The collection offers emotionally rich snapshots of life, conveying meaningful messages that the author wishes to share with readers.
Nguyễn Đặng Thùy Trang (born 1993) has emerged in recent years as one of the most prominent young figures in the literature of the Xứ Nẫu region. She is currently a literature teacher at Lê Quý Đôn High School for the Gifted (Quy Nhơn Ward) and a member of the Literature Subcommittee of the Gia Lai Association of Literature and Arts. Alongside her poetry, rich with emotion, she has also left a mark on readers with numerous lyrical short stories, each shimmering with the stylistic beauty of both prose and verse.
To date, Nguyễn Đặng Thùy Trang has received several accolades, including the Young Author Award from the Vietnam Union of Literature and Arts Associations (2019); a consolation prize for poetry in the Bình Định Province Literary Creation Contest (2018-2019); and two Đào Tấn-Xuân Diệu consolation prizes for literature and arts in Bình Định Province (2016-2020).
“Bông trang đỏ” is Nguyễn Đặng Thùy Trang’s second short story collection, marking her return after six years since the release of her debut collection “Bay” in 2019. During this period, she also published the children’s book “Xương cá biết nói”, co-authored another children’s story collection, and contributed poetry to three anthologies.
Reading the collection, I was particularly impressed by “Vẽ đời-đời vẽ” and the titular story. “Vẽ đời-đời vẽ” tells the story of two women who work as art models. Representing two generations with differing artistic sensibilities and perspectives on life, both are deeply devoted to art. They are individuals who step from life into paintings, carrying their own thoughts and emotions, and then emerge from the canvas back into life, bearing the noble mission of serving beauty.
In contrast, the short story “Bông trang đỏ” is imbued with a dreamlike quality, as the author intentionally forgoes a traditional plot. What lingers with the reader are the emotions that stretch across a field of associations, culminating in a surprising ending. The story captivates readers, drawing them in with a seamless flow between memory and reality, as fragments of the characters’ lives intertwine in a blend of the real and the surreal.
In most of her stories, Nguyễn Đặng Thùy Trang employs a lyrical, poetic narrative style. Many of her story titles read like lines of poetry, yet each is imbued with contemplation and a hint of philosophical reflection. This approach invites readers to ponder and wrestle with life’s complexities. Notable examples include: “Vòng tay sông” (“The River’s Embrace”), “Người đi nghe gió” (“The One Who Listens to the Wind”), and “Thời gian không ở phía trước” (“Time Is Not Ahead”).
In “Người đi nghe gió”, for instance, the author uses a series of short, concise sentences to allow the character to express their innermost feelings with sincerity and intensity: “The wind has blown through everything. The days of joy and sorrow, and all the waiting (…). What will I do with these longings? On days when the wind changes, I have asked myself the same question. Can I fly away somewhere, can I reach some limit?”
These sentiments reflect the loneliness and empathy of the narrator and also of the character “nàng” (“she”), so that anyone can see themselves in the journey to rediscover their true self and their homeland. Ultimately, they realize: “Homeland. It is within her. It is within the wind. It is within each of us. It does not flow with anything else…”
It is evident that in her creative journey, Nguyễn Đặng Thùy Trang is constantly exploring and shaping her literary style, striving to engage readers both in content and form, with the ideal goal that “one can know the author through her writing.” Thus, her short stories go beyond mere narration or representation of reality; each word shines with emotion and layers of thought, offering readers a fresh perspective on life.
Moreover, most of the stories in “Bông trang đỏ” do not follow a conventional plot. Instead, they are driven by a stream of emotions, unfolding in a multidimensional space where time weaves between present and past, reality and fantasy. The central character may be “ta” (“I”), “nàng” (“she”), “cô” (“she”), “anh” (“he”), “tôi” (“I”), or “nó” (“it”)—sometimes vague, sometimes precise—so that readers can find echoes of themselves within the stories. When readers see themselves in a story, it is sure to leave a deeper, more lasting impression. This is also the writer’s success.
In a conversation with our reporter, Nguyễn Đặng Thùy Trang shared: “This book is a gift to myself, and also to readers, as we search for kindred spirits. On my literary journey, I hope I will have enough love and sensitivity to continue along this challenging yet sweet path.”