WRITER AND JOURNALIST

Photo: Alena Schmick

I was born in 1982 in Berlin, the oldest of three children in a Vietnamese family. Today I`m part of a new generation of German writers addressing questions of race and identity.

Brothers and Ghosts, my first novel, is loosely based on the true story of my family and will be published by Scribe in April. Set in Berlin, Saigon and California, it tells the story of a young woman struggling to reconcile two cultures within her, and of her family which was torn apart by the Vietnam War. It took me four years to research and write the German original, so I`m excited it will now get to travel the world through its English translation by Charles Hawley and Daryl Lindsey. The German orginal was widely read and adapted to stage, KIM. For readings and performances, please check out my events.

For more than a decade, I`ve also been a staff writer at the renowned weekly Die Zeit. In 2023, I was the first journalist to interview the actor Kevin Spacey ahead of his sexual assault trial. In 2020, I co-wrote a large investigation on the Essex lorry deaths, which was nominated for the the German version of the Pulitzer Prize. In 2012, I published We new Germans with my colleagues Alice Bota and Özlem Topçu: a non-fiction book about our own experiences and the second generation of immigrants in Germany.

I studied Media and Communications at Goldsmiths College and Sociology at the London School of Economics. My first work stints included freelance work for the Guardian and NPR´s Berlin Bureau.

Today in live in Berlin again – on the outskirts of town, in the green and sleepy area of my childhood. In addition to my writing work, I`m part of this year`s jury for the International Literature Award of the House of World Cultures and a founding member of PEN Berlin.

You can contact me at hi@khuepham.de

BROTHERS AND GHOSTS

translated by Charles Hawley and Daryl Lindsay

“Pham’s novel marks a seminal accomplishment that tells the dignified, thorough, and epic story of a Vietnamese family through clear, gem-like sentences and unflinching observations. With Pham’s vision, nothing is left unturned and all things are salvaged and lost at once. A courageous and bold achievement by a bright new voice.” 
Ocean Vuong, “On Earth We`re Briefly Gourgeous”

"A novel about the paths we take, the secrets we hide, and the familial duty that binds us. Khuê Phạm coaxes out the stories that live in darkness and the light she shines is captivating. Gorgeously written, Brothers and Ghosts is a book that stays with you long after you close it."
Eric Nguyen, “Things We Lost to the Water”

“Illuminating and unforgettable, Brothers and Ghosts is a house that reveals secrets behind each door: a country torn apart by colonialism and civil war, a family divided between loyalty and freedom.”
Juhea Kim, “Beasts of a Little Land”

“Intriguing, immediate and occasionally harrowing, Brothers and Ghosts by Khuê Phạm is a moving tale of exile, identity and self-discovery. Focussing on first and second-generation Vietnamese emigrants, the novel should appeal to fans of Chimamanda Ngozi Adichie’s Americanah.”
“New Books in German”

Kiều calls herself Kim because it’s easier for Europeans to pronounce. She knows little about her Vietnamese family’s history until she receives a Facebook message from her estranged uncle in America, telling her that her grandmother is dying. Her father and uncle haven’t spoken since the end of the Vietnam War. One brother supported the Vietcong, while the other sided with the Americans.

When Kiều and her parents travel to America to join the rest of the family in California to open her grandmother’s will, questions relating to their past—to what has been suppressed —resurface and demand to be addressed.

BOOK EXCERPT

Let me start this story with a confession: I can’t pronounce my own name.

For as far back as I can remember, I have felt uncomfortable introducing myself to people. If they were German, they couldn’t make sense of the melodic sounds. If they were Vietnamese, they had trouble with my harsh accent. Germans dodged the problem by not addressing me by name. Vietnamese people asked, ‘How do you spell that?’

Once someone said, ‘Are you sure about that?’

I was a child when I first attempted to deal with the problem. When we went to the department store, I would head for the toy section and look for my name on the personalized pencils. When we went to the DIY store, I set my hopes on the long, colourful key rings. If I found my name, I said to myself, it would be proof that there was nothing wrong with me. I sifted through hundreds of pencils and key rings. I found ‘Katrin’, ‘Kristina’ and once—my heart skipped a beat—‘Kira’.

But there was no ‘Kiều’.

‘Kiều’ existed only in my family’s world and in the title of a book that stood on my father’s shelves in the cellar: Truyện KiềuThe Tale of Kiều. A work that is as important to Vietnamese literature as The Sorrows of Young Werther to the German canon.

I couldn’t read it, of course.

Whenever my father decided to clean up the house, he pulled out the book and said, ‘Did you know that you’re named after a famous young woman? Every schoolchild in Vietnam has read this book. You’re known all over the country.’

I believed everything my father told me when I was little, so why should that be any different? I imagined walking through Vietnam and being approached by all kinds of people. I would constantly have to keep introducing myself—and each time I would have to say my name. How embarrassing.

When I was sixteen, I changed my name because I thought an easier one would improve my chances of getting accepted in Jeanette’s clique. When I was twenty, I had my passport modified, and, for the first time, I felt power over my destiny.

For ten years I have been a different person. Germans call me ‘Kimm’; Vietnamese people, ‘Keem’. It isn’t perfect, but it’s easy. Shedding my past never bothered me—really it didn’t.

Then I got that message.

 

THE REAL STORY BEHIND THE NOVEL

The Goethe Institut in Dublin invited me to speak about my book with the translator Rachel McNicholl: What was it like to grow up in a Vietnamese family in Germany? What kind of research went into the novel and how much of it is real?

 
 

KIM

Collaborating with the Taiwanese-German director Fang Yun Lo, I developed its stage adaptation KIM last year. In a mixture of dance, literature and film, five performers and I take on the roles of the book in turn, but also tell our own stories and those of our families. KIM premiered in Dresden last fall and will travel to Taiwan this year.

SELECT ARTICLES IN ENGLISH

I started out as a political writer at DIE ZEIT, covering UK politics and the Brexit vote. I then became a staff writer at ZEITmagazin where I focus on long-form profiles and interviews, exploring political as well as cultural topics

Adams Teixeira de Carvalho

Pray for me

In October 2019, British police discovered a truck with 39 dead bodies. All from Vietnam. Who were they? How did they get there? The story of twins, one of whom died

Manny Jefferson

“It´s difficult.
Very difficult!”

The Nigerian novelist Chimamanda Ngozi Adichie is well-known around the world mostly because of her feminist writings and TED talks. Raising her four-year-old daughter in a feminist way, however, has turned out to be much harder than expected

Benedict Evans

The accused

Five years ago, Hollywood star Kevin Spacey was accused of sexual assault. At the end of June, he will once again be in court to face charges. Here, he speaks for the first time about his life after the scandal

Tyler Mitchell

Tyler Mitchell

In the world of
Anna Wintour

In her first interview with a German magazine, the legendary Vogue editor Anna Wintour gives a rare insight into her personal life, talking about her friendship with the late Karl Lagerfeld, her children, Angela Merkel’s suits – and her feelings about “The Devil Wears Prada”

YouTube

YouTube

The Undaunted

Swedish activist Elin Ersson is facing legal action due to her attempt to protect an Afghan asylum seeker from deportation. Did she make the right decision?

Alena Schmick

The chameleon

The release of Ocean Vuong's novel this year was a major literary event. An interview with the author about Vietnam, Asian stereotypes and loneliness on the school bus

THE POWER OF JOURNALISM

This is an extract from a talk about my investigation into the Essex lorry deaths and the role of journalism in a post-truth world. It was recorded at Singapore's Writers Festival 2021 and moderated by Bridgette See

WE NEW GERMANS

In 2012, I published the non-fiction book “Wir neuen Deutschen” with Alice Bota and Özlem Topçu. This excerpt was translated
by Daryl Lindsey for Spiegel Online. You can read the accompanying interview here.

Can there be anything wrong with the question of where someone comes from? Those who ask the question can usually answer it. They are people whose parents and grandparents have grown up in this country, whose names sound familiar and sometimes appear dozens of times in the phone book. People who ask this question usually aren't satisfied with a simple answer. Instead, they keep asking more questions:

"Do you prefer to be in Turkey or here?"

"Are you more Vietnamese or more German?"

"Is there anything Polish about you anymore?"

Those who ask these questions want to gain a better understanding of us because our names and life stories sound odd and foreign to them. We choose our answers carefully, not wanting to offend anyone. We don't want to sound as if we prefer one country over another. We don't want to seem ungrateful or disloyal. And we don't even know the answers that well ourselves, which is why we sometimes say: "I'm both" or "I'm neither." It's essentially the same thing.

When we say these things, there's something else we're not saying. The real question hangs in the air unanswered: the question of home. That's because the question of home is such a difficult and painful thing, something so filled with longing that it's hard for us to talk about, much less answer.

For us, home is the emptiness that was created when our parents left Poland, Vietnam and Turkey and went to Germany. Their decision to do so created a gap in our family history. We grew up in a different country from our parents, speaking a different language and with different songs, images and stories, ones they didn't know. We couldn't learn German traditions from them, and even less so the sense of belonging to this country. We just know it secondhand: the sense of having a homeland that our German friends feel because they inherited their place in this country -- and their certainty.

There are many ways to interpret the German concept of Heimat, or home. In Polish, it's mala ojczyzna or "little fatherland"; in Turkish, it's anavatan, or "motherland"; and, in Vietnamese, it is que huong, or "village." Despite the differences among these concepts, they all refer to the link between biography and geography: Home is the origin of the body and soul, the center of one's own world. A country's culture shapes the character of the people who grow up there. It raises them the way fathers and mothers raise their children. It makes the Germans disciplined, the French charming and the Japanese polite -- at least that's the general perception. But what does this mean for those who grew up in two countries? Do they even have a home? Or do they have two? Why is it that, in German, the word 'home' cannot be plural? 

Imagine a girl who learned how to read and write in Poland and came to Germany when she was eight. It was only here that she learned the language that she turned into her profession. Is she really Polish? Or a child that lived in Turkey for three years, and then grew up in Flensburg, in northern Germany, in a world that was half Turkish and half German. What's her home? And a German who looks Vietnamese, who lives Germany and has only visited Vietnam during summer holidays? Does she even have a native country?

The fractured histories of our families make it difficult to clearly say where we come from. We look like our parents, but we're different. We're also different from the people we work or went to school with. In our case, the link between biography and geography is broken. We aren't what we look like. We don't know what percentage of us is Polish and what percentage is German because we don't think in those terms. We have often asked ourselves whether our sense of humor, our sense of family, our pride and our emotionality comes from one country or the other. Did we learn these things from our parents? Or in our German schools? Or by watching our friends?

We wrote about the dichotomy in our diaries, asking ourselves: Who am I, if I don't know where I come from? 

We lack something that our German friends, acquaintances and coworkers have: a place that they don't just come from, but where they belong, where they can find answers to their own questions and encounter others who are like them -- or at least that's what we imagine. We, on the other hand, come from nowhere and belong nowhere. There is no place where we can overcome our dichotomy because it lies in the no-man's-land between German and foreign culture. When we're together with our German acquaintances and colleagues, we often ask ourselves: Do I really belong? And yet, when we're sitting with our Polish, Turkish and Vietnamese acquaintances and relatives, we ask ourselves the same thing.

We yearn for a place where we can simply be, without having to simulate it. But we also know that this isn't a place, but rather a state of mind.

Our attitude toward life is characterized by alienation, accompanied by the fear of disturbing others in the harmony of their sameness. We are afraid that others will perceive us as foreign objects. It isn't a feeling we talk about very much. After all, who would understand us? We want to be normal. And, if that's not possible, at least we want to pretend as if we were.