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Nguyen Ngoc Tu's short story style - 14


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Bau Mot Dam



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Dried loach

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Burning Earth



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Coconut water

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Boat



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Southern folk music/reformed opera

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Canoe



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Theatre

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Pole



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Duck egg lamp

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Ferry



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Lamp

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Shrimp tail machine



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Ao ba ba

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Interest cover



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rotten batch

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Barge



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Carrot

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Triptych



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Duck running in the field

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Nguyen Ngoc Tus short story style - 14

[8.1].

Initial statistical table of word classes that evoke impressions of the "river culture" of the Mekong Delta in Nguyen Ngoc Tu's short stories.

It can be said that the frequent use of the above “impressive layers of words about river culture” has contributed to making the realistic picture of life and people in Nguyen Ngoc Tu’s short stories more realistic and vivid; helping readers better understand the characteristics of the terrain of rivers and canals - in some ways, it is also a very unique and characteristic cultural feature of the Mekong Delta compared to other regions of the country.

3.3.4. Creating and transforming the "everyday" language of common people into literary language

Besides the skillful and effective use of local vocabulary and words with the impression of river culture , another very impressive and unique thing in the language of Nguyen Ngoc Tu's short stories shows the ability to creatively apply to turn the "everyday" language of common people into a very unique literary language.


This issue, in our opinion, must first be said that the language in Nguyen Ngoc Tu's short stories (from the narrator's language to the characters' language) is mostly the "language" of people living in the countryside, fields and gardens, not the "language" of people living in the city. It can be seen that most of the subjects that Nguyen Ngoc Tu reflects in her short stories are people living in the countryside. Therefore, when studying the language in Nguyen Ngoc Tu's short stories, we realize that her way of expressing and writing is often simple, rustic, and humorous, so it is also very easy to read, easy to understand and easy to feel. This is also a proof that affirms the influence of the environment and culture of the Southern region on Nguyen Ngoc Tu's perception and artistic thinking. Below are a few typical cases that we have surveyed:

To express sadness, Nguyen Ngoc Tu has very "popular" expressions such as: "sadness of war" ; (...Thanks to the section between the two songs that says "I'm looking for a sad war child" - "Cai oi") ; "sadness of the district level" (Luckily, Xuyen hid these things in her heart, it must be said that sadness is the district level champion , not to mention this small So Le nose - "Duyen phan So Le") ; "sadness as if about to jump into the river and die" (Looking up from the boat, the woman's face is sad, sad as if about to jump into the river and die - "A look of anguish"), sadness in the heart (Suddenly I hear sadness in my heart... - "A love affair")...

To describe someone's act of running away, Nguyen Ngoc Tu has strange expressions such as: "running away with smoke", "running like crazy", "running like crazy", ...

- “I am so sad, people like Quach Phu Thanh are famous in Hong Kong, I am missing an h, I am just a loner on the side of Cho Lon. Many days I had to lie down and listen to the pouring rain, many days I had to stand checking tickets and get chased away by local thugs . (Cai oi)


Another unique feature that shows Nguyen Ngoc Tu 's creative ability to turn the "common" language of ordinary people into literary language in her short stories is that she often uses the comparative structure: "A like B" in her writing process.

This is a very lively and funny way of speaking, “both familiar and strange”, of the young female writer Nguyen Ngoc Tu. This shows that she has a very serious and responsible sense of artistic work. It is not difficult for us to come across a series of these comparisons in her stories such as: “she is thin and thin like flattened rice ”; “a voice as soft as young silk leaves ”; “that thought is as full as water rising to the surface of a dam ”; “plays mock each other, bee-like, like a hen calling to lay eggs ” ; “ the thumb that presses betel has worn out like the eighth moon ”; “ the bent tree has been pruned, its branches are bare like a severed hand ”; “ the voice of the tea seller is like singing, from the withered lips, curved, sweet, and each sound and word is smooth ”; “ everyone hears the pain and sorrow, as if someone used a bamboo blade to cut back and forth in their hearts ”; “ his voice is getting hoarse, it sounds like burnt rice in a pot overcooked ”; “the gentle wife’s shirt is so beautiful but her singing is like an old woman’s shirt ”, “her hair has fallen out, leaving a forehead as wide as Tra Noc airport”.

It can be said that the habit of using words as above makes the language in Nguyen Ngoc Tu's short stories close to the daily language of rural people in the Mekong Delta, which contributes to creating a clear, simple, uncomplicated writing style and is somewhat colloquial, rustic, and genuine but still creates a very high emotional and aesthetic effect; helping readers easily recognize Nguyen Ngoc Tu with her contemporary writers. Let's read a few passages of Nguyen Ngoc Tu below to see this issue more clearly:


“ Ai is so bad, she left her husband and followed someone else. Knowing that she is so spoiled, I would rather give birth to a chicken egg or a duck egg. Okay, it's over, I don't consider her my daughter anymore in this life. Then I blew my nose and said: "Look carefully, is it true that Trong's family can only have men ?" (A love affair)

Or: “ He stopped at the cajuput trees, touching and examining each leaf and flower with his hand, like greeting an old friend he had just met. Then he walked to the end of the wharf, stood under the old mangrove trees he had planted to keep the land from eroding, and let the yellow flowers of the sun fall on his crew-cut, silver-white head .” (Remembering)

In summary, through studying the language of Nguyen Ngoc Tu's short stories, we see the following problems:

Firstly, the most prominent and impressive point in the language of Nguyen Ngoc Tu's short stories is the awareness of exploiting and effectively using the local vocabulary of the South as well as the layer of words that evoke the impression of "river culture" imbued with the character of the South.

Second, in addition to maximizing and effectively using the local vocabulary of the South, Nguyen Ngoc Tu also shows the ability to creatively apply the daily speech (rich in images and expressive nuances) of the people of the Mekong Delta in a very unique way. It can be said that all of the above contribute to creating a simple, honest, and rustic writing style; a clear, uncomplicated but graceful, rich, and truly lovely way of expression and writing. As writer Nguyen Quang Sang said when he commented on the language of Nguyen Ngoc Tu's short stories: "The dialogue in Tu's writing is not at all mixed, purely Southern, but readers can still understand and feel it completely. The greatest thing Tu has done is that she has the merit of elevating the common language of the Western people into literary language" .


Finally, if we say that language is a mirror reflecting human thinking, then the language in Nguyen Ngoc Tu's short stories clearly shows her artistic thinking about approaching life's reality from a cultural perspective . More specifically, through the use of language in Nguyen Ngoc Tu's short stories, we see that the language of her short stories clearly shows the cultural, social and human qualities of the Mekong Delta region in a specific and vivid way. This feature, to some extent, can also be seen as a very strong "inspiration for the source" in looking at and approaching life's reality from a cultural perspective - a unique style of Nguyen Ngoc Tu.


CONCLUDE


1. Author style is a fundamental category of special significance in literature. For authors who have made significant contributions to the growth of a literature, studying style is a necessary and scientific task to discover the laws of contemporary literature and honor the beauty of their literature. When studying style, it is necessary to pay attention to consistency, creating a unique creative identity that readers cannot confuse with any other writer. Through surveying, statistics, analyzing, and synthesizing some unique aspects of Nguyen Ngoc Tu's literature, we have shown that Nguyen Ngoc Tu is a writer with a quite unique style. A style that the author has quietly, persistently, faithfully, and sometimes silently created through his artistic explorations in the land where he lives and creates.

2. Nguyen Ngoc Tu's artistic style is expressed in a system of many unified elements in an organic whole. The element that dominates the whole system and becomes the core of Nguyen Ngoc Tu's artistic style is the identity of the Southern cultural region with its unique features. First of all, those are the most distinct and most diverse characteristics of the river delta compared to all other regions. The river culture along with the personality and way of dealing with people of the Southern region is the unique reality of Nguyen Ngoc Tu's works compared to writers of the same generation. Nguyen Ngoc Tu perceives people in the form of everyday humanity. In the process of creating, Nguyen Ngoc Tu does not idealize people. Nguyen Ngoc Tu feels that in each person, everyone has qualities, habits, good things, bad things and of course qualities must be the basis for a sustainable moral foundation. According to Nguyen Ngoc Tu, people are always attached to a family, a homeland, a profession. There, they have relationships

system, there is joy and sadness, there is happiness and suffering. Originating from


With a humanistic and everyday sense of people, Nguyen Ngoc Tu rarely seeks profound philosophies of life, but from that sense, she sends her faith in the qualities and the resilient vitality of people in all circumstances. The writer feels the reality of life and its complicated everyday nature. That "complicated everyday life" has both happiness and tragedy, love and suffering, sweetness and bitterness... That is the difference between Nguyen Ngoc Tu's literature and other Southern writers.

3. In line with the perception of people, the world of characters in Nguyen Ngoc Tu's works has its own characteristics: That is the everydayism in Nguyen Ngoc Tu's literary character building with the artists of the countryside. The South is a land famous for its theater troupes, endless nights of listening to music in the "garden" region, in small shops in the Tien and Hau rivers. There are popular artists who are skillful in their craft, and art audiences who are always ready to participate in the "game" of art. The fate of popular artists is a topic that many Southern writers are interested in, building into artistic images. Along with that is the image of the hard-working, hard-working, "two dews and one sun" Southern farmers, diligent, industrious, simple; doing many jobs to make a living and still cannot escape the word "poor". Nguyen Ngoc Tu has made the picture of real life in the Mekong Delta more vivid. The poetry in the beauty of the soul is the unique and unmistakable feature of Nguyen Ngoc Tu. Dominating the world of characters is Nguyen Ngoc Tu's artistic concept of humanity with a compassionate view.

4. Nguyen Ngoc Tu expressed his feelings towards the colorful life through a unique aesthetic means - his own storytelling style, artistic tone and unique prose language. Nguyen Ngoc Tu's main artistic tone is sad but not dejected,


calm and composed voice, intimate, humorous, humorous but profound tone and typical Southern tone. This dominant tone contributes significantly to identifying the "face" of Nguyen Ngoc Tu's literature. Nguyen Ngoc Tu's literary language has a simple and rustic beauty. Through survey, statistics, analysis and synthesis, we see that Nguyen Ngoc Tu's language system is very simple, natural, and imbued with the local character of the South. It is most clearly expressed in three aspects: the system of local Southern words, the impressive word layer about "river culture", creativity and transformation of the "common" language of common people into literary language.

5. Like many other writers, besides her successes, Nguyen Ngoc Tu still has some so-called "weaknesses" in the art of writing stories: readers begin to feel "boring" and somewhat repetitive in the system of topics she chooses. However, since her appearance until now, Nguyen Ngoc Tu has been considered a young contemporary writer, with strong writing ability and abundant, strong creativity, a writer who always masters her pen. Along with the ability to self-study, self-explore, and create, we completely believe that she will go far on the path of art and reap even more success.

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