188:, Vuong said that grief was "doubly felt" both as a son and also a writer: "You lose your mother, and you lose your North Star, at least for me. And I became such a child. And like any child, I look at the blank page and I said, how do I play? Where do I locate pleasure? And the only place I could look to was the poems, because it was the only place I found linguistic pleasure."
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332:, lamented that "In general, there is a turn away from the other and towards the self in Vuongâs new book, which loosens its connection to the world" and "The effect this has on the poetry is detrimental: not only does Vuongâs imagery lose precision, but the poems lose their shape and definition."
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departs from any artistâs statement. I couldnât tell a story without explaining why my telling of the story was important. Thatâs why I believe my novel was, first and foremost, an artistâs statement ... Iâm just going to talk, and narrate my artistâs statement while you buckle up. Weâre not going
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give us a path to examine the complexities of what it means to lose a mother, and what it means to embrace family and the self even when we want to look away. In Vuongâs tender yet unflinching words, we are reminded that only a mother can carry a beating heart within her body."
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287:, said "We need no more proof of Vuongâs importance in the poetic canon. With candor and sensitivity, marking universal experiences in a singular and deeply intimate language, Vuong shows us again how language both reveals and saves, for authors and readers."
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anywhere, but just talking about why this is important. I am going to talk about why the people I write about are important to me, to
American history, and to the American imagination. In that way, itâs a subversive act. A Trojan horse, if you will.
311:, found that the poetry collection was full of "new enlightening details that have a life of their own" and "plays with time by the millisecondâslowing down or speeding up old memories or conversations."
264:, in a starred review, stated that the poetry collection consisted of "27 new poems that reckon with loss and impermanence" and "contextualize personal traumas within larger systems of dehumanization."
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is his "proudest book" as he "didnât compromise anything" and "got to do what Iâve always wanted to do, which is to embrace all linguistic registers that are contemporaneous to me."
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is the artistâs statement realized, made felt. Itâs the enactment of a dream. Thatâs why I think Iâm proud of this work in a way I havenât felt about my previous books."
294:, said that the poetry collection "Aesthetically complex yet emotionally accessible" and "innovates and affirms the existing poetic tradition" in the likeness of
181:. "I was grieving, the world was grieving, and the only thing I really had was to go back to poems," Vuong explained in an 2022 interview with TIME Magazine.
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Vuong specifically considered the poem "Dear Rose" which he had originally published in
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480:"Issue Forty-One: A Conversation with Ocean Vuong - The Adroit Journal"
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