{"title":"What Would You Like to Eat?","authors":"Huot Iv, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0040","DOIUrl":"https://doi.org/10.1353/man.2021.0040","url":null,"abstract":"Abstract:Huot Iv wrote this poem in 1993 while living in France. In 1996, he set some of his poems to music and recorded an album, with singing by Koy Vanna, which was popular in the Khmer diaspora in Paris. \"What Would You Like to Eat?\" is from that record and is sung to the tune of \"Chanthou\" (Tuberose Flower), a famous Sinn Sisamouth song. cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Orphans","authors":"Suy Hieng, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0034","DOIUrl":"https://doi.org/10.1353/man.2021.0034","url":null,"abstract":"Abstract:Suy Hieng is one of Cambodia's first female novelists. From her youth, war was present in her life and writing. In 1952, she published Veasna Nei Neang Nakry (Destiny of Miss Nakry), which begins with the American bombing of Phnom Penh in 1945, during Japan's occupation of Cambodia. In 1964, she had stopped writing for ten years but resumed after the tragedy of Chantrea—in which a town in Svay Rieng was destroyed when American and South Vietnamese forces bombed it with tons of ordnance and napalm. After going to the scene of devastation, Suy Hieng wrote the novel Chantrea: Khmer Territory, which was a huge success and adapted for the cinema. Its epigraph, \"The Orphans,\" was later set to music by Pov Sipho. cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46200360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ma's Canh Chua Recipe: April–December 1975","authors":"Mylo Lam","doi":"10.1353/man.2021.0049","DOIUrl":"https://doi.org/10.1353/man.2021.0049","url":null,"abstract":"Abstract:This poem was years in the making, spanning decades of listening to and overhearing my mom share pieces of her eight-month journey from Phnom Penh to the border of Vietnam in 1975. It was impossible for me to learn all the details of her story in one sitting, especially one of bloodshed, which was told in a language other than English and occurred thirteen years before I was born in Saigon. I overheard the first fragment when I was eight and walked into a room where my mom was speaking softly to my crying older sister, telling her about seeing blood in a morning river, presumably from murdered Cambodian prisoners. One of the last pieces was told in a car on the way back from the hospital where my dad was dying; I asked my mom if she would have married him if they hadn't been forced to flee from the Khmer Rouge. Even now, I don't have the story right. The narrator in this poem is unreliable; the gaps are canyons filled with mist. But I work to see glimpses of something more on the other side.","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46366389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Buddhist Song Tradition: From Until Nirvana's Time","authors":"Trent Walker","doi":"10.1353/man.2021.0025","DOIUrl":"https://doi.org/10.1353/man.2021.0025","url":null,"abstract":"Abstract:Cambodian Buddhist poems are little known outside of Khmer-speaking communities in Southeast Asia and in the global diaspora. However, for the past seven hundred years, most Cambodians have practiced Theravada Buddhism, and their Khmer-language poetry reflects a deep intimacy with the Dharma. The three poems selected here from Until Nirvana's Time: Buddhist Songs from Cambodia (Shambhala Publications, 2022) were composed by anonymous authors in the eighteenth and nineteenth centuries.At one time, the majesty of the Khmer Empire held sway over much of what is now Laos, Thailand, and southern Vietnam. The terror unleashed by the Khmer Rouge was in some ways the culmination of the many traumas the Khmer people have faced in recent times: brutal warfare; colonial subjugation; migration and resettlement; poverty, violence, and erasure. Lost in this erasure have been the nation's many contributions to Buddhism, literature, and the arts. Khmer-language poems on Buddhist themes are among Cambodia's most precious gifts to the world.The poems translated here are \"Dharma songs\" (dharm pad, pronounced \"thoa bot\"), verse texts meant to be recited with complex melodies known as smot in dusk-to-dawn rituals of mourning, consecration, and remembrance. Khmer poetry is traditionally chanted aloud in dozens of different melodies, each of which has spawned several variations. Some melodies are fast paced and use only a few musical pitches. Others are slow, highly ornamented, and require a wide vocal range to reach their many notes. A single stanza can take up to three minutes to recite, a whole poem several hours. Each word of the Khmer is designed to linger in the air, carried by breath and music. As readers and listeners, we must be patient, letting the meaning gradually reveal itself to us. tw","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46250674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Two Poems","authors":"Chey Chap, Chris Macquet, Sharon May","doi":"10.1353/man.2021.0037","DOIUrl":"https://doi.org/10.1353/man.2021.0037","url":null,"abstract":"Abstract:Chey Chap is one of the most respected living poets in Cambodia. A master of formal poetic forms, he taught Khmer rhetoric, writing, and poetry at the University of Phnom Penh for many years and held positions in the Ministry of Education. His verses are distinguished by their sonorous rhymes, alliteration, and clever word play, giving his work a formal beauty in Khmer that is impossible to capture in translation. He composed most of his poems in the 1980s and 1990s; the two poems translated here were composed in 1985 and 1986, respectively, and first published in his influential 1994 collection, O Khmer Land. In \"Don't Fight the Wind,\" the Khmer word phlieng (rain) echoes phleng (music). cm/sm","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47548651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Sky of the Lost Moon","authors":"Ty Chi Huot, Rinith Taing","doi":"10.1353/man.2021.0058","DOIUrl":"https://doi.org/10.1353/man.2021.0058","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41279054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Two Poems","authors":"Chath Piersath","doi":"10.1353/man.2021.0044","DOIUrl":"https://doi.org/10.1353/man.2021.0044","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47493391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Musician's Life: An Interview with Kong Nay","authors":"Sharon May, Tola Say","doi":"10.1353/man.2021.0079","DOIUrl":"https://doi.org/10.1353/man.2021.0079","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41363798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epic: From Reamker","authors":"T. Walker","doi":"10.1353/man.2021.0018","DOIUrl":"https://doi.org/10.1353/man.2021.0018","url":null,"abstract":"Abstract:The Reamker (Ramakerti, \"The Glory of Rama\") is the title given to the Khmer versions of the Ramayana. The most famous version, Reamker I: Early Episodes, is also the oldest extant recension, having been composed in Middle Khmer during the sixteenth or seventeenth centuries. Of its twenty-one episodes, the first two are translated here. Much of the remaining narrative is found only in the eighteenth-century text Reamker II: Later Episodes. Both were likely composed for shadow-puppet theater. A number of other versions of the Reamker have survived in oral traditions, typically in prose. Whether performed on the stage or recited in village festivals, the Reamker remains one of the most beloved pieces of classical literature in contemporary Cambodia.The first episode introduces us to the might of Prince Rama (pronounced \"Ream\" in modern Khmer), known to Cambodians as both an avatar of the Hindu god Vishnu and a previous incarnation of the Buddha. The episode narrates Rama's slaying of a demon who disrupts a ritual at his teacher Vishvamitra's forest hermitage. The second episode begins with the birth of Sita, discovered in a furrow in a plowed field by her father, King Janaka of Mithila. Janaka holds a contest, offering Sita in marriage to anyone who can lift a magic bow. After all the other gods fail, Vishvamitra calls for Rama to try his hand; he wins easily.The poetic sensibility of the Reamker, particularly Reamker I, is among the finest in all of Khmer literature. The diction is by turns graceful and arresting. The emotions of humans and gods are more restrained than in Reamker II, but compelling nonetheless. tw","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41426402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Archive of Haunting","authors":"Maria Hach","doi":"10.1353/man.2021.0070","DOIUrl":"https://doi.org/10.1353/man.2021.0070","url":null,"abstract":"","PeriodicalId":40635,"journal":{"name":"Manoa-A Pacific Journal of International Writing","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41547561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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