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 journey of my family. 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 now gets to travel the world through its English translation by Charles Hawley and Daryl Lindsey. The book was also 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 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 an 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 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 and a founding member of PEN Berlin.
You can contact me at hi@khuepham.de
Fiction
BROTHERS AND GHOSTS
translated by Charles Hawley and Daryl Lindsay
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.
Reviews
“The novel, like a tightrope walker, is poignantly poised above the open abyss.”
NPR
“Brothers and Ghosts is an elegant exploration of what it means to grow up in a home that does not belong to you and to inherit the emotional and cultural vacuum created by the catastrophe and trauma of war.”
The Saturday Paper, Australia
“Brothers and Ghosts is a deep look at the complexity of the Vietnam War for one family and explores how they have lost and found each other over the years, as well as one woman’s desire to redefine her life outside of the labels she’s automatically ascribed. The characters will stay with you long after reading.”
Aniko Press, Sidney
"Inspired by her own family, journalist Khuê Phạm tells a wrenching story of family, war, and memory.“
Booklist, USA
INTERVIEWS
“I felt I needed to prove myself,
it made me angry”
A conversation with Joshua Yaffa (contributing writer to the New Yorker) about the different attitudes in Germany and the US towards immigration, and the rise of the AfD
“As an Asian woman, people have a lot of assumptions about me”
The following excerpt is from an interview on Electric Literature
Eric Nguyen: Why do you think we—especially immigrants and children of immigrants—why do you think we run away from our history and culture?
Khuê Phạm: I have seen this happen over and over again to children of immigrants who grew up in a different country, this pressure to assimilate, this pressure to become normal, to become like everybody else around them, the feeling that it’s so much cooler to be German or American or French than Vietnamese.
Growing up in Germany, I felt a constant sense of distrust. People would always ask me, “where are you from?” And I would say, “I’m from Berlin,” because I was born in Berlin and I had a German passport and I speak German so much better than my crappy Vietnamese. Yet people wouldn’t believe me. They would always say “No, but where are you really from?”
This nagging question gave me the sense that somehow, I would always be so different and I would never be accepted. It made me quite angry and I think it made me quite angry at my Vietnamese heritage.
In your book, Kiều asks, “how much does it take to understand where you come from?” How would you answer that question?
I am still trying to understand where I come from. I wrote this book because I feel that you cannot really understand yourself if you don’t understand your family. When Kiều goes to California to spend time with her relatives, she moves outside of her comfort zone into a zone that is unfamiliar and scary to her. She doesn’t speak Vietnamese very well. She feels that somehow her family is holding her back. But the more she engages, the more she realizes that a lot of her own values are shaped by the values of her family.
The dark experiences of being a refugee, of being in a country at war, they’re covered in silence, but somehow that silence is passed on from one generation to the next. We have it in us, we just don’t really know how to name it or how to find it.
Do you see feminism as changing between different cultures and generations? And what do we do with that?
I guess my way of feminism is influenced by having grown up in the west and being very self-determined. But I do feel I actually have an additional layer of feminism due to the fact that I’m Vietnamese. As an Asian woman, people have a lot of assumptions about me, and that often leads to people like me being underestimated.
I think people like me have to be much tougher to raise their voice and make themselves heard. My female characters are testament to that. On one hand, you may underestimate them when you first see them, but when you look deeper, you realize how strong they are.
“Looking at the Vietnamese community in the US, I always felt a sense of envy”
A very personal conversation with Kenneth Nguyen about growing up in Germany, getting into writing and reporting on the fallen Hollywood Star Kevin Spacey
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 Kiều, The 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.
Journalism
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 profiles and interviews, exploring political as well as cultural topics
In Germany, a far-right party just won a state election - the first since WWII
To second-generation immigrants like me, the rise of the AfD brings back an old fear: How dangerous is the threat of racism? (an op-ed for USA Today)
I never thought people like me voted for the far right. I was wrong
In Germany the AfD uses second-generation members to overhaul its xenophobic image – some buy into the message (an op-ed for the Guardian)
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
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
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”
Tyler Mitchell
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?
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
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. KIM has been on tour in Germany and Taiwan
Theatre
Non-Fiction
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.