Hmong Love Quotes

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Love is the reason why my mother and father stick together in a hard life when they might each have an easier one apart; love is the reason why you choose a life with someone, and you don't turn back although your heart cries sometimes and your children see you cry and you wish out loud that things were easier. Love is getting up each day and fighting the same fight only to sleep that night in the same bed beside the same person because long ago, when you were younger and you did not see so clearly, you had chosen them.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
I loved the idea and power of a journey from the clouds. It gave babies power: we choose to be born to our lives; we give ourselves to people who make the earth look more inviting than the sky.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
You go from the north of Laos and then you go across the Mekong, and when the Pathet Lao soldiers fire, you do not think about your family, just yourself only. When you are on the other side, you will not be like what you were before ou get through the Mekong. On the other side you cannot say to your wife, I love you more than my life. She saw! You cannot say that anymore! And when you try to restick this thing together is is like putting glue on a broken glass.
Anne Fadiman (The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures)
Reasoning being you’re the same inside . . . and that’s why you were able to fall in love and love so deeply despite your differences in nature. Ultimately, the reason you two cannot be together is also why you two are so perfect together.
Moon Vang (Memoirs of a Haunted Hmong Girl)
Coldness settles again in my stomach. I do not want a nice Hmong girl. I want a nice Egyptian boy who teaches me about colors and makes me appreciate poetry. I want the nice Egyptian boy who stops in the middle of the day to say "Thank you, God. For everything.
Rose Christo (Unborn: Three Short Stories)
The adults continued having nightmares. They cried out in their sleep. In the mornings, they sat at the table and talked to us about their bad dreams: the war was around them, the land was falling to pieces, Pathet Lao and North Vietnamese soldiers were coming, the sound of guns raced with the beating of their hearts. In their dreams, they met people who were no longer alive but who had loved them back in their old lives. There were stomach ulcers from worrying and heads that throbbed late into the night. My aunts and uncles in California farmed on a small acreage, five or ten, to add to the money they received from welfare. My aunts and uncles in Minnesota, in the summers, did “under the table” work to help make ends meet if they could, like harvesting corn or picking baby cucumbers to make pickles. And the adults kept saying: how lucky we are to be in America. I wasn’t convinced.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
On November 26, 2003, nine months after my mother died, you gave birth to Max, a little boy with an American name, a little boy I didn’t think we could handle and had said maybe we should consider not having, a little boy who looked up at me with almond eyes, who smiled my smile. Max was a surprise. Nearly nine years after our youngest daughter had been born, long after we said we were done having children, long after I had tried my hand at being a father to a son and was beginning to feel I had failed, out of the blue, cloudless sky a little boy traveled into our life on the wings of my mother’s death. In 2003, I realized I had never written you a love song.
Kao Kalia Yang (The Song Poet: A Memoir of My Father)
On November 26, 2003, nine months after my mother died, you gave birth to Max, a little boy with an American name, a little boy I didn’t think we could handle and had said maybe we should consider not having, a little boy who looked up at me with almond eyes, who smiled my smile. Max was a surprise. Nearly nine years after our youngest daughter had been born, long after we said we were done having children, long after I had tried my hand at being a father to a son and was beginning to feel I had failed, out of the blue, cloudless sky a little boy traveled into our life on the wings of my mother’s death. In 2003, I realized I had never written you a love song.
Kao Kalia Yang (The Song Poet: A Memoir of My Father)
Every time my seven-year-old daughter puts on a pair of shorts, I remember the way we used to be. I think of my Hmong grandmother who came to this country in the autumn of her life, too old to shift with its seasons. My Hmong American mother who came to this country young enough to compromise pieces and parts of herself so that she could work and care for her children through the harshest of seasons. And I think of myself, a girl wanting desperately to celebrate spring and summer, to be strong for her mother and her grandmother, and who tried unsuccessfully in many ways to fit in. Now that Grandma is gone, my mother is an old woman, and I am a working mother myself, it is only in my memories that we get to be together the way we were then. My Asian American girl loves shorts and T-shirts, her thin legs often darkened by bruises from her runs around me, beside me, and often ahead of me. From the distance of nearly twenty years, I wish I could have told that young girl yearning to let her legs breathe free that all of our lives in America were just beginning, that where we were was only one part of our story. I wish I could have told her that her family was as good as they knew how to be to each other, and that in their own ways they were trying to help each other, not hurt. I want to tell the girl I used to be that these first years of life in America would teach her how to love across space and time, to one day stand strong in her family’s discomforts, and give her the power and the ability to declare them all: new Americans.
SuChin Pak (My Life: Growing Up Asian in America)
For Hmong, an additional layer of punishment was how life in the camps deprived them of their self-reliance. Officially, residents of Ban Vinai were not allowed to leave the camp. In the earlier years, some men and women made informal arrangements to work off-site, mostly as farm laborers. At no point, though, were they allowed to have their own farms: that would have taken land away from Thai farmers, and it might have encouraged the refugees to stay. While camp rations were meager, the cruelty of this prohibition was not the people’s hunger; it was that since before anyone’s memories began, agriculture had been the axis on which Hmong lives spun. Practically, farming designed how they spent each day. Societally, farming was the underpinning of their financial and cultural independence. Now it was gone. As if all the bones had been removed from a body, the structure of life had been taken away.
Lisa M. Hamilton (The Hungry Season: A Journey of War, Love, and Survival)
For as long as anyone could remember, Hmong had been seminomadic farmers with a subsistence income; the elaborate textiles that girls and women created were a form of precious wealth.
Lisa M. Hamilton (The Hungry Season: A Journey of War, Love, and Survival)
My father explained where babies came from to me. “Before babies are born they live in the sky where they race along with the clouds and can see everything—the beauty of the mountains, the courses of streams, the dirt of the paths that people take down on earth.” I loved the idea and power of a journey from the clouds. It gave babies power: we choose to be born to our lives; we give ourselves to people who make the earth look more inviting than the sky.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
it is funny the things we remember on the days that people we love die.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
wrote about the love I felt I knew: Love is the reason why my mother and father stick together in a hard life when they might each have an easier one apart; love is the reason why you choose a life with someone, and you don’t turn back although your heart cries sometimes and your children see you cry and you wish out loud that things were easier. Love is getting up each day and fighting the same fight only to sleep that night in the same bed beside the same person because long ago, when you were younger and you did not see so clearly, you had chosen them.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
Why does love in a war always mean choosing?
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
We kept holding hands. We chose a direction. I had no idea it would lead to marriage. Did I love him? Did he love me? It is the kind of decision that only young people can make in a war of no tomorrows. At that moment, I think neither of us saw the future.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
I could not translate all the things I was discovering at college to my mom and dad, to my home. But I could not help but apply them. This was when I started collecting my grandma’s stories. I began to realize how our lives in America would be our stories. I started to understand one of the many truths that governed life: by documenting our deaths, we were documenting our lives. The Hmong had died too many times, and each time, their deaths had gone unwritten. There were no testimonies. The witnesses grew old, and they died, and life continued, as if they had never lived. I didn’t want this happen to my grandma, to this woman I adored, whom I could not imagine not loving forever. I wanted the world to know how it was to be Hmong long ago, how it was to be Hmong in America, and how it was to die Hmong in America—because I knew our lives would not happen again.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)
A Communist soldier told my family that a big truck would come for the men in the morning. The trucks had been picking up men and boys from their village for months. Those who had gone on the trucks had not returned. The soldiers said that they were sent to reeducation camps, but the family knew better. All over the mountain villages, people could smell the strong stench of rotten flesh coming from the jungle. Women and girls followed the smell in search of the men they loved. Sometimes the bodies were in a pile. Other times the bodies would be in different spots. Close to my father’s village, Grandma and my uncles had found the body of a young boy inches away from his father. He had left finger tracks on the ground where he had been pulled away from his father. He was sliced at the throat. The father had been shot. Most of the time, the bodies were remnants, half eaten by wild animals. What remained was bloated and blue, flesh ballooning from stained, torn clothes. The Hmong of Phou Bia mountain knew that the coming of the trucks meant death. My father’s family knew that they had to leave their village before the soldiers arrived with their guns on the big trucks.
Kao Kalia Yang (The Song Poet: A Memoir of My Father)
Money was not bills and coins or a check from welfare. In my imagination, it was much more: it was the nightmare that kept love apart in America.
Kao Kalia Yang (The Latehomecomer: A Hmong Family Memoir)