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76 pages 2 hours read

Inside Out And Back Again

Fiction | Novel/Book in Verse | Middle Grade | Published in 2011

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Part 1Chapter Summaries & Analyses

Part 1: “Saigon”

“February” Summary

It is 1975. Hà, almost 10, celebrates Tết—the Vietnamese holiday recognizing the beginning of the lunar calendar—with her mother and brothers. No one works or cleans on this day; smiles and good behavior are important, as they indicate what to expect in the coming year. Hà knows that tradition calls for a male in the family to wake, rise first, and bless the house on Tết, but she does not think a tradition like that is fair to girls. She secretly puts one toe on the floor before anyone is awake. Later, Mother’s fortune teller says that the lives of Hà’s family “will twist inside out” (4) this year.

Hà’s home in South Vietnam is conflicted by war. Her father, who served in the navy, has been missing since just before Hà’s first birthday. Older brothers Quang (21), Vũ (18), and Khôi (14) sometimes tease Hà about her name, though Mother says they love Hà very much. The family is poor; the war causes a troubled economy and food shortages. Hà owns few possessions. She has only one pair of sandals; her only doll is handmade and has the bite marks of mice on its face.

Hà’s prize possession is her papaya tree, which grew accidentally in the backyard from a seed she tossed. Her brothers saw the tree’s first flower and first fruit. Hà now waits eagerly for the papaya to ripen, determined to be the first to see it.

“March” Summary

When Hà’s best friend TiTi leaves the country with her family, Hà is sad to see her go; Brother Khôi says TiTi’s family is wealthy enough to escape on a cruise ship from the port city of Vũng Tầu. Though she misses TiTi, Hà is happy to be poor in one regard: It means Hà’s family must stay in Vietnam. She is grateful for her home and accepts their living conditions, even when it means taking turns eating the single egg produced by Khôi’s hen each day and a half.

Mother cannot bear to keep the photo of Father visible except during times of prayer and traditional chanting rituals. The family knows little about Hà’s father’s capture by the Communist army nine years before, one month short of Hà’s first birthday, except that he planned to take part in a naval mission. He disappeared, however, shortly after leaving home.

Conditions of daily life continue to deteriorate due to the war. Mother tries to bring in added money through sewing work because her secretarial job does not pay enough to feed the family. Hà’s teacher, Miss Xinh, tries to encourage discussion of current events at school, but the students can talk only about “how close the Communists / have gotten to Saigon, / how much prices have gone up since / American soldiers left, / how many distant bombs / were heard the previous night” (18). When the teacher encourages positive comments instead of war talk, none of the students can produce any. The cost of food items continues to go up. When Mother gives Hà money for the market to buy the family’s groceries, Hà keeps back a tiny amount to buy some small treat like fried dough for herself.

“April” Summary

Despite the concerns of the war, Hà finds anticipation in pleasant things: Two more papayas sprout on her tree, and her birthday is approaching. She reflects often on details mentioned by her mother and brothers about her father; she knows he liked stewed eel and disliked brown, and that he used the expression “right away” often. Hà sometimes speaks this phrase, tuyết sút, quietly to herself to feel closer to Father.

Hà observes changes in her life due to the war. Usually for her birthday she receives a variety of treats, but this year she gets only tapioca and black sesame candy. Her birthday wish on turning 10 is for stories from Mother, so Mother tells of her own upbringing as the daughter of a wealthy family in the North, her arranged marriage to Hà’s father at sixteen, and the coming of Communism with the rise of Hồ Chí Minh. Hà’s parents moved to the South, not expecting the separation of North and South; Mother’s family was unable to follow once the country divided.

Mother takes Hà on a day trip to downtown Saigon to an annual ceremony for war wives; there they will receive supplies and hear President Thiệu speak. Mother accepts the supplies but calls the President’s tears those of “an ugly fish,” meaning that he is insincere. Mother looks increasingly worried. Their food supply dwindles. Hà’s school closes for the year; this frustrates Hà. The school’s sudden closing means a prize “will be awarded / today / to the teacher’s pet” (39), a girl named Tram who sits next to Hà. Hà can’t help but pinch Tram at the unfairness.

Father’s friend, Uncle Sơn, tries to convince Mother that she should seek passage on a navy ship before the country of South Vietnam falls to the Communists. Mother points out to Hà’s brothers and Hà that others are preparing to flee, wanting their input. Brothers Quang and Khôi insist they should stay. Brother Vũ wants to go. Mother recalls how Communism invaded the North by taking control of the schools. She is undecided. Later Brother Khôi secretly shows Hà that a tiny chick hatched from his hen’s egg. Khôi says he and Hà must stay in their home to keep both the chick and Hà’s papayas safe. Hà, who now has five papayas on her tree, agrees with Khôi. Mother, however, sees Hà rationing sweet potato for dinner by cutting away the barest bits of peel. Though Mother says nothing about leaving, this is the moment she decides they must go.

The sounds of bombing are not far off now. President Thiệu resigns from his office. Uncle Sơn comes to tell the family that any time now, they should be ready to board the navy vessel in the port of Saigon. He warns them not to tell anyone, as “Only navy families can board the ships” (50). Mother reassures Hà that Father and she once planned to communicate through Father’s relatives’ home in the North, so if Mother, Hà, and the boys leave Saigon, Father will still find them. Then Mother stiches rough satchels for each of them to pack a few necessities: rice, clothes, toothbrush. Khôi tries to tell Mother he and Hà will stay, but Mother insists they must all go, or all stay, and Khôi relents. Each picks “one choice” for the satchel as well, and Hà chooses her doll with the mouse-bitten cheek. Many items stay behind: school records, plants that decorate the house, photographs. They cut down Hà’s papayas though not yet ripe and eat them: “Black seeds spill / like clusters of eyes, / wet and crying” (60).

At the port, the family relies on the strength and size of Brother Vũ to lead them through the massive crowd of people trying to flee by ship. They make it aboard with Uncle Sơn and have space only to sit, all five on a mat. Late in the night, many refugees leave the ship on the rumor that a neighboring vessel has more fuel and food. Uncle Sơn tells Mother they should go too, but instead of boarding the new boat, Uncle Sơn brings them back aboard the first ship, “emptied of half its passengers” (66). It soon departs. The next day, April 30, 1975, Saigon falls to the Communist army. The passengers learn this from a pilot who ejects into the water, then boards the ship.

Part 1 Analysis

The novel opens with a series of scenes in verse that depict main character Hà’s home and family. Many include mentions of Hà’s everyday life, such as the school, the market, Hà’s birthday, and Hà’s friend TiTi. In each scene, however, the war has left its mark: Miss Xinh can elicit only war news from the students; Hà must sneak money from the grocery budget for a treat; there is no feast of roasted chicken for a birthday celebration; TiTi leaves the country with her family.

Foreboding clues of the worsening conflict punctuate Hà’s attempt at normalcy: The traditional food bánh chu̓ng, usually representing the new year, is rumored to be “smeared with blood.” A South Vietnamese pilot turns traitorous, bombs the presidential palace, and defects to North Vietnam. The rice bin begins to run dangerously low. By April, bombs fall near enough to hear in their home. Hà has never known life without the ongoing conflict in her country, but these increasing threats to her ordinary world represent a different kind of battle—one that is coming to her hometown of Saigon.

The family wonders each day what happened to Father, and if he will soon return home. An underlying thread of hope and anticipation takes root in this early part of the novel and demonstrates the importance of family unity and lineage to each member of the family—even to Hà, who cannot remember her father and relies on Mother’s stories, memories, and photos to try to know him.

Lai reveals important historical information through the device of Mother’s storytelling on Hà’s birthday. Before Hà was born, Mother and Father resettled in South Vietnam after the country divided into North and South, hoping to escape the impact of Communism and the land reforms of North Vietnam President Hồ Chí Minh. Mother shares that her father, brother, and brother’s family were to join Mother and Father in the South, but before Mother’s family could leave, the border between North and South closed. With this information, Part 1 supplies the exposition needed to understand the central conflicts of the family’s displacement and Father’s absence. Structurally, Part I includes the inciting incident as well: When Hà peels the sweet potatoes sparingly to save food, her mother decides they must flee Saigon.

As the protagonist and point of view character, Hà speaks directly to the reader in the first person “I-voice,” sharing observations, recollections, and experiences in brief, free verse sentences. In free verse like this, line lengths are uneven and there is no rhyme or metrical pattern to the lines. A keen style of sound develops because of the verse throughout sections of the book, and often the staccato-style syllables are reminiscent of drums or a simple rhythmic instrument: “Each of us bows / and wishes / and hopes / and prays” (13). Lai also uses repetition and parallel phrasing to achieve sound aesthetics and an echo effect: “No more migration. / No more letters. / No more family” (28).

Poetic devices like simile, metaphor, and personification are abundant in Hà’s voice and efficiently convey images and events in minimal words. While the free verse lines are full of figurative language, the spare descriptions and short phrases and statements convey a realistic, no-nonsense tone. For example, when Hà tells us about the Tết ritual in which the oldest male must touch the floor first to initiate the first day of the new year, she shares her feelings indirectly but strongly about that tradition’s unfairness through a metaphor: “An old, angry knot / expanded in my throat” (2).

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