’ homeland, and his Americanized upbringing doesn’t prepare him for Vietnam’s customs when he visits the country as an adult. He’s often portrayed as a tourist in Vietnam and complains about the humidity and traffic. His father, Tri Huu, twice tells him to “show some respect” (9, 59) at places of worship. In addition, GB depicts his youth as one disconnected from and insensitive to his parents’ hardships, as he includes episodes where he laughs at his mother’s English and criticizes his father for being too strict and not supporting his art career.
GB gradually awakens to his heritage after several encounters during which he listens to his family members’ stories. In one flashback, his grandmother, Le Nhi, encourages him to ask his parents about their past and informs him, “There’s a lot about your parents you don’t know” (115). The memoir functions as a record of what GB learns about his parents through a collection of their memories and a framework of multiple storytellers. By becoming an active listener, GB sees his parents as individuals who pursued their goals in Vietnam and had to make traumatic sacrifices in leaving their homeland. The memoir begins and ends with the inscription that Tri Huu left for his son in a book about the Vietnam War. Attributed to Confucius, the quote reads, “A man without history is a tree without roots” (8, 278). In mapping the dangerous exodus of his parents from their origins, the disrespectful GB at the beginning of the memoir undergoes his own journey of maturity and self-discovery.
Tri Huu, GB’s father, represents the tragedy of loss and the emotional and psychological toll of trauma and repression. The US narrative often depicts him as a taciturn and reprimanding patriarch who disapproves of his children’s assimilation and GB’s desire to become an artist. Lisa characterizes her father as “stubborn and unapologetic…Self-centered and unsympathetic” (100). His wife, Dzung Chung, reiterates the sentiment, using the exact same phrases, and adds that Tri Huu was physically abusive to her and their son, Manny. GB’s illustrations emphasize Tri Huu’s cold exterior by depicting him perpetually in dark glasses. The dark lenses symbolize Tri Huu’s emotional barriers and prevent others from detecting any sense of warmth, intimacy, or vulnerability from him.
In contrast to images of a callused Tri Huu in America, GB depicts the happier moments of his father’s life in Vietnam with exuberance and innocence. Most notably, Chapter 4’s illustrations diverge from GB’s typical style in that they adopt the cartoonish simplicity and vibrant, primary colors of Hergé’s Tintin comics. As a young adult, Tri Huu occasionally dons glasses with clear lenses and is often shown smiling, laughing with his friends, and enjoying his family and success as a painter and teacher. GB juxtaposes these happy memories with jarring images, often in adjacent panels, of Huu Nghiep’s torture, Le Nhi’s physical abuse, Tri Huu’s own imprisonment and torture, and the destruction of his paintings after he leaves Vietnam. The revelation of Tri Huu’s past offers a more nuanced context for Tri Huu’s remote and often aggressive behavior. Lisa acknowledges the additional pressures of supporting the family in a new country and concedes, “He wasn’t a bad parent, America was just too different” (100). By portraying the complexities of Tri Huu’s traumatic past, GB reevaluates his understanding of his father as a survivor and fellow artist.
Dzung Chung is GB’s mother and the memoir’s central storyteller. GB provides a sympathetic portrayal of his mother and prefaces many of the sections with a single panel that highlights her face and voice as she introduces eras of the family’s past. Although her father is accidentally killed by French soldiers, Dzung Chung’s family manages to maintain relative stability, as evident in the joyful celebrations and nostalgic musings she engages in during her trips back to Vietnam. Lisa praises Dzung Chung’s becoming their stepmother as a “damn brave thing” (100), and the children sympathize with how much she tolerates Tri Huu’s selfishness in their marriage.
Dzung Chung represents the importance of unity and reconciliation. She takes after her mother, Thi Mot, who didn’t take sides during the First Indochina War and served both French and Vietnamese customers at her bakery. When Huu Nghiep sends letters to reach out to his son, Dzung Chung encourages Tri Huu to reply despite his protests. When G.B claims that he’s too busy to see Lisa, Dzung Chung admonishes him and claims, “You only have one family! No matter how busy you are, far apart you live, or what you say or do, you stay close!” (96). As her marriage begins to waver, she tempers her desire to divorce Tri Huu by reminding herself that “he’d be lost all by himself” (150). Dzung Chung’s selflessness is also evident in her role as narrator, as she focuses more on Tri Huu’s life than her own to help her son deepen his understanding of his father and develop a stronger bond. Dzung Chung’s narrative provides stability and clarity to the memoir’s nonlinear structure. Her chapters often begin with a clear date and are mostly chronological, which helps center the various narratives that weave in and out of her stories.
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