October 2017 marks the 100th anniversary of a revolution that shook the modern world. Hanoi in October and November, it seems brimming with “red” delight, a striking contrast between young people’s apathy toward the event and older generation’s dallying with nostalgia.
Stalin caught my eye when I was walking through the hall of the National Library in Hanoi. His name and portraits were placed among those of Lenin and other soviet revolutionaries in a month-long commemorating the Russian Revolution of 1917 (or better known here as the October Revolution). So I picked up an anthology of his writings and speeches, published in 1953, the year he died. Stalin and his legacy will always be controversial: the ruthless dictator under whom 40 millions people perished, or a great leader who spearheaded a country’s transformation? Regardless, his writing and speeches are self-evident of a megalomaniac.
I browsed through some of his national assembly addresses. A sense of self-assuredness cloaked in a camaraderie tone, whereas the early pages give away his fear and suspicion. Ironically, the very war-worn rural population that Lenin had promised “Peace, Land, and Bread” was wailing and falling deeper in crises; poverty was rampant while much done by the Party was relentlessly recruiting new “loyal” members and tightening the soviet control, militarily and ideologically.
In Stalin’s words, grim consequences were to follow “unless we made the soviets act more forcefully and vigilantly, …”. Such were the expressions as frequent as the soviet paranoia about winning and controlling their rural population – the very birthplace of the soviet revolution. Nowadays perhaps few even care to ask ‘Why’.
One reason seems to stand out: Stalinists were busy persecuting the non-soviets. In one of his 1927 speeches, Stalin made it clear that Democratic Socialism is no friend to the soviets. In fact it was as evil as capitalism and therefore should be defeated. He called the anti-Bolshevik peasantry uprising in Georgia in 1924 as “thổ phỉ” (bandits uprising), supported by the opposition Mensheviks and capitalists – the evil must be terminated. My favorite essayist, George Orwell, did enjoy much more freedom of speech in his post-war England. Fast forward to 2016, U.S. Senator Bernie Sanders obviously enjoyed much fanfare and popularity advocating for Democratic Socialism. It would not have been fantastic for them had they been in the Soviet Union under Stalin’s reign of terror. No one was entirely safe from his gaze.
In the same bookshelf, I found another book titled “The International Significance of the October Revolution”, published in 1952. In it Stalin made comparisons between the Bolsheviks and the French Jacobins – as both shook and shocked the world. According to Stalin, the Jacobins in reality did not do much to the social revolution but instead only perpetuated the class system – by replacing one exploiting class with another. In this sense, the bloody French Revolution couldn’t be called “triệt để”(exhaustive/absolute). In the dream to realize a classless society, Stalin took Lenin’s vision into a whole new level.
Few figures in the human history could have exerted such a terrifying combination of fear and idolatry as Stalin and, to a less apparent sense, Lenin. The Russian revolution of 1917 was indeed a landmark in humankind, but it was also bloody and senseless. It seems far-fetched for the VCP to return this historical event to its right place in history. I’m glad that the works of Stalin and Lenin are still there for discerning eyes to see just before the “glass panes” sealed them. Books are meant for reading, not for just displaying. Through their enticing yet intimidating lessons, we realize how close we were to apocalypse.
From January to May 2016, teachers and graduate students at the University of Languages and International Studies converged in an American Studies class held by the Faculty of Linguistics and Cultures of English Speaking Countries.
Through this course, we have improved our understanding of two forms of American Arts, coming closer to the American culture. I relished being able to return to my school, seeing my former teachers, and seriously engaging in the United States Studies, which I had been doing individually since 2012. It was wonderful to study alongside my teachers and other professionals with much experience in the field.
Our course instructor, Professor Jack Yeager from Louisiana State University, is a Fulbright scholar and expert in Francophone literature. His Fulbright fellowship offered him the second chance to be in Vietnam; this time at my university for six months.
Professor Yeager delivered the course in two parts. Part One focused on American short narrative; the other on Film noir.
The first part commenced with two chapters of Mark Twain’s “Life on the Mississippi” (1883). Reading “Castles and Culture” and “The Metropolis of the South”, we journeyed back to the late 19th century Louisiana, particularly to two major cities – Baton Rouge and New Orleans. Twain’s vigorous language pioneered the “narrative journalism” and “travel writing”, transforming the Mississippi river from a transportation corridor into a “personality” and a quintessentially American soul.
The discussion locomotive marched on with Nathaniel Hawthorne’s “The Birthmark” (1843) and Edgar Allan Poe’s “The Tell-tale Heart” (1845) – two works of early American Romanticism. By the 1830s, European countries had been transitioning into literary Realism. Although flowering 30 years later than its European counterpart, American Romanticism shared the movement’s essential themes of human isolation, discontent with urbanism, and the fascination with the supernatural. Though regarded as masterworks, these narratives received critical questions about their limited white-male perspectives, their historical and socioeconomic context in which they were composed.
Afterwards, we studied the Naturalistic school exemplified with Stephen Crane’s “The Blue Hotel” (1899), Willa Cather’s “Two Friends”(1931), Jack London’s “To Build a Fire” (1908). These short stories explored the harsh nature of the Midwest (Nebraska, Kansas) and Yukon. Crane examined the immigration mindset and fatal miscommunication among people. Cather, infusing the Panic of 1893, the Gold Standard crisis and the 1896 Presidential election in her story, proved that the political atmosphere in America at the time was far-reaching and potentially divisive. Jack London vividly portrayed man’s futile conquest against nature and the unknown.
The three above stories are coated with regional dialects, historical allusions, and unusual punctuation. Thus, often we must read their dialogues aloud to understand the mood and to process comprehension. The class encountered this similar issue with O’Henry’s “The Gift of the Magi” (1905), a parable rich in comic irony, slang, and rhythm.
In addition, we studied a young voice from the Vietnamese American community, with Monique Truong’s comic tale named “Skin and Bones” (2014). Written about a Vietnamese American woman’ journey to Vietnam to learn about her origin, its fantastical nature resembles that in Maxine Hong Kingston’s novel “The Woman Warrior” (1976) which concerns majorly about the Asian American experience.
Also interested in gender studies, professor Yeager brought to class early American stories that reflect gender attitude across the centuries. For instance, Kate Chopin’s “Desireé Baby”(1893) and William Faulkner’s “Dry September” (1931) – two stories that raised debates about feminism, class, and race (especially in the American South). “Brokeback Mountain” (1997) by Annie Proulx explores the taboo subject of homosexuality in the unforgiving landscape of Wyoming, western America.
The question of racism and justice was put into perspective at our screening of “To Kill a Mocking Bird” (Universal Pictures, 1962), an Oscar-winning film based on Harper Lee’s Pulitzer-Prize winning novel of the same name. Often invigorated with professor Yeager’s American experience and perspective, the Q&A sessions gave us a more wholesome picture of the United States history, landscape, and people.
There are legitimate questions to ponder, moreover. The purpose of this introductory course was to provide an overview and the techniques to integrate some of the course materials into the faculty’s literature syllabus and teaching methodology. “Should and how do we insert a particular narrative into the class discussion?” “Is it too long or too short for the task at hand?”, “How can we make it attractive to the students?”, “What background information do the students need?”, “Should films be a medium for teaching in a literature classroom?” So on.
Taking the opportunity to prepare and present the assigned stories, we marched into the rigorous classroom discussion. But for the limited time budget, I wish there were Mid-term/Final essays or Reaction papers as in the intended syllabus. Plus, it is fun to do a reading collage, a writing portfolio, or short “report” videos for the future workshops.
The second half of the course focused on American Film Noir – a famous Hollywood film genre/style.
Influenced by German Expressionist cinema and film directors who fled Germany during World War II, Film noir borrowed many German aesthetic devices, plot conventions, and stereotypical characters, to evolve into a wholly American film style.
Detective fiction of the early 20th century inspired Film noir, whose plots frequently concern crime, deadly violence, daring “mind game” between ambitious criminals and clever detectives. The setting is usually the city at night with criminal activities and gunfights.
It is difficult to define Film noir, however. Not every film noir has a private detective and a killer dame (“femme fatale”) set in an urban landscape. One film can be more brutal, explicit, or romantic than the other. There is so much to learn that a few class sessions (despite extensive discussion) seemed to scratch merely on the surface.
The chosen classic films were The Maltese Falcon (Warner Brothers, 1941), M (Nero-film A.G., 1931), The Big Sleep (Warner Brothers, 1946), The Big Heat (Columbia, 1953). During the screenings, we paused at key scenes to discuss the technical innovations, i.e. the high-speed lenses, the angled shots and close-up shots, dark/light contrast, the classic three-point lighting, etc.
There were difficulties since the characters spoke in the old vernacular (although the films did have subtitles). Certain scenes carry symbolic meaning or reference to contemporary people’s attitudes. For example, the dark streets, the shadows, the stairs, the bridges. That is not to mention the symbolic costume, makeup, and hairstyles.
For me, the course has been highly educational, although film noir is not my favorite film genre. The wonderful part is to be able to recognize the “noir” techniques and motifs that are still widely employed in modern films. It’s amazing how those little things can create such nuanced psychological effects in film viewers.
Thank you the Faculty of Linguistics and Cultures of English Speaking Countries for successfully holding this course, for sharing your concerns about the school, the curriculum, the students, and most of all, your life as a teacher. We express our special thanks to professor Yeager, for his commitment, his knowledge and witty sense of humor. Thanks for making this learning experience much more fruitful than it would have been had we done it alone. We hope to meet again in the future!