![\"71Y4pYheh-L._SL1360_\"](\"https:\/\/damau.org\/wp-content\/uploads\/2025\/01\/71Y4pYheh-L._SL1360_.jpg\" "\\"71Y4pYheh-L._SL1360_\\"")
<\/a><\/p>\nH\u1ed2I K\u00dd \u0110I T\u00ccM TH\u1edcI GIAN \u0110\u00c3 M\u1ea4T<\/i><\/p>\n
T\u00e1c Gi\u1ea3: <\/i>Ti\u1ebfn S\u0129 Tr\u1ea7n Qu\u00ed-Phi\u1ec7t, Gi\u00e1o S\u01b0 Anh Ng\u1eef Danh D\u1ef1, Schreiner University<\/p>\n
<\/i><\/p>\n
<\/i><\/p>\n
K\u00fd \u1ee9c v\u00e0 t\u01b0\u1edfng t\u01b0\u1ee3ng gi\u00fap ta hi\u1ec3u bi\u1ebft l\u1ecbch s\u1eed v\u00e0 b\u1ea3n th\u1ec3 con ng\u01b0\u1eddi ch\u00fang ta nh\u01b0 th\u1ebf n\u00e0o?<\/i><\/p>\n
N\u01a1i ch\u1ed1n \u0111\u00f3ng vai tr\u00f2 g\u00ec trong s\u1ef1 h\u00ecnh th\u00e0nh v\u00e0 ho\u1ea1t \u0111\u1ed9ng c\u1ee7a k\u00fd \u1ee9c?<\/i><\/p>\n
Cu\u1ed1n t\u1ef1 truy\u1ec7n c\u1ee7a Tr\u1ea7n Qu\u00ed Phi\u1ec7t c\u00f3 th\u1ec3 coi nh\u01b0 ti\u1ebfp n\u1ed1i ti\u1ec3u thuy\u1ebft \u00c0 la Recherche du Temps Perdu <\/i>c\u1ee7a Marcel Proust, trong \u0111\u00f3 t\u00e1c gi\u1ea3 khai ph\u00e1 nh\u1eefng \u0111\u1ec1 t\u00e0i Proust c\u00f2n b\u1ecf l\u1eedng. X\u00e2y d\u1ef1ng tr\u00ean hai b\u00ecnh di\u1ec7n kh\u00e1c nhau, cu\u1ed1n h\u1ed3i k\u00fd tr\u00ecnh b\u00e0y hai c\u00e1ch \u0111i t\u00ecm qu\u00e1 kh\u1ee9: (1) cu\u1ed9c du h\u00e0nh th\u1ef1c s\u1ef1 v\u00e0o Vi\u1ec7t Nam, qu\u00ea h\u01b0\u01a1ng c\u1ee7a t\u00e1c gi\u1ea3 v\u00e0 (2) h\u00e0nh tr\u00ecnh \u0111i v\u00e0o n\u1ed9i t\u00e2m t\u00ecm th\u1eddi gian \u0111\u00e3 m\u1ea5t. Tr\u1ea7n d\u1ea5n m\u00ecnh v\u00e0o cu\u1ed9c du h\u00e0nh c\u00f3 th\u1ef1c v\u00e0 t\u01b0\u1edfng t\u01b0\u1ee3ng qua nh\u1eefng giai \u0111o\u1ea1n kh\u00e1c nhau c\u1ee7a \u0111\u1eddi m\u00ecnh v\u00e0 l\u1ecbch s\u1eed huy\u1ec1n tho\u1ea1i c\u1ee7a Vi\u1ec7t Nam, \u0111an k\u1ebft nh\u1eefng bi\u1ebfn c\u1ed1 l\u1ecbch s\u1eed d\u1eef d\u1ed9i v\u1edbi nh\u1eefng y\u1ebfu t\u1ed1 huy\u1ec1n b\u00ed, h\u01b0 \u1ea3o. C\u00f9ng l\u00fac, cu\u1ed9c truy t\u00ecm n\u1ed9i t\u00e2m, quanh co, t\u1ed1i t\u0103m nh\u01b0 trong m\u00ea l\u1ed9 \u0111\u00e3 \u0111\u1ea9y t\u00e1c gi\u1ea3 xu\u1ed1ng t\u1eadn \u0111\u00e1y s\u00e2u th\u1eb3m c\u1ee7a t\u00e2m h\u1ed3n, v\u00e0 khai qu\u1eadt nh\u1eefng h\u1ed3i \u1ee9c b\u1ecb l\u00e3ng qu\u00ean. Khi h\u1ed9i t\u1ee5 l\u1ea1i, hai con \u0111\u01b0\u1eddng n\u00e0y d\u1ec7t ra m\u1ed9t t\u1ea5m th\u1ea3m ph\u1ee9c t\u1ea1p c\u1ee7a m\u1ed9t qu\u00e1 kh\u1ee9 m\u1edbi \u0111\u1ea7y m\u00e0u s\u1eafc, h\u01b0\u01a1ng th\u01a1m v\u00e0 \u00fd ngh\u0129a.<\/p>\n
\u0110\u1ec1 t\u00e0i h\u1ed3i \u1ee9c v\u00e0 th\u1eddi gian \u0111\u1ea1t \u0111\u1ebfn cao \u0111\u1ed9 khi ng\u01b0\u1eddi k\u1ec3 chuy\u1ec7n tu\u1ed5i trung ni\u00ean th\u0103m vi\u1ebfng l\u1ea1i khu r\u1eebng th\u00f4ng y\u00eau d\u1ea5u th\u1eddi th\u01a1 \u1ea5u. C\u1ea3m th\u1ea5y kh\u00f3 th\u1edf khi m\u1edbi l\u00ean l\u01b0ng ch\u1eebng \u0111\u1ed3i, anh b\u1ecf cu\u1ed9c gi\u1ed1ng nh\u01b0 nh\u00e2n v\u1eadt Marcel trong ti\u1ec3u thuy\u1ebft c\u1ee7a Proust. Tuy nhi\u00ean, kh\u00e1c v\u1edbi Proust, Tr\u1ea7n b\u1eb1ng l\u00f2ng v\u1edbi nh\u1eefng g\u00ec \u0111\u00e3 t\u00ecm \u0111\u01b0\u1ee3c. Anh hi\u1ec3u r\u1eb1ng, thay v\u00ec ph\u1ee5c h\u1ed3i qu\u00e1 kh\u1ee9 l\u00e0 \u0111i\u1ec1u kh\u00f4ng th\u1ec3, anh ch\u1ec9 c\u00f3 th\u1ec3 n\u1eafm gi\u1eef \u0111\u01b0\u1ee3c h\u1ed3i \u1ee9c b\u1eb1ng c\u00e1ch h\u1ed3i t\u01b0\u1edfng v\u00e0 vi\u1ebft v\u1ec1 ch\u00fang. V\u1edbi nh\u1eadn th\u1ee9c \u0111\u00f3, anh \u0111em nh\u1eefng g\u00ec \u0111\u00e3 t\u00ecm \u0111\u01b0\u1ee3c \u1edf qu\u00ea nh\u00e0 v\u1ec1 l\u1ea1i cu\u1ed9c s\u1ed1ng l\u01b0u vong \u1edf Hoa K\u1ef3. <\/p>\n
<\/p>\n
Nh\u1eadn \u0111\u1ecbnh v\u1ec1 t\u00e1c ph\u1ea9m:<\/strong><\/p>\n Cu\u1ed1n h\u1ed3i k\u00fd l\u1ecbch s\u1eed c\u1ee7a Qui-Phiet Tran th\u1ec3 hi\u1ec7n m\u1ed9t \u0111\u1eddi s\u1ed1ng phong ph\u00fa, lai l\u00e1ng\/tr\u00e0n \u0111\u1ea7y nh\u1eefng c\u1ea3m x\u00fac s\u00e2u th\u1eb3m v\u00e0 nh\u1eadn th\u1ee9c nh\u1ea1y b\u00e9n. \u0110\u1ed9c gi\u1ea3 s\u1ebd h\u00e2n hoan \u0111i v\u00e0o h\u00e0nh tr\u00ecnh v\u0103n ch\u01b0\u01a1ng tr\u00e0n \u0111\u1ea7y nh\u1eefng h\u1ed3i \u1ee9c s\u1ed1ng \u0111\u1ed9ng v\u00e0 s\u1ebd t\u00ecm th\u1ea5y m\u1ed9t t\u00e2m h\u1ed3n tha thi\u1ebft tin r\u1eb1ng chuy\u1ec7n vi\u1ebft, thay v\u00ec ch\u1ec9 n\u00f3i su\u00f4ng, l\u00e0 c\u00e1ch \u0111\u1ec3 b\u1ea3o to\u00e0n qu\u00e1 kh\u1ee9.<\/em><\/p>\n V\u0103n ch\u01b0\u01a1ng uy\u00ean b\u00e1c c\u1ee7a Phi\u1ec7t l\u00e0 m\u1ed9t m\u00f3n qu\u00e0 t\u00e1c gi\u1ea3 d\u00e0nh cho ng\u01b0\u1eddi \u0111\u1ecdc, tr\u00ean h\u00e0nh tr\u00ecnh ch\u00fang ta c\u00f9ng nhau \u0111i t\u00ecm l\u1ea1i m\u1ed9t qu\u00e1 kh\u1ee9 huy\u1ec1n tho\u1ea1i.<\/em> <\/p>\n –Ti\u1ebfn S\u0129 Dennis Patrick Slattery T\u00e1c gi\u1ea3 cu\u1ed1n s\u00e1ch m\u1edbi nh\u1ea5t The Fictions in Our Convictions: Essays on the Cultural Imagination<\/i><\/p>\n <\/p>\n <\/em><\/p>\n Cu\u1ed1n h\u1ed3i k\u00fd c\u1ee7a Qui-Phiet Tran l\u00e0 m\u1ed9t t\u00e1c ph\u1ea9m tuy\u1ec7t v\u1eddi. T\u00e1c gi\u1ea3 k\u1ebft h\u1ee3p k\u00fd \u1ee9c v\u00e0 suy nghi\u1ec7m, v\u0103n ch\u01b0\u01a1ng v\u00e0 kinh nghi\u1ec7m s\u1ed1ng, t\u00f4n gi\u00e1o v\u00e0 h\u1ed3i t\u01b0\u1edfng th\u00e0nh m\u1ed9t c\u00e2u chuy\u1ec7n phong t\u00fac, v\u1eeba thu\u1ea7n tu\u00fd Vi\u1ec7t Nam v\u1eeba \u0111\u1eadm tinh th\u1ea7n M\u1ef9. \u1ede \u0111\u00e2y ta th\u1ea5y t\u00ecnh y\u00eau v\u00e0 s\u1ef1 m\u1ea5t m\u00e1t, gia \u0111\u00ecnh v\u00e0 n\u1ed7i lo s\u1ee3, nh\u1eefng c\u1ea3nh tang th\u01b0\u01a1ng v\u00e0 nh\u1eefng kho\u1ea3nh kh\u1eafc v\u1eafng l\u1eb7ng \u00eam \u0111\u1ec1m. M\u1eb7c d\u00f9 t\u00e1c ph\u1ea9m nh\u00ecn chung \u0111\u01b0\u1ee3c b\u1ed1 c\u1ee5c theo tu\u1ea7n t\u1ef1 n\u0103m th\u00e1ng, c\u00e2u chuy\u1ec7n \u0111\u01b0\u1ee3c k\u1ebft n\u1ed1i qua h\u1ed3i \u1ee9c thay v\u00ec th\u1eddi gian, gi\u1ed1ng nh\u01b0 m\u1ed9t b\u1ee9c tranh c\u1ee7a Van Gogh trong \u0111\u00f3 c\u00e1c l\u1edbp c\u1ee7a b\u1ea3n vi\u1ebft t\u1ea1o ra m\u1ed9t \u1ea5n t\u01b0\u1ee3ng s\u00e2u th\u1eb3m, m\u1ed7i t\u1ef1 s\u1ef1 v\u1ec1 t\u00ecnh c\u1ea3m hay l\u1ecbch s\u1eed \u0111\u1ec1u c\u00f3 li\u00ean quan m\u1eadt thi\u1ebft v\u00e0o nh\u1eefng l\u1edbp n\u1eb1m s\u00e2u h\u01a1n b\u00ean d\u01b0\u1edbi. Cu\u1ed1n s\u00e1ch n\u00e0y, ngo\u00e0i vi\u1ec7c l\u00e0m rung \u0111\u1ed9ng t\u00e2m h\u1ed3n, c\u00f2n khi\u1ebfn \u0111\u1eddi s\u1ed1ng ch\u00fang ta th\u00eam phong ph\u00fa.<\/em><\/p>\n Ti\u1ebfn S\u0129 Samuel Snoek-Brown T\u00e1c gi\u1ea3 Hagridden <\/i>and There is No Other Way in Worshipping Them<\/i><\/p>\n Xu\u1ea5t B\u1ea3n: Mandorla Books, mandorlabooks.com<\/a><\/p>\n Ph\u00e1t H\u00e0nh: Amazon, amazon.com<\/a><\/p>\n Ng\u00e0y: December 1st, 2024<\/p>\n S\u00e1ch d\u00e0y 353 trang<\/p>\n —<\/p>\n <\/p>\n <\/i><\/p>\n Book title: In Search of Lost Time: A Literary Memoir by a Vietnamese American Scholar<\/i><\/p>\n Author: Qui-Phiet Tran, Emeritus. English, Schreiner University<\/p>\n From the book description:<\/i><\/p>\n Can the past truly be recovered or is our search for it inherently flawed?<\/i><\/p>\n How do memory and imagination shape our understanding of history and self?<\/i><\/p>\n What role does place play in the formation and recollection of memory?<\/i><\/p>\n Qui-Phiet Tran\u2019s semi-autobiographical sequel to Marcel Proust\u2019s Le temps retrouv\u00e9 <\/i>explores themes Proust left unfinished. Structured on two planes, the book presents two ways of capturing the past: a physical journey through the author\u2019s native Vietnam and an introspective search for lost time. Tran embarks on a real and imagined journey through different periods of his life and the mythical history of Vietnam, blending violent historical events with fantastical elements. Simultaneously, a circular, labyrinthine inner quest leads him into the depths of his soul, unearthing forgotten memories. As these paths converge, they weave a complex tapestry of a new past, rich in color, scent, and meaning.<\/p>\n The theme of memory and time reaches its climax when the middle-aged protagonist revisits a beloved childhood pine forest. Exhausted halfway up the hill, like Proust\u2019s hero, he gives up his quest for lost time. Unlike Proust, however, Tran is content with his findings. He accepts the impossibility of fully recovering the past but preserves its memory through recollection and writing, choosing to bring this newfound understanding back to his life in the United States in exile.<\/p>\n Praise for In Search of Lost Time:<\/i><\/strong><\/p>\n Tran\u2019s epic memoir stands as a testament to a life richly lived, with great mindfulness and exquisite soulfulness. Readers\u2026will be enchanted and transported by such a soul who believes that writing down the past, not just speaking about it, will ensure its survival.<\/p>\n –Dennis Patrick Slattery<\/p>\n Author most recently of The Fictions in Our Convictions: Essays on the Cultural Imagination<\/i><\/p>\n Qui-Phiet Tran has crafted an extraordinary memoir, weaving together memory and meditation, literature and lived experience, religion and reminiscence, into a rich tale that is at once authentically Vietnamese and profoundly American. Here is love and loss, family and fear, scenes of shocking violence and serene moments of solitude. Though it follows a general forward chronology, the narrative is connected more by memory than by time, so that something like a Van Gogh painting emerges, layers of text that create an impression of tremendous depth, each emotional and historical layer dependent on the layers beneath. I found this book deeply moving and our world is enriched by its existence.<\/p>\n –Samuel Snoek-Brown<\/p>\n Author of Hagridden <\/i>and There is No Other Way in Worshipping Them<\/i><\/p>\n Publisher: Mandorla Books, mandorlabooks.com<\/a><\/p>\n
Gi\u00e1o s\u01b0 Vi\u1ec7n \u0110\u1ea1i H\u1ecdc Patricia<\/p>\n
Gi\u1ea3ng s\u01b0 Anh ng\u1eef t\u1ea1i Pierce College<\/p>\n
<\/em><\/p>\n<\/a><\/p>\n
<\/em><\/p>\n
<\/em><\/p>\n