In the Crossroads article, I feel
that the issues and tensions between overseas Vietnamese and those back in the
“homeland” are still at a “crossroad” unable to move forward. Just like what
was presented about Chau Huynh’s creation of the pedicure basin, what this says
about the overseas Vietnamese community are that the sentiments, resentments,
and memories of losing a homeland under the regime of Ho Chi Minh and communism
influence was ingrained and nailed in too deeply to easily forget the pain,
hardship, and sufferings. However, from the two opposing sides discussed within
the chapter, their worries and reasons are completely valid in voicing out
their concerns. In expressing her artwork through her own personal experiences
in her homeland as a communist and to her life in the United States under
anti-communist influence , Chau Huynh was not celebrated and was instead criticized and protested
against by the majority of the anti-communist overseas. What I personally think
what Chau Huynh tries to encompass was this hybridity of cultures between the
past North and South Vietnam relations as well as to her two-part family. I
think that for her being put within this mixture of North and South influence,
Chau Huynh wanted to blend her own and that of her husband’s family.
Question: Even today, there is a sense of fear that our own
history will be forgotten if we don’t ingrain it into the texts or even to our
offspring. How can we move past this and seek alternatives to having our
history not be forgotten?
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