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Declassifying Nguyen Huy Thiep

Declassifying Nguyen Huy Thiep Zinomon scholarly essay on Thiep’s historical fiction, suggested that the power of Thiep’s work “derives from an unusual combination of existential sensibilities” and “postmodern literary technique.”4 California-based literary theorist Dao Trung Dao published concurrently a critique of Thiep’s critics in the groundbreaking journal Hop Luu, and raised similar theoretical questions alleging links between Thiep, Lyotard, Eco, Kundera, and Rushdie.5 What is peculiar about this burgeoning consensus that puts Thiep in the “postmodern” camp is a certain basic disagreement about why the label fits.6 In the cases cited above, divergences may stem from the very different sociocultural backgrounds and scholarly traditions inside of which the critics work. Another reason, however, lies in the fundamental unclarity of the concept of postmodernism: postmodernism, like pornography, has proved easier to recognize than to define. Still, the proliferation of critical treatments that stress the postmodern in Thiep’s work demands that those intervening in current debates on the subject must come to terms with postmodernism, if only to evaluate whether the notion illuminates or obscures the Nguyen Huy Thiep phenomenon. However, it seems somewhat premature to attempt a definitive categorization of Thiep now. Rather, this article enumerates some of the problems encountered when critics http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Declassifying Nguyen Huy Thiep

Zinoman, Peter
positions asia critique , Volume 2 (2) – Sep 1, 1994
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Publisher
Duke University Press
Copyright
Copyright 1994 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-2-2-294
Publisher site
See Article on Publisher Site

Abstract

Zinomon scholarly essay on Thiep’s historical fiction, suggested that the power of Thiep’s work “derives from an unusual combination of existential sensibilities” and “postmodern literary technique.”4 California-based literary theorist Dao Trung Dao published concurrently a critique of Thiep’s critics in the groundbreaking journal Hop Luu, and raised similar theoretical questions alleging links between Thiep, Lyotard, Eco, Kundera, and Rushdie.5 What is peculiar about this burgeoning consensus that puts Thiep in the “postmodern” camp is a certain basic disagreement about why the label fits.6 In the cases cited above, divergences may stem from the very different sociocultural backgrounds and scholarly traditions inside of which the critics work. Another reason, however, lies in the fundamental unclarity of the concept of postmodernism: postmodernism, like pornography, has proved easier to recognize than to define. Still, the proliferation of critical treatments that stress the postmodern in Thiep’s work demands that those intervening in current debates on the subject must come to terms with postmodernism, if only to evaluate whether the notion illuminates or obscures the Nguyen Huy Thiep phenomenon. However, it seems somewhat premature to attempt a definitive categorization of Thiep now. Rather, this article enumerates some of the problems encountered when critics

Journal

positions asia critique – Duke University Press

Published: Sep 1, 1994

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