Introduction
Nguyễn Tuân was born in 1910 on Hàng Bạc Street, Hà Nội, with his home village in Nhân Chính, Thanh Xuân, Hà Nội. He was one of the greatest writers of modern Vietnamese literature and also a respected journalistic pen. He died in 1987 in Hà Nội. He was a founding member of the Vietnam Writers' Association in 1957 and was posthumously awarded the Hồ Chí Minh Prize for Literature and Art, first round, in 1996.
Literary and journalistic career
Before the August Revolution of 1945, Nguyễn Tuân contributed many articles, essays and miscellaneous pieces to famous newspapers such as Ngày Nay, Thanh Nghị, Tiểu thuyết thứ bảy, Ích Hữu, Hà Nội báo. Unlike critical realist writers of the same period, he wrote journalism with a refined, aesthetic tone and a distinctive narrative self. The reportage Một chuyến đi (Ngày Nay, 1939) recorded a journey by boat upstream on the sông Đà and is regarded as a precursor to the famous essay Người lái đò sông Đà. The work Chén trà trong sương sớm (Thanh Nghị, 1940) is an article with the quality of an essay, praising the cultural beauty of tea drinking.
Representative works
Nguyễn Tuân's works are rich in intellect and beauty of language. Before the August Revolution, he produced works such as Chữ người tử tù and Thiếu quê hương. Notable essay collections include Một chuyến đi (1938), Thiếu quê hương (1940), Chiếc lư đồng mắt cua (1941), Tàn đèn dầu lạc (1941), Tóc chị Hoài (1943), Đường vui (1949), Sông Đà (1960), Hà Nội ta đánh Mỹ giỏi (1972), Cảnh sắc và hương vị đất nước (1988). Reportage includes Tình chiến dịch (1950), Đi thăm Trung Hoa (1955), Cô Tô (1965), Ký (1976). The reportage Ngọn đèn dầu lạc (1939). Novels include Chùa Đàn (1946) and Thắng càn (1953). Short story collections include Vang bóng một thời (1940) and Nguyễn (1945). Children's stories include Chú Giao làng Seo (1953) and Truyện một cái thuyền đất (1958). The essay collection Yêu ngôn (2000). The Nguyễn Tuân anthology consists of two volumes (1981, 1982).
Style
Nguyễn Tuân was a pioneer in the genre of journalistic reportage, writing with subjective, narrative, evocative perception and a strong literary quality. He is regarded as the person who raised Vietnamese journalistic language to an artistic level, with polished sentences rich in musicality. After the Revolution, he turned to writing battlefield reportage in service of the resistance but still kept his aesthetic style. He also wrote essays and critical pieces on Tú Xương, Sê-khốp, Đốt-tôi-ép-xki, Nguyễn Du, Lép Tôn-xtôi, Tản Đà, Vũ Trọng Phụng. The Russian poet E. Ép-tu-xen-cô called him a "classical Vietnamese writer".
