A neurodivergent gay war refugee navigates academia, racism, and indeed life itself as a poet, artist, and teacherHow to Exi(s)t: A Poet's Memoir is an experiment in nonlinear autobiography by the author of the American Book Award-winning Book of the Other, Truong Tran. Beginning in the present—at a writing residency in the aftermath of this success—How to Exi(s)t moves back and forth in time, in bursts of brief poetic essays grouped by theme. The duality of the title thematizes a dilemma at the heart of the book: how does a poet separate himself from the academic career to which he's devoted his professional life and what does being a teacher mean outside of it?Unpeeling the layers between present and past, Tran proceeds in reverse as he explores crucial events and figures in his life, including the reaction to the publication of Book of the Other, the dynamics of whiteness and power framing his repeated rejection for a tenure track position, the profound effect of his dyslexia on his evolution as a writer and artist, the repercussions of being outed by a newspaper after winning an undergrad poetry prize, traumatic episodes growing up in the Vietnamese diaspora in San Jose, and complicated relationships with both his family and his chosen family. Attempting to fathom these experiences and connect them to his present self, Tran examines and reexamines key details rather than dispensing with them in neat anecdotes, reflecting the volatile process of imagination and memory.Unsparing, even caustic in its instance on racism as a dominant note of American life, but marked by surprising tenderness and humor, How to Exi(s)t is a compelling portrayal of Tran's pedagogical philosophy as well as an interrogation of a poetic language that conceals as much as it reveals.

A neurodivergent gay war refugee navigates academia, racism, and indeed life itself as a poet, artist, and teacherHow to Exi(s)t: A Poet's Memoir is an experiment in nonlinear autobiography by the author of the American Book Award-winning Book of the Other, Truong Tran. Beginning in the presentat a writing residency in the aftermath of this successHow to Exi(s)t moves back and forth in time, in bursts of brief poetic essays grouped by theme. The duality of the title thematizes a dilemma at the heart of the book: how does a poet separate himself from the academic career to which he's devoted his professional life and what does being a teacher mean outside of it?Unpeeling the layers between present and past, Tran proceeds in reverse as he explores crucial events and figures in his life, including the reaction to the publication of Book of the Other, the dynamics of whiteness and power framing his repeated rejection for a tenure track position, the profound effect of his dyslexia on his evolution as a writer and artist, the repercussions of being outed by a newspaper after winning an undergrad poetry prize, traumatic episodes growing up in the Vietnamese diaspora in San Jose, and complicated relationships with both his family and his chosen family. Attempting to fathom these experiences and connect them to his present self, Tran examines and reexamines key details rather than dispensing with them in neat anecdotes, reflecting the volatile process of imagination and memory.Unsparing, even caustic in its instance on racism as a dominant note of American life, but marked by surprising tenderness and humor, How to Exi(s)t is a compelling portrayal of Tran's pedagogical philosophy as well as an interrogation of a poetic language that conceals as much as it reveals.

Written as a conversation, 100 Words is an exchange of ideas, dialogues, burdens, and ideals between someone White and someone Brown. Two poets, Damon Potter and Truong Tran, write to each other about one hundred powerful words—like “proximity, “shame,” and “hope”—each of which is an abstraction rife with socially inscribed beliefs and denials. They turn to each other in an exchange, a negotiation, and a series of discoveries as they write of their individual histories, share their burdens, and learn to carry weight together.​Tran explains this project, saying “it is occurring to me even as I am writing this now that this is not an experiment, or case study or collaboration or partnership. Damon is not the subject nor am I. This is a shared endeavor, a lived experience between two very different lives trying to understand what it means to be, to see the other.”

Two books bound together that interrogate race—one from the perspective of a man of color, and the other from the perspective of a white man.  This book brings together different perspectives under two titles, considering the lives and experiences of two friends, one Vietnamese American and one white. Looking And Seeing is a poetic work of yearning, regret, and righteous indignation. In Truong Tran’s poetry, what is said and what is written reveal our complexities. Composed as an investigation of his own being and body as a brown person moving through white spaces, this collection moves alongside Tran’s friend and collaborator Damon Potter. Seeing and Looking offers a record of Potter’s perspective as a white man examining who he is and wants to be and the complications of trying to be good while also benefiting from histories of oppression. Potter considers death—both his own future death and the deaths of his friends—while grappling with how to witness horrors, wonders, and his self.

A neurodivergent gay war refugee navigates academia, racism, and indeed life itself as a poet, artist, and teacherHow to Exi(s)t: A Poet's Memoir is an experiment in nonlinear autobiography by the author of the American Book Award-winning Book of the Other, Truong Tran. Beginning in the present—at a writing residency in the aftermath of this success—How to Exi(s)t moves back and forth in time, in bursts of brief poetic essays grouped by theme. The duality of the title thematizes a dilemma at the heart of the book: how does a poet separate himself from the academic career to which he's devoted his professional life and what does being a teacher mean outside of it?Unpeeling the layers between present and past, Tran proceeds in reverse as he explores crucial events and figures in his life, including the reaction to the publication of Book of the Other, the dynamics of whiteness and power framing his repeated rejection for a tenure track position, the profound effect of his dyslexia on his evolution as a writer and artist, the repercussions of being outed by a newspaper after winning an undergrad poetry prize, traumatic episodes growing up in the Vietnamese diaspora in San Jose, and complicated relationships with both his family and his chosen family. Attempting to fathom these experiences and connect them to his present self, Tran examines and reexamines key details rather than dispensing with them in neat anecdotes, reflecting the volatile process of imagination and memory.Unsparing, even caustic in its instance on racism as a dominant note of American life, but marked by surprising tenderness and humor, How to Exi(s)t is a compelling portrayal of Tran's pedagogical philosophy as well as an interrogation of a poetic language that conceals as much as it reveals.

A neurodivergent gay war refugee navigates academia, racism, and indeed life itself as a poet, artist, and teacherHow to Exi(s)t: A Poet's Memoir is an experiment in nonlinear autobiography by the author of the American Book Award-winning Book of the Other, Truong Tran. Beginning in the presentat a writing residency in the aftermath of this successHow to Exi(s)t moves back and forth in time, in bursts of brief poetic essays grouped by theme. The duality of the title thematizes a dilemma at the heart of the book: how does a poet separate himself from the academic career to which he's devoted his professional life and what does being a teacher mean outside of it?Unpeeling the layers between present and past, Tran proceeds in reverse as he explores crucial events and figures in his life, including the reaction to the publication of Book of the Other, the dynamics of whiteness and power framing his repeated rejection for a tenure track position, the profound effect of his dyslexia on his evolution as a writer and artist, the repercussions of being outed by a newspaper after winning an undergrad poetry prize, traumatic episodes growing up in the Vietnamese diaspora in San Jose, and complicated relationships with both his family and his chosen family. Attempting to fathom these experiences and connect them to his present self, Tran examines and reexamines key details rather than dispensing with them in neat anecdotes, reflecting the volatile process of imagination and memory.Unsparing, even caustic in its instance on racism as a dominant note of American life, but marked by surprising tenderness and humor, How to Exi(s)t is a compelling portrayal of Tran's pedagogical philosophy as well as an interrogation of a poetic language that conceals as much as it reveals.

Written as a conversation, 100 Words is an exchange of ideas, dialogues, burdens, and ideals between someone White and someone Brown. Two poets, Damon Potter and Truong Tran, write to each other about one hundred powerful words—like “proximity, “shame,” and “hope”—each of which is an abstraction rife with socially inscribed beliefs and denials. They turn to each other in an exchange, a negotiation, and a series of discoveries as they write of their individual histories, share their burdens, and learn to carry weight together.​Tran explains this project, saying “it is occurring to me even as I am writing this now that this is not an experiment, or case study or collaboration or partnership. Damon is not the subject nor am I. This is a shared endeavor, a lived experience between two very different lives trying to understand what it means to be, to see the other.”

Two books bound together that interrogate race—one from the perspective of a man of color, and the other from the perspective of a white man.  This book brings together different perspectives under two titles, considering the lives and experiences of two friends, one Vietnamese American and one white. Looking And Seeing is a poetic work of yearning, regret, and righteous indignation. In Truong Tran’s poetry, what is said and what is written reveal our complexities. Composed as an investigation of his own being and body as a brown person moving through white spaces, this collection moves alongside Tran’s friend and collaborator Damon Potter. Seeing and Looking offers a record of Potter’s perspective as a white man examining who he is and wants to be and the complications of trying to be good while also benefiting from histories of oppression. Potter considers death—both his own future death and the deaths of his friends—while grappling with how to witness horrors, wonders, and his self.