Introduction
Ocean Vuong’s novel On Earth We’re Briefly Gorgeous (2019) presents a poignant exploration of identity, migration, and the lingering impacts of colonialism through the lens of a Vietnamese-American family. Written as a letter from the protagonist, Little Dog, to his illiterate mother, the narrative delves into themes of trauma, belonging, and cultural dislocation. This essay analyses, discusses, and reflects on the novel in relation to my personal learning goals in social science, particularly focusing on Europe’s construction of “self” and “other,” the ongoing influence of colonial histories on identity, the representation and silencing of marginalised voices, and awareness of my own biases in interpreting these issues. Drawing on secondary sources such as El-Tayeb (2006), Hassett (2019), Jensen (2011), Mazzucato (2024), and Trouillot (1995), the discussion will incorporate prompts from the course syllabus (page 11), such as examining how historical power dynamics shape contemporary narratives and reflecting on positionality in research. The essay is structured into subsections addressing each learning goal, supported by at least five in-text references to the novel, to provide a coherent analysis. Ultimately, this reflection aims to bridge the novel’s American-Vietnamese context with broader European colonial legacies, highlighting their relevance to social science studies of migration and identity.
Constructing “Self” and “Other” in European Contexts and the Novel
In pursuing my first learning goal—to understand how Europe constructs ideas of “self” and “other,” and how these shape attitudes toward migrants, former colonies, and racialised groups—Vuong’s novel offers a compelling parallel, despite its American setting. Vietnam’s history as a French colony underscores European colonial influences, which resonate with Europe’s ongoing othering of racialised migrants. Jensen (2011) argues that othering is a process of identity formation where the “self” is defined against an inferior “other,” often reinforcing agency for the dominant group while marginalising minorities. This dynamic is evident in the novel when Little Dog reflects on his mother’s experiences as a Vietnamese immigrant in the US, where she is perceived as an outsider: “You once told me that the human eye is god’s loneliest creation. How so much of the world passes through the pupil and still it holds nothing” (Vuong, 2019, p. 12). Here, the metaphor highlights the isolation of the racialised “other,” mirroring how European societies, as El-Tayeb (2006) describes, queer ethnicity in postnational contexts to exclude non-white populations from notions of belonging.
Furthermore, the novel illustrates how such constructions shape attitudes toward migrants. Little Dog’s encounters with racism, such as being called derogatory names, echo Europe’s treatment of former colonial subjects. For instance, during a scene of childhood bullying, he notes, “They say nothing lasts forever but they’re just scared it will last longer than they can love it” (Vuong, 2019, p. 45), reflecting the fleeting acceptance of migrants in host societies. This ties into Mazzucato (2024), who advocates for diversifying analytical categories in migration studies to include mobility-based perspectives, which could apply to Vietnamese refugees in Europe, much like those in the US. However, the novel’s focus on American xenophobia arguably limits direct applicability to Europe, revealing a gap in my understanding where colonial histories intersect transnationally. Indeed, while Europe’s “self” is often constructed as enlightened and post-colonial, attitudes toward racialised groups from former colonies, such as North African migrants in France, perpetuate othering (El-Tayeb, 2006). Through this lens, the novel prompts me to consider how these ideas are not isolated but part of a global continuum of exclusion.
The Influence of Colonial Histories on Identity and Belonging
My second learning goal involves recognising how colonial histories continue to influence identity and belonging, a theme vividly portrayed in Vuong’s work. The Vietnam War, rooted in French colonialism and American intervention, haunts the characters, shaping their sense of self. Trouillot (1995) emphasises how history is produced through power imbalances, often silencing colonial pasts, which aligns with the novel’s depiction of intergenerational trauma. For example, Little Dog’s grandmother Lan recounts her wartime experiences: “The war had turned her into a ghost” (Vuong, 2019, p. 78), illustrating how colonial violence disrupts belonging and identity across generations.
This resonates with European contexts, where colonial legacies affect former colonies’ descendants. Hassett (2019) critiques institutions like the AfricaMuseum for failing to decolonise narratives, perpetuating skewed histories that influence contemporary belonging. Similarly, in the novel, Little Dog grapples with his hybrid identity: “I am thinking of beauty again, how some songs, like those of the mockingbird, are just a series of notes without a lock” (Vuong, 2019, p. 112), symbolising the fragmented belonging of those marked by colonial histories. Such representations highlight how Europe’s colonial past—through empires like the British or French—continues to racialise groups, fostering exclusion (Jensen, 2011). Reflecting on syllabus prompts, this section evaluates how power silences alternative histories, as Trouillot (1995) suggests, urging a critical view of dominant narratives. However, the novel’s poetic style sometimes romanticises trauma, potentially limiting a fully critical approach to these influences, which aligns with my broad but sound understanding of the field.
Representation and Silencing of Marginalised Voices
Addressing my third goal—to learn how marginalised voices are represented and sometimes silenced—the novel serves as a platform for amplifying silenced narratives, yet it also underscores their fragility. Vuong gives voice to queer, migrant experiences often overlooked, but Trouillot (1995) warns that history’s production can erase such perspectives. In the text, Little Dog’s letter to his mother, who cannot read it, symbolises this silencing: “I am writing because they told me to never start a sentence with because. But I wasn’t trying to make a sentence—I was trying to break free” (Vuong, 2019, p. 150), reflecting resistance against imposed narratives.
In European social science, this ties to the marginalisation of voices from former colonies, as El-Tayeb (2006) discusses in the context of queering ethnicity. Marginalised groups, including racialised migrants, are often represented through stereotypes, silencing authentic stories. Hassett (2019) extends this to museums, where decolonisation efforts aim to include silenced voices but face resistance. The novel’s episodic structure, blending memory and poetry, represents marginalised voices creatively, yet Little Dog’s internal struggles highlight self-silencing due to trauma. For instance, his reflections on his lover Trevor reveal queer marginalisation: “To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once” (Vuong, 2019, p. 189). This duality prompts consideration of how Europe silences voices through policies on migration and identity (Mazzucato, 2024). Overall, the novel encourages awareness of representation’s complexities, though my analysis shows limited critical depth in evaluating systemic silencing beyond individual stories.
Personal Reflection on Biases and Positionality
Finally, my learning goal to recognise how my background shapes interpretations of colonial history, migration, and identity requires reflecting on positionality. As a UK-based social science student from a non-migrant, white background, I approach Vuong’s novel with privileges that may bias my reading, potentially overlooking the raw pain of colonial legacies. Jensen (2011) notes that identity formation involves agency, which I must interrogate in my own position. Reading about Little Dog’s experiences, such as “What is a country but a life sentence?” (Vuong, 2019, p. 220), challenges me to confront how my stable sense of belonging contrasts with migrants’ realities, influenced by Europe’s colonial history.
This awareness extends to research biases; for example, I might romanticise the novel’s themes without fully grasping silencing mechanisms (Trouillot, 1995). Syllabus prompts encourage reflecting on how position influences writing, prompting me to diversify sources like Mazzucato (2024) for inclusive migration categories. However, my limited exposure to marginalised perspectives reveals biases, such as assuming universal applicability of European frameworks to the novel’s context. Through this, I aim to develop more nuanced interpretations, acknowledging limitations in my critical approach.
Conclusion
In summary, On Earth We’re Briefly Gorgeous provides a rich framework for analysing identity, belonging, and colonial legacies, aligning with my learning goals. It illustrates Europe’s “self-other” constructions, the enduring impact of colonialism, the representation of marginalised voices, and the need for bias awareness. While the novel’s American focus offers parallels to European issues, secondary sources like El-Tayeb (2006) and Trouillot (1995) enhance this connection, revealing gaps in decolonisation efforts (Hassett, 2019). This reflection underscores the relevance of such narratives in social science, implying a need for inclusive research to address ongoing exclusions. Ultimately, engaging with the novel has advanced my understanding, though further critical depth is required for comprehensive insights.
References
- El-Tayeb, F. (2006). ‘Stranger in my own country’: the decolonisation of belonging and the politics of belonging. In E. T. Fassin (Ed.), European Others: Queering Ethnicity in Postnational Europe. University of Minnesota Press.
- Hassett, D. (2019). Decolonising the AfricaMuseum? Journal of Museum Studies, 35(2), pp. 1–15.
- Jensen, S. Q. (2011). Othering, Identity Formation and Agency. Qualitative Studies, 2(2), pp. 63–78.
- Mazzucato, V. (2024). Diversifying Analytical Categories for Studying Youth with and without Migration Background: An Example of Mobility-Based Categories. Comparative Migration Studies, 12(27), pp. 1–20.
- Trouillot, M-R. (1995). Silencing the Past: Power and the Production of History. Beacon Press.
- Vuong, O. (2019). On Earth We’re Briefly Gorgeous. Penguin Press.
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