January 5, 2026
The year ended here with good news, nine six-to-12-year-old boys and girls eating pizza and ice cream with Christmas-like enthusiasm at a kitchen table usually occupied by two senior citizens. Pizza and ice cream, the happiest way to close out 2025.
It was a major departure. Most evenings we go with our nearly iron-clad routine, maybe something from a vegetarian cookbook, maybe leftovers, old-folks chitchat. The kids came for an evening, then went home with their parents. The drill now is to brace for the further cycles of surreal news from the moral slum of the administration, in George Will’s apt phrase.
So for the present, pizza. But the coming years—the future—belong to children excited about what lies ahead in their lives.
The older grandson, Noah, who just turned 12, spent the afternoon with us. We tossed a football in the backyard, he threw mostly perfect spirals and talked about playing quarterback in high school. For the pizza pickup he carried a half-dozen fairly heavy boxes.
Since then we turned to the nuts and bolts of the trip. We have the vaccinations, the visas, the scanproof wallets. But the preparation really has to do with memory, because for Americans, Vietnam is much about memory. So we read Marguerite Duras.
Duras was born in Vietnam in 1914 as Marguerite Donnadieu. She lived there intermittently until 1933, when she returned permanently to France. She earned a law degree. She joined the Communist party, and during World War II served with the French Resistance. In 1943 she published the first of her many novels, adopting the name of her father’s hometown, Duras Lot-et-Garonne.
Duras led a life of brilliant creativity of writing and film-making set off by drug and alcohol abuse. She fell into a coma for six months, regaining consciousness in June 1989. She died in 1996 in Paris.
Her great work, The Lover, published in 1984 when Duras was 70, is a memoir, the story of a teenage French girl in Vietnam’s ethnic-racial stew of Vietnamese, Cambodians, Europeans, and Chinese, her family’s poverty, the difficult relationship with her mother and older brother, and her final departure from Saigon for France.

The memoir’s centerpiece is her passionate relationship, as a 15-year-old, with a wealthy 27-year-old Chinese man whom she meets on a ferry as she travels to boarding school in Saigon. They both know the affair had no future, their families would never tolerate it. Eventually her mother and brothers are shocked to discover it. The man helps them financially; the family sees their connection as a source of money.
The girl on the ferry becomes the girl leaning against the rail of her ship as it pulls away from the pier. She sees her lover’s car, and understands he is seeing her for the last time. Her memory of her life in Vietnam becomes a foundation of her career as a writer.
Scholar and novelist Viet Thanh Nguyen writes that “The Lover famously begins with the narrator recalling an image that either is pulled forth from memory or rose from the past to place itself before the narrator’s eyes. Duras exploits one of the fundamental, tricky parts of our recall—do we seek out memory or does it find us?”
Nguyen, professor of English, American Studies, and Ethnicity at the University of Southern California, understands memory and history. As a child he escaped Saigon with his parents in April 1975 as the North Vietnamese army entered the city. In 2015 he published his first novel, The Sympathizer, set in South Vietnam and the U.S. The book won the 2016 Pulitzer Prize for fiction.
Nguyen, deconstructing Duras’ masterpiece, explains that it leads us to the understanding of the poignant and powerful affect of memory in our lives. And at the dawn of 2026 we are looking back at the trauma of 2025: chaos and corruption of national politics, but also enduring things; the heroism of firefighters and law enforcement personnel, researchers leading breakthroughs in cancer therapy, the everyday bravery of teachers in their classrooms.
For many Americans the indelible wound of Vietnam remains a touchstone of penetrating memory, as it did for Duras, who most Americans have never heard of. That tiny corner of the globe became for two decades a stage for vast suffering and a setting for great heroism.
Unfolding as it does in Vietnam, the love affair that consumed Duras through her life and led her to creative brilliance, becomes also a beacon of the need for love of every human person. So we fast-forward to the present moment, the happy chatter of children around our kitchen table. Where does it fit, why does it matter?
We know the answer: children are our repository of memory. We watch them in the moment as they learn their world, then they’re adults, decades from their past and ours. We watch them outgrow the pizza party while we feel the years, aches, and burdens. They leave us the memories of those precious moments. They move forward to create more memories, treasured or regretted, but always new, always becoming.






