THE LEGENDARY TALKS
— The Legendary Talks - 8
GOLDEN WORDS
An Exclusive Interview with Võ Thị Như Mai
Interviewer: Thuận Hải
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Poetrycontains a spiritual world, much like spatial geometry, which I once loved: planes and shapes layered together, opening up dimensions of imagination.
— Võ Thị Như Mai
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Võ Thị Như Mai — A Cultural Bridge for Vietnamese Language and Heritage in Australia — with a deep passion for the Vietnamese language and culture, is not only a dedicated educator but also a vital cultural ambassador helping to preserve and promote Vietnamese heritage in Australia. Based in Western Australia, she teaches in a local government school for more than 20 years while actively translating and publishing significant works that bring Vietnamese literature closer to an international readership. For over two decades, she has inspired generations of young Vietnamese-Australians with her commitment to language education and cultural identity. Her contributions were recently recognized by the Vietnamese Consulate in Australia. And she was awarded with certificate of excellence for her outstanding efforts in preserving and promoting Vietnamese language and culture.
Beyond her achievements in teaching and translation, Như Mai is also a passionate writer. And, her creative works reflect genuine emotions and serve as a bridge between two cultures. Moreover, her poetry and prose offer sensitive insights into Vietnamese life and identity, connecting with readers across cultural borders. Như Mai is also the founder and editor of “The Rhythm of Vietnam” (https://vietnampoetry.wordpress.com/— a bilingual website that has been running for over 15 years. Through this platform, she not only shares her own writings but also promotes the voices of other Vietnamese and Vietnamese-Australian writers, creating meaningful connections across communities. Hence, her tireless work makes her a guiding force in sustaining the rhythm of Vietnamese language and culture abroad.
The following interview was conducted by Thuận Hải in Vietnamese. She is a reporter from The World & Vietnam Report — a publication under the Ministry of Foreign Affairs of Vietnam. The interviewee has benevolently translated it to English for The LINGO LEXICON.
Editor
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Thanks to poetry, I’ve been able to “build” a mobile homeland in my heart, wherever I go.
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Thuận Hải: Vietnamese poetry, with its lyrical quality and emotional depth, holds what significance to you in preserving cultural identity while living abroad?
Võ Thị Như Mai: From an early age, Vietnamese poetry and literature became an inseparable part of my memory. As a child, I loved listening to my mother’s bedtime stories, then copying poems by hand into notebooks, cherishing every word. Whenever my father returned from work trips, my most anticipated gift was a new poetry book. And, I still clearly remember the first poetry book he gave me as a reward for doing well in school: a collection by Xuân Quỳnh. Since then, the Vietnamese language and literature have become like a warm, protective home for my soul.
Growing up and moving overseas, I realized that Vietnamese poetry isn’t just beautiful in rhythm or form, but also a sanctuary for the Vietnamese spirit — overflowing with emotion, preserving our voice, and holding memories and hopes. Poetry contains a spiritual world, much like spatial geometry, which I once loved: planes and shapes layered together, opening up dimensions of imagination. Thanks to poetry, I’ve been able to “build” a mobile homeland in my heart, wherever I go.
To me, Vietnamese poetry is vast and diverse in themes, styles, and movements. So, I try to keep up with poetry in Vietnam, from official organizations and independent writers to both traditional and experimental works, whether published in print or online. Living abroad, each Vietnamese poem I write is like a thread tying me to my roots, reminding me who I am, and always sparking gratitude.
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I see poetry translation as a cultural bridge that conveys both language and feeling, helping Australian and global readers empathize with Vietnamese hearts.
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That’s why, I deeply value the opportunity to share this through teaching, translation, and writing. I founded “The Rhythm of Vietnam” to spread poetry, and actively participate in cultural events in Western Australia as well as international literary festivals to connect the Vietnamese community and global friends. I believe poetry is not just art, but a powerful medium to carry love, empathy, and Vietnamese cultural identity wherever it may reach.
Thuận Hải: As a translator of Vietnamese poetry into English, how have Australian readers, especially locals, responded to these works?
Võ Thị Như Mai: Vietnamese poetry often surprises Australian readers with its sincerity, lyricism, and deep connection to Vietnam’s history and culture. So, I find that when they read the translated poems, many are impressed by the imagery and musicality of the Vietnamese language; even if they are initially unfamiliar with cultural symbols like the “ao dai,” bamboo, or traditional “luc bat” verse forms.
So far, I’ve shared bilingual collections I translated, such as Luc Bat – The Imprint of Time (with 264 authors from Vietnam and abroad) and The Rhythm of Vietnam (500 poems from 307 authors). It’s very moving to see Australians ask questions, express interest, and show appreciation for Vietnamese poetry. Also, I often read bilingual poems aloud at local and state cultural events. Even when listeners don’t fully understand Vietnamese, they still feel the beauty in the rhythm and emotion. They often say the English helps with comprehension, but the Vietnamese version is mesmerizing — especially when performed expressively with voice and tone. And, this musicality is what fascinates them and deepens their cultural curiosity.
Many locals also follow the poems shared on social media, like our “The Rhythm of Vietnam” page, where they read, discuss, and share poetry. They appreciate it not only for the content but also as a window into Vietnamese people’s lives, family love, wartime memories, and dreams of peace.
So, I see poetry translation as a cultural bridge that conveys both language and feeling, helping Australian and global readers empathize with Vietnamese hearts. And, this encourages me to keep writing, translating, and organizing literary platforms for the community. Clearly, Vietnamese poetry can still touch hearts abroad if we pursue it with sincerity and perseverance.
At the 2025 international literary festival in Indonesia, I presented and read Vietnamese poetry throughout a week-long event across several venues. Wearing the Vietnamese ao dai, I felt moved and proud, and also a stronger sense of responsibility to bring Vietnamese poetry and culture to the world.
I also translate international friends’ poems into Vietnamese. They’re often thrilled to see their work reach the Vietnamese community. This exchange has led many to explore more Vietnamese poetry through my translations, nurturing empathy and deeper connections. Language and cultural exchange are essential; language can erase hesitation, bridge gaps, and make integration easier.
Recently, the World Poetry Movement (WPM) held a global poetry reading titled “Let’s Sing for Gaza,” running 48 hours continuously on June 28-29. Vietnam participated with poets Hữu Việt (WPM coordinator in Vietnam), Nguyễn Quang Thiều (Chairman of the Vietnam Writers’ Association), and myself, Võ Thị Như Mai. I compiled a video of the program using the song “Let’s Sing For Love” (lyrics by Trương Anh Tú, English version by me, music by Cung Minh Huân, performed by Tuyết Mai) as background — a message of love the event aimed to promote. It was a precious opportunity to highlight Vietnamese poetry’s presence in the global literary space and contribute a shared voice of humanity.
Thuận Hải: So, how do you view the role of overseas Vietnamese artists in bridging the cultures of Vietnam and Australia?
Võ Thị Như Mai: Overseas Vietnamese artists serve as a subtle yet powerful bridge connecting Vietnamese and Australian cultures through art and creativity. They not only spread Vietnamese cultural values in authentic and relatable ways but also strengthen solidarity within the Vietnamese diaspora. At various forums, overseas delegates have emphasized that unity is essential for preserving and promoting cultural identity and empowering young generations to integrate confidently without losing their roots.
With a deep understanding of both cultures’ languages, customs, and mindsets, diaspora artists are well-positioned to ignite pride in Vietnamese heritage and foster emotional ties across generations and communities. One of their special responsibilities is to preserve and promote the Vietnamese language — the key to culture and community bonding. Therefore, investment in innovative and modern Vietnamese language teaching methods is crucial to meet diverse learning needs.
Artists also play a key role in creating cultural spaces for writing, translating, performing, and exhibiting art to bring Vietnamese images closer to international audiences. Through these efforts, they preserve national heritage and enrich Vietnamese cultural identity in the context of global integration, fostering sustainable exchange between Vietnam and host countries like Australia.
There are many exemplary figures:
Quynh Iris Nguyễn — de Prelle in Belgium has tirelessly organized Vietnamese cultural festivals, poetry performances, and promoted the Vietnamese language and culture at both local and international literary events.
Similarly, Nguyen Duc Tùng in Canada bravely depicted the tragedy of boat people in his novel Thuyền (2025), bringing painful history into mainstream literature and contributing to healing and enriching collective memory.
Likewise, Truong Anh Tu in Germany infused children’s poetry with musicality and maternal love in Trang May Toc Me (Kim Đồng Publishing House), blending Vietnamese soul with global vision.
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I believe effectiveness and sustainability lie in the mindset of “seeking understanding, not embellishment” in translation. The focus should be on clarity and authenticity, not just poetic flair. Translation should aim to spread knowledge and culture, making Vietnamese literature accessible and understandable.
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Also, Kieu Bich Huong in Belgium introduced Vietnamese culture through her children’s comic book series OGO Code, nurturing love for the Vietnamese language and pride in origin among the diaspora.
Overall, overseas Vietnamese artists today are not only creators and performers but also cultural ambassadors with a mission to inspire, preserve, and renew Vietnamese cultural values, making each work a proud and enduring cultural bridge.
Thuận Hải: What is your perspective on the potential for literary collaboration between Vietnam and Australia?
Võ Thị Như Mai: I believe the potential for Vietnam-Australia literary collaboration is vast and still largely untapped. There is a clear interest among the diaspora and local readers in exploring Vietnamese literature. Although many works have been translated into English, but the richness and beauty of Vietnamese literature have not yet been fully introduced globally, partly due to language barriers and a lack of structured publishing cooperation.
I had a memorable experience working on “The Rhythm of Vietnam” and with the “WorldLink” platform — early collaborations that received positive responses from multicultural communities. If we can invest more resources and develop long-term strategies, building bilingual publishing bridges, hosting author exchanges, and editor workshops are all very achievable.
Technology also plays a crucial role in this. Since, the Machine translation is improving, helping with initial drafts, which editors can then refine. This can be great tool for bilingual publishing, especially with growing demand in schools, libraries, and community centers across Australia.
Observing multicultural communities in the U.S. and now in Australia, I am convinced literature can bond communities and foster understanding. When young Vietnamese-Australians engage with bilingual literature, they gain confidence in their identity and are more willing to share Vietnamese culture with others.
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Community models show that building a network of dedicated, collaborative translators and contributors is vital for improving translation quality and reach.
Promoting literature is like pressing the rice cooker button — it should be efficient, but still preserve the essence of each grain. No matter how far it spreads, literature must retain its identity and nuance.
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In the future, I hope for more collaboration between publishers, universities, and cultural organizations in both countries. Together, we can train translators, editors, host workshops and roundtables, and build a network of connected authors. And, this would form a solid foundation for Vietnamese literature to expand globally, showcasing a culturally rich and humanistic Vietnam to Australian and global readers.
For me personally, literature and the Vietnamese language remain a passion more than a full-time career. And, to bring Vietnamese works abroad systematically, we need a professional team — people with expertise in translation, cultural exchange, and publishing rights. This is a long-term effort that demands serious investment in resources, policy, and strategy.
Thuận Hải: Vietnam is increasingly focused on promoting its literature internationally. As someone living and writing abroad, what are your suggestions for making this promotion more effective and sustainable?
Võ Thị Như Mai: Vietnam is indeed putting more emphasis on global literary promotion. I believe effectiveness and sustainability lie in the mindset of “seeking understanding, not embellishment” in translation. The focus should be on clarity and authenticity, not just poetic flair. Translation should aim to spread knowledge and culture, making Vietnamese literature accessible and understandable.
Selecting works for promotion also needs careful consideration — choosing pieces that carry cultural values and resonate with global trends and tastes as well.
Community models show that building a network of dedicated, collaborative translators and contributors is vital for improving translation quality and reach.
Promoting literature is like pressing the rice cooker button — it should be efficient, but still preserve the essence of each grain. No matter how far it spreads, literature must retain its identity and nuance.
Literary promotion requires structured investment, not only in translation but also in training professional translators, developing global distribution channels, and participating in book fairs and cultural exchange events. Leveraging technology — machine translation, e-publishing, and social media — can enhance efficiency and broaden reach.
Multilateral cooperation with international publishers, cultural organizations, and the overseas Vietnamese community is also crucial for forming strong networks and supporting bilingual and multicultural literary projects. Most importantly, as we globalize Vietnamese literature, we must preserve its soul and core values, avoiding excessive adjustments that dilute its unique character.
Thuận Hải: Do you have any ongoing poetry or translation projects that are especially meaningful to you right now?
Võ Thị Như Mai: I’m currently a guest editor for an international poetry anthology by ISISAR India, featuring contemporary poets from Vietnam and India. I’m translating the Vietnamese poems into English for this bilingual English-Bengali edition to strengthen cultural exchange and poetic dialogue.
For the 40 Vietnamese poems, I plan to publish a bilingual Vietnamese-English version to present at the European literary festival in France this September. During the two-week event, I will actively promote the book through readings, discussions, and book sharing, seizing the chance to introduce Vietnamese literature meaningfully to international audiences.
I’m also looking for a suitable publisher for THE DISTANT ORCHARD by Da Ngan. To circulate a work internationally, having a literary agent is key. Without one, bringing a book to global markets is extremely challenging. I’m also following the publishing journey of LETTERS TO MY SON by Nguyen Duc Tung in the UK. However, the process is long and costly, so it might not be the most practical approach right now.
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She hails from Vietnam. And, is a reporter from The World & Vietnam Report — a publication under the Ministry of Foreign Affairs of Vietnam.
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