
September 2022
Jean-Luc Currie | 20 Minute Read | Volume 1, Issue 4
Jean-Luc Currie
20 Minute Read
Volume 1, Issue 4

1. Hanoi
1. Hanoi
1. Hanoi
Hanoi is a fluid, dynamic, cacophonous place. By early summer the sun beats down mercilessly on a tangle of streets filled with shopkeepers, freelancers, and thousands upon thousands of tourists. The roads are filled with a jumble of scooters, motorbikes, cars, bicycles, and pedestrians mixed together with little discernible pattern.
I sat one day watching the traffic, drinking a Vietnamese coffee, trying to make sense of the mayhem in the street. Finally things clicked into place. The honks and beeps of the trucks, cars and motorbikes were small communications to say, “Hey! I’m coming up behind you!” or, “I’m turning into traffic!”, or “Slow down!—I’m making a left turn!” as they zoom toward an intersection. This last one is fairly important as there are very few intersections with working traffic lights, and blinkers are available but infrequently used.
As I watched the elaborate game of chicken, I eventually surmised two rules of the road. First, right-of-way is primarily determined by size. Second, right-of-way is determined by who honks first, loudest, and most often.
We travel to satisfy an inner longing.
I think it differs in degree, but not in kind, from the same longing that induces a young man to join the Marine Corps: a longing for adventure, recognition, and education. We want and expect something to happen to us on our travels so that we come back a different, more mature, more interesting person. We expect travel to be a rite of passage in our journey toward adulthood.
In the early summer of 2018, I travelled to Vietnam with a friend as a capstone to my two-year tour in Okinawa. The trip was a last hoorah in the eastern Pacific before flying home to the burgers and fries, the Wal-marts and Krogers, and the vast prairies and soaring mountains of America.
Most of what I remember began as journal entry in the 14 days I spent there. It reflects my thinking at the time, where I was emotionally, professionally, and personally. I was wrangling with my identity—what did it mean to be an individual and a Marine? I was wrestling with my direction and value—where would I find fulfilment and how do we create meaning from ordinary existence? I was battling with my relationship to the modern world—how does technology affect me and how do I want it to affect me?
This essay doesn’t describe a profound story of travel and transformation, as much as that narrative exists in the popular imagination. It’s more realistic to note that real change happens to us slowly, over time, in the banality of everyday living. As Annie Dillard notes, “How we spend our days is, of course, how we spend our lives.” Instead, I share my memories—varied, fragmented, peculiar items that remain in my mind. It’s a stained-glass mosaic that appears whole only when viewed from a distance. Such memories are often all we have at the end of a journey.
2.

The Hanoi Hilton
The Hanoi Hilton
2.
Hoa Lo Prison is located on the south side of Hanoi’s Old Quarter. One finds the east facing entrance down a shady street, lined on each side by overhanging trees. In white letters that speak to the French origins of the site—and French occupation of Indochina—are the words “Maison Centrale”, or Central House, a French euphemism for a prison. Glass protrudes from the top of the dusty, yellow stone ramparts—to keep people out—and keep prisoners in.
From its construction in 1896, the prison housed Vietnamese political prisoners. The official literature of Vietnam estimates that 1,651 Vietnamese people were interned between 1896 and 1954. Period and intensity varied, but the Vietnamese themselves classify their internment there into three distinct eras:
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The period before 1930. 110 “feudal intellectuals” who struggled against French colonists.
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The period between 1930 and 1945. 607 prisoners composed of Revolutionary soldiers, members of the Communist Party, and other patriots.
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The period between 1945 and 1954. 872 people composed of party members, patriots, officers, soldiers and guerillas.
From the Vietnamese perspective, the prison’s history is fraught with injustice, abuse, and degradation. But the prison’s history is as much a testament to banal, bureaucratic efficiency in torture and abuse as it is to the indomitable human spirit. As so often happens in the human experience, the worst adversity breeds the strongest resistance. When the French imprisoned the Vietnamese, it quickly became a school for indoctrination and political activism. One official plaque reads, “The revolutionary spirit of the communists could not be dampened by severe and brutal regulations in the prison imposed by French colonits [sic]. They turned the prison of the empire into a revolutionary school and maintained an undaunted loyal quality.”
In present day Vietnam this “historical relic” is used as an historical and cultural education tool—the Vietnamese literature on the prison calls it a “red address” for “education and communication on the patriotic and revolutionary tradition for Vietnamese people of all strata, especially young generations."
A plaque labeled “Cell E” tells the visitor that the French enacted ‘draconian policies’ that prevented communist inmates from communicating or forming prisoner organizations. “However,” it reads, “Vietnamese communists still found many ways to maintain their will to fight and build solidarity among prisoners and demand that jailers treat the political prisoners properly.” Ironically, this could be a description of the American experience at the hands of Vietnamese jailers only a few decades later.
In 1954, when the French and Vietnamese brokered peace and Vietnam gained its independence, all Vietnamese prisoners were released from Hoa Lo. Nine years later LT Everett Alvarez was the first U.S. pilot brought to the prison at the advent of the United States’ war with Vietnam. From his arrival on August 5, 1964, until February 12, 1973, the Vietnamese interned over 700 U.S. service members there. However, the Vietnamese failed to learn from their own experience. In an eerie facsimile of the French blueprint, they tortured and abused the prisoners of war who arrived at the “Hanoi Hilton,” creating a breeding ground for resistance in the heart of Hanoi.
However, Vietnam doesn’t acknowledge the regime of torture and abuse carried out against American prisoners of war. An exhibit inside the prison reflecting on the period between 1964 and 1973 shows happy scenes of servicemembers playing basketball and volleyball, raising chickens to ‘improve their meals’, smiling during games of chess, and receiving gifts on Christmas Day. The blatant refusal to acknowledge that system of abuse and the willingness to rewrite history raises questions around narratives. “History is written by the victors,” goes the phrase. In the United States we strictly maintain that U.S. pilots were harshly tortured in the Hanoi Hilton. In Vietnam they maintain the opposite. These two narratives co-exist, living side by side, serving the particular purposes of the people at whom they are directed.
So much of Vietnam is fueled by tourism. In 1990, less than 2 million tourists visited Vietnam per year. Before COVID-19 brought the tourist economy to a grinding halt, nearly 18 million people were sojourning to Vietnam annually and the tourism industry accounted for 9.2% of the country’s GDP. And for good reason—it’s a well-oiled tourism machine.
Booking shops in Hanoi are as plentiful as churches in the American South. Each one offers package deals to trek in Sa Pa or cruise on Ha Long Bay or experience a food tour in Hanoi, and myriad other amusements and adventures which only scratch the surface of such a vibrant country. On the advice of a friend, we booked a cruise aboard the Dragon’s Pearl Junk (it was more luxurious than it sounds) run by the Indochina Junk Company. They operate a local booking office in the Old Quarter of Hanoi and an online booking service complete with “live chat”. The attendants spoke relatively good English, and—no doubt—other languages as well.
The cruise included pick-up in a “luxury van”—complete with WiFi, odd interior LED lighting, and leather seats. A host greeted us at the rendezvous and entertained us with stories and facts throughout the road trip from Hanoi to Ha Long Bay. Upon arriving, I saw that the company operated a fleet of those vans—somewhere between 10 and 20—along with the required drivers and hosts. The trip to Ha Long Bay included a stop at something like a factory in the middle of nowhere. It became apparent, after comparing stories with other travelers, that this shop in the middle of nowhere was set up exclusively for us. It was a tourist trap which we had no choice but to walk into.
In the front of the large, warehouse-like building, a small army of men and women stitched tapestries of all sizes. Three or four men, who gave off the aura of supervisors, walked through the aisles of seated seamsters and seamstresses. It gave me a creepy feeling: This is the Indochinese equivalent of Dickens, I thought to myself. The back half of the building showcased goods and textiles and souvenirs and snacks and a restaurant. Young women between 16 and 22 years of age dressed in uniforms of white shirts and black skirts stood by attentively with smiles plastered on their faces, prepared at a moment’s notice to assist us. Dystopian and slightly unsettling, the entire experience reminded me of the vignette in Cloud Atlas where identical waitresses served endless customers in the Papa Song restaurants. I wondered what happened to all these people when the tourists left and the lights turned off. Or stayed on.
We finally arrived at the port. Dozens of cruise ships of all shapes and sizes floated peacefully in the bay. Helpful attendants carried all of our baggage from the van into our swanky room aboard the Dragon’s Pearl Junk.
Ha Long Bay is a sacred place in Vietnamese folklore. Ha Long means “descending dragon”, and refers to a mother dragon and her children that rescued the Vietnamese people from invasion thousands of years ago. It is whispered that she resides in the bay to this day, and the limestone mounds rising from the water look conspicuously like a dragon spine resting just beneath the surface. As we floated on the bay, I sat on the deck of the ship and wrote the following in my journal:
The limestone cliffs rise fantastically from the water. The strata along the cliff-faces are clearly visible, multi-colored layers of gray, white, charcoal and red. They are mounds upon mounds, immovable monoliths. Falling like hair down from their ridges are trees and bushes. These cling to the sheer faces of the cliffs—there is no soil to sink roots. Above, the clouds are low and thin. The sky, pale blue with hints of pink and orange on the horizon.
There are families of local fishers – they live on flat boats. Their boats are a patchwork of wood and tarps and flotsam. The one before me flies a small, red Vietnamese flag from its prow. A clothesline hangs between the flag pole and the flat-roofed shack on the deck. A red cloth (is it a dress?) hangs off the clothesline. The wood of the small house-shack is painted turquoise. The family is seen on the deck; a shirtless man squats in front.
To be a part of this world, and not merely a spectator, we must interact with each moment and allow it to change us. There is the potential for the entirety of life to be captured, felt, in a moment. I ask myself: how does green water, the small boat framed in front of the cliffs, the sound of the motor purring, the crickets and insects droning in the background, the occasional birdsong, the soft wind across your face, the sinking sun reflected off a lone-white cloud, the drifting, gray smoke-puff clouds, affect you? What does it teach you? What can you learn?

4.
The Train Car
4.
The Train Car
4. The Train Car
Our small sleeper car included four bunks. There was hardly space to pack four people into the tiny compartment, and if one person needed to get up then everyone else had to sit down to allow them room to maneuver. My friend and I sat on the lower bunk on the right side of the car facing two very elderly Vietnamese men. Their names were deep and tonal, sounding very similar to my untrained ear, and both began with a “T” (we think). They brough their dinner with them, eating the delicious-smelling food in the small car. We wished we had brought something more with us as well. As the train gathered speed, heading south, we began to talk.
“Talk” is a generous description. They hardly spoke English, and our Vietnamese was just as rudimentary. Instead, we communicated through the few English words we knew. One of the men pulled out a piece of paper. He began drawing stick figures to represent his family, his sons and daughters, and his grandchildren. We all took turns drawing our families. They asked about our occupation. We drew that out as well, to the best of our abilities.
After an hour of this broken, but effective, communication, we climbed into our respective bunks and fell asleep. In the morning the two happy, amicable gentlemen clambered out of the car before we reached our final destination. After they left, I looked at my friend and fellow Marine. “How old do you think they were?” I asked, guessing their age to be in the early 70s. “Do you realize,” I said, “that those men were likely fighting U.S. Marines in the Vietnam War?” Silence settled over us both as we considered the weight of this realization. Fifty years ago they might have been trying to kill us, and us, them, and now we sat in a train car swapping stick figure pictures and laughing at our less-than-successful attempts to sketch our lives into focus for the other.
War is a funny thing.
6. Paradise Cave
6. Paradise Cave
6. Paradise Cave

Technology has changed the way we travel. For starters, one cannot travel anonymously anymore. Everyone has cell phones. Everywhere offers WiFi. One can be pinged, tracked, filmed, selfied, watched, reached, and messaged no matter the location. A conversation in a foreign bar turns into a connection on Facebook or a follow on Instagram.
Smart phones were ubiquitous in Vietnam—among both tourists and locals. I passed groups of young Vietnamese men sitting on the sidewalk absorbed in their devices. I observed one young local woman soliciting passers-by for a massage at a spa, but she could hardly peel her eyes from her message screen. She would stare at the phone while waving down tourists as they passed, only occasionally glancing up to see if anyone took notice or feigned interest.
Technology followed us even into the remoter parts of the country.
From Phong Nha we ventured out on rented Vespas to Paradise Cave, pushing the small machines to their limits on the winding mountain roads. When we arrived, I ventured down the winding set of steps into the cave, my eyes slowly adjusting to the dim electric lights. I stopped, gazing around me. I noticed three distinct rock formations, masterpieces chiseled by running water over time.
In the first, the stalactites ran down the walls, looking like rows upon rows of teeth piled one on top of the other.
The second pattern was the most beautiful, delicate folds that spilled down the wall like a billowing cloak.
The third rock formation looked uncannily like jellyfish carved in relief, fields upon fields of them, climbing and bouncing over one another, floating in a sea of brown and sand and rock and stone.
And in the midst of this unparalleled beauty, I heard jazz music.
A couple walked hand in hand while listening to a speaker that blared jazz from their backpack. Another group moved one hundred meters into the cave and promptly began complaining that “it was all the same”, and “seeing the first part is just like seeing everything else.” I doubt they noticed the jellyfish surreptitiously ballooning their way around the rock walls. I watched another cave visitor video the entire experience on his iPhone. Too focused on the screen, he never actually looked at the cave around him.
While a cave like this used to be more difficult to visit, now tourists can opt for a golf cart ride to the entrance, avoiding the hot, steep twenty-minute hike. The democratization of the world’s natural wonders faces the same consequences as democratizing fine art—we cheapen it. Instead of responding with awe, we respond with contempt. Anyone can drive to the site, pay 250,000 VND (roughly $10 at that time), take a golf cart to the entrance, and then walk a few steps. We rob ourselves of beauty through laziness because we peel away the effort to appreciate it. We get what we pay for. Those who cable car to the top of a mountain appreciate it in exactly the proportion to the effort involved. “Beauty will save the world,” writes Dostoyevsky, but will it save us if we're too lazy to notice?
After time in the seaside resort town of Hoi An, we moved further inland to Phong Nha, an area renowned for its rural beauty, vast natural caves, and relative isolation from tourism. We stayed at the one large hostel in town, the Easy Tiger, a building filled mostly with Europeans on backpacking holidays or gap years. The large outdoor patio was packed with revelers drinking Saigon Beer until early in the morning.
At the time, Phong Nha was a dewy flower waiting to be plucked. Travelers from western countries supplied the demand, longing for a unique, lifechanging experience away from the oft-trod tourist paths. Companies and entrepreneurs saw an opportunity to get in on the ground floor. The end result will be, I thought, a Phong Nha that loses its innocent, bucolic luster. Plucking the flower kills its beauty.
The landscape around Phong Nha, a village by the lowlands of the Song Con River, is a series of mounds that rise sharply from plains of rice fields. These small mountains shoot up rapidly, twisting into unbelievable shapes. Some are soft and round; others sharp and angular. They are often connected by deep saddles, the rising round towers covered in endless green. Green, the defining color, blazes across the fields, softly adorns the mounds and mountains, and rests, rich and dusky and fertile, on the rice paddies. These limestone mountains and hills, although covered in trees, look like one continuous verdant curtain.
The Marine Corps puts a great emphasis on learning from the wars and battles of the past. Being stationed in Okinawa meant that three wars took preeminence: the Island Hopping Campaign of WWII, the Korean War, and the war in Vietnam. Before leaving for the trip, my Battalion Commander asked me to take some notes on the topography of the country. I had read books like Matterhorn by Karl Marlantes and Fields of Fire by Jim Webb. We had studied the urban fighting in Hue City, and we were all familiar with the Tet Offensive and its ultimate impact fomenting negative American sentiment toward the war. Just like talking to the two elderly gentlemen on the train, trekking through the jungles of Vietnam was a surreal experience. The caves I visited as a tourist were used as hiding places during the war for ammunition, supplies and people. It brought a whole new level of reality to my reading when I walked the jungles through which young Marines and Vietnamese men played deadly games of cat and mouse fifty years before. Death behind any tree, down any slope.
Dutifully, I wrote a short report after we returned to our hotel that evening. It’s written in the terse style expected of a military report. Here’s an excerpt:
Within the jungle, visibility is restricted in the high ground to ten meters due to thick foliage. Limestone rocks stud the hillsides. Descents and ascents of the mountains are rapid, slopes of greater than 7:1 in most areas. At the lowest points of the valley, near the rivers, visibility increases to 15m but foliage remains dense. Other hazards present themselves near the rivers, especially poison ivy. The problem of insects can hardly be overstated: horse flies abound, bees, mosquitoes, and flies to name a few. Outside the valleys the mountains are characterized by deep draws and steep fingers.”
I tracked our hike via GPS, and later calculated exact slopes, putting our average at a 12% grade into and out of the valley. I thought about our guides, the men who carried equipment into the jungle, writing in my journal,
"The locals are workhorses. On our trek through the jungle they carried backpacks of equipment improvised by attaching 550 cord and back straps to an empty rice bag. On longer excursions, it’s rumored they carry 40 kilos per man."
Carrying 100 lbs. per person up and down gradients of 12% is difficult, to put it mildly. One of them, I recalled, hiked in flip-flops. Their fathers probably carried similar loads up and down these hills, but their bags were full of ammunition, provisions, and weapons, not cooking supplies and food for a tourist group.
I wish I could say I came back from Vietnam a different person, but I didn’t. After every trip I return to real life. The adrenaline recedes. The adventure subsides. The world map hanging in my office, full of pins showcasing my travels, isn’t actually seen by that many people. And despite my journeys, I still say inane things and act foolishly, sufficient evidence that no amount of travel can cure me of the chronic condition known as stupidity.
In other words, if I travel for adventure, recognition and education, then my travels are always destined to fall woefully short of my expectations.

5. Phong Nha
5. Phong Nha
5. Phong Nha

7. Sa Pa
7. Sa Pa
7. Sa Pa
The final leg of our trip took us north and west, 50km from the Chinese border.
We lived in a Hmong village for four days with Mama Chau and her family. The father, who we called Papa John, worked a series of rice fields. Together they had three adorable children: Foam, age 8; Banana, age 6; and Lily, age 3. The Hmong village was nestled into the side of a mountain south of Sa Pa. The valley ran south-east and north-west. The mountains on either side rose thousands of meters. In the north and off to the west in the distance was Fansipan, the tallest mountain in Vietnam, rising over 3300m.
Southward, on the other valley wall, were four large, fat fingers with huge draws, forming a green sausage-like hand resting on the slope. Rice terraces rose until they blended into one another, then ended completely in the solid green of the mountainside. Distant blue mountains became only outlines. Mud walls snaked their way down the valley, the water contained in the fields between them glistening in the sun’s fading light. In the evening the clouds swirled thickly at the crests of the tall mountains but further away disappeared altogether in mist. And in the morning the valley cradled the heavy, dew-soaked clouds, which rested on the valley floor before making the slow, arduous ascent higher and higher towards a bright blue sky.
In the evening, as soon as the sun touched the horizon, spiders emerged. Life was such in the valley that they were no menace. They hung by the dozens from every corner. Inside they built webs from the rafters. If the door stayed open too long an enterprising spider spun her web across the entrance. There were no sterile walls, or cracks filled with grout, or men who sprayed for bugs. Man did not insulate and separate himself—he lived in the middle of nature herself. This meant things were never “clean”. The constant rain made the world a continuous mud bowl, and feet and legs were constantly dirty. The rice paddy dais walls were a mixture of large stones, smaller rocks, and mud, and the kids played all around these terraced fields, running on the mud walls with the skill and alacrity of gymnasts: chasing one another, rolling in the dirt, flinging mud balls. Houses were not fortresses to keep the world at bay; they were nests for men.
The steep terrain precluded the formation of large, flat rice fields. As a result, the rice paddies were cut into the sides of the valley walls at varying height intervals, like ascending daises, giving the appearance of a topographical map. In the evening, under a pink sky, I watched the reflections float through those rice paddies—some fully seeded, awaiting harvest for dispersal; some newly planted, sparsely and at intervals; some full only of water; and finally those neglected dry mud pits needing water and care from a rice farmer.
Working in the rice fields is a family affair. The men do the heavier manual labor, forming the fields, moving the mud, and the women and children perform the planting. At first they seed only a few fields, leaving large muddy patches across the terraced paddies. When these first fields have grown thick, roughly eight inches tall, they pull all of these shoots and use them to seed the remaining fields. The shoots have two or three leaves, like long blades of grass, attached to a small, round, white bulb. Two or three of these bulb shoots are replanted in the barren paddies, squished in the mud at 4-6” intervals. These multiply and are used to seed new muddy fields.
The Hmong are a sturdy, lithe, hardy people. The women, who average 4’6” tall, jump naturally between mud walls or haul baskets of food and goods up and down the mountain pathways. Their smiles are broad and open; their eyes bright. I watched women in the market butchering full grown hogs, slicing heads, sorting organs, weighing meat. Others sorted fish in buckets and coolers. They chopped and diced and skinned and fileted. As I watched this Hmong family and the villagers around them, I realized they were producers, and that this was a producer society. They rise early. They work in the fields from sunup to sundown. They rake, hoe, and plant. They cook all of their food over fires in a separate kitchen. They laugh; they tease; they are industrious. They live in relative squalor yet I thought they understood their own meaning and existence better than I did.
We spent the days trekking across the valley, or over mountains, guided by Mama Chau or her mother. The walks provided the opportunity to think—to reach into the rice paddy of my own mind and pull my thoughts up by the bulb; to turn them over, inspecting them from various angles, really studying them, and then planting them again in the squelching, fertile soil of new pastures. I shook them out from their hiding places as one shakes out a rug, watching the dust fly through the air. I wandered through the gaps in my own education and development. I criticized myself and compared myself to the people around me. Did their happiness derive from their ability to produce? Was part of my angst the result of endless consumption? I wondered at the time how someone who had been afforded so much opportunity could feel so lonely and inadequate. Thoreau said he went to the woods to front “the essential facts of life”. He isolated himself to explore life’s meaning and arrived at “simplicity, simplicity, simplicity”. I observed a certain amount of simplicity here. Were they any happier? Really, deep down beneath the surface. Were they?
3. Ha Long Bay
3. Ha Long Bay
Ha Long Bay
3.


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