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Let us now explore what a genre-based reading can illuminate about the long history of America’s Vietnam. Below, I provide a reading of John White’s History of a Voyage to the China Sea , a sea story in which White chronicles a commercial venture to southern Vietnam that took place between 1819 and 1820. While this book concentrates on the period from the early twentieth century onward, I include White’s early nineteenth-century text here because the era marks the first time in Vietnam’s history that the country is ruled as a united “Viet Nam,” and to indicate the provocative depth of the archive we need to recover. We might say that it is during this time period that America first sets its economic-imperialist gaze on “Vietnam” as such.
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Vietnamese-language literature becomes an important, distinct space for refracting the pressures of dominant English to consider how American hegemony works across the century. In his hands, the epistle becomes a foundation for the emergence of Vietnamese American letters. That’s what this book is about, sculpting your mind and your life in the pursuit of mastery. Becoming the best in a craft, emulating the best practicioners in all fields throughout history. How to depict America’s role in ongoing histories of empire in Southeast Asia. Restoring historicity and formal variation to Vietnam War literature places Dispatches within a longer cultural tradition and resituates the conflict as part of an unfinished process of decolonization.
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The next chapter continues an examination of how genre reveals the force and fault lines of American imperial logics by turning to Monique Truong’s and Alice B. Toklas’s approaches to the cookbook and their differing portrayals of Vietnamese servitude that helped sustain the famous household of Toklas and Gertrude Stein’s. I develop more fully the politics of another complex context of queer alterity and historically elided Vietnamese-American encounter by moving to the metropole to bring into focus invisible conditions of labor and migration that shaped the mundane lives of Vietnamese cooks who worked for Toklas and Stein in modernism’s most famous cultural capital, Paris. White’s hands, the maritime tale reaffirms American ability on the high seas and negates Vietnam’s domestic and international complexity, even as the Franklin returns to its home port empty-handed, revealing how the sea story can enact literary hegemony and operate as a genre of evolving American empire. However, I would not position the Vietnamese perspectives and histories I have highlighted as mere counter-archives to White’s text. Rather, I suggest that they both are at odds and intersect. Vietnamese writings of the period have their own, imperialist inflections.
I demonstrate how a genre-based reading of White’s narrative unveils how the formal qualities of the American sea story both enable and restrict White’s striking depictions of a southern Vietnam negotiating its strategic position as a hot spot of bustling maritime trade at the same time that the country is recovering in the aftermath of civil war. Race, conflict, and competing empires converge on and across Southeast Asian waters in this little studied maritime travel narrative of early Vietnamese-American encounter. That fiction may be the only appropriate basis from which to write a Vietnam War narrative indicates the scope of the conflict’s perceived opacity and the level of imagination required to represent it. America’s high-tech military operation in Southeast Asia is so total—encompassing all geographies on, above, and below the ground—that one cannot comprehend its scale or workings, let alone authentically depict them. As the U.S. state stubbornly pursues its abstract, universalizing project of modernization regardless of local specificities, traditional journalism’s commitment to the “facts” becomes fundamentally compromised.
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The previous chapter examined American pluralism as central to emerging discourses of American empire, while here that pluralist ideology generates modernist innovations at the same time that it erases Euro-American hegemonies that make “diverse” encounters possible. Relatedly, extending Chapter 1’s interest in the problem of intersectional representation, in this chapter Truong’s reimagining of Toklas’s world points to the boundaries of Toklas’s and Stein’s queer politics, as The Book of Salt refracts their white bourgeois perspective by fusing queer with decolonizing critique. At the same time, Truong’s novelization of Toklas’s text occludes the history of Vietnamese revolutionary networks in Paris even as it evokes this context, outlining the limited extent to which The Book of Salt can broach anticolonial themes in the contemporary multiethnic literary marketplace. Ry American public consciousness on the condition that it was thematized in a way that supported American exceptionalism and imperialism (rhetorically clothed as American anti-imperialism) and did not endorse decolonization. Within this ideology, America was decolonization, and melodrama often gave this story formal shape.117 The degree to which Hervey turned to other Asian spaces because of the censorship issues his melodramas of Indochina raised is a compelling question that warrants further investigation, as is the question of whether French Indochina is a subtext in other melodramas of the era.
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The differences among these depictions—changing contexts of imperialism and responses to it, altered modes of technological reproduction that shape cultural dissemination—help to periodize the evolution of empire across the longue durée. In Herr’s late twentieth-century Vietnam, generic hybridity creates endless opportunities for reimagining Vietnamese dismemberment, creating a sense of formal and somatic overload that suggests a contemporary inundation of decontextualized spectacle while furthering the notion of inaccessible history. Herr’s deterministic rendering of Vietnam’s fate as “poisoned history” finds no reason not to continue adapting a system of cultural production that capitalizes on commodified racial body parts. As Alan Liu argues, a society concerned with the consequences of evolving technologies still “must have its poetics. Must also be a poetics of historicity.”39 A turn to Vietnamese contexts takes Herr and the Vietnam War culture he shaped out of an exceptionalizing Cold War framework to consider the purview of the Vietnamese.
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