Poet Ocean Vuong on disobedience and the power of language

In Berkeley Talks episode 216, celebrated poet and novelist Ocean Vuong joins in conversation with UC Berkeley English Professor Cathy Park Hong, a poet and writer whose creative nonfiction book, Minor Feelings: An Asian American Reckoning, was a 2021 Pulitzer Prize finalist. Together, they discuss the importance of genre fluidity and artistic experimentation, the role of disobedience in their writing and how language can be both a tool of oppression and liberation.

“I personally feel a lot of affinity with you as a writer for many reasons,” began Hong, in front of a packed auditorium at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) in April 2024. “But I think one of the key shared experiences is how the English language, once a site of estrangement and inadequacy for you, became this playground for bounty and experimentation. And part of that bounty and experimentation is how you refuse to limit genre by the way you swing from poetry to prose without feeling tethered by either.”

“I think for me, genre was always as fluid as gender, even punctuation,” replied Vuong, author of two poetry collections — Night Sky With Exit Wounds and Time Is a Mother — and On Earth We're Briefly Gorgeous, a widely acclaimed novel. “The rigor of punctuation, I think, is arbitrary. They're still up for grabs. And then the dialect of standard English, how legitimate is it? The linguists would tell us it's no more efficient or better or capacious than AAVE or other regional dialects. However, standard English is attached to the court system. It's a dialect that is also attached to an army and a navy, and so within that comes great, immense power.

“I'm interested in genre as tendency rather than an ontological position to be. And I think there are tendencies that could be utilized and then left aside or even departed. What is a tendency in us stylistically that is then abandoned? I'm interested in abandon not as a way to cast away or to denounce, but as a restlessness. Like, I will use this mode until I'm done with it. I'll find something else and then return to it later. There's a kind of cyclical relationship. I think maybe if I'm trying to put order to it, I'll say there's a kind of inherent queerness in it — that, for me, my queerness demanded an alternative route, always.” 

Vuong was UC Berkeley’s 2023-24 Avenali Chair in the Humanities, established in 1987 to bring distinguished figures in the arts and humanities to Berkeley for lectures, panel discussions, and meetings with students and faculty. Vuong is the recipient of numerous awards for his work, including the MacArthur Foundation’s “Genius” Grant in 2019, the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award and the Forward Prize for Best First Collection.

Read more about Vuong and Hong on the Townsend Center for the Humanities website.

Listen to the episode and read the transcript on UC Berkeley News (news.berkeley.edu/podcasts).

Music by Blue Dot Sessions.

Photo by Tom Hines/courtesy of Ocean Vuong.

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