Whoever goes down to Bà Ria and happens by the cemetery in the sand at the village of Phu'ó'c Lě, I beg you to go in that cemetery and look for the grave with a cross painted half black, half white, by the side of the Church of Martyrs–to visit that grave lest it become pitiful. Because it has been two years since anyone visited or cast as much as a glance.

—Nguyễn Trong Quan

SO opens nguyễn trọng quản's thẩy lazaro phiển (“lazaro phiển” 22). The narrative begins at an obscure gravesite evokes the life of a man as both victim of state violence and perpetrator of private deaths. Lazaro Phiển is a ictional work written in the romanized script and was published in Saigon in 1887 in a novelistic format almost forty years before Hoàng Ngọc Phách's Tố Tâm. Yet the latter, published in Hanoi in 1925, is oten touted in official literary history as the first modern Vietnamese novel. Although Nguyễn Trọng Qu.n's narrative revolves around the recovery of an elided story, the author could not have anticipated the elision of his work from a nationalist literary genealogy that locates the origin of modern Vietnamese literature in the North. he elision was part of a general omission of works from the South in the last decades of the nineteenth century and irst two decades of the twentieth. his genealogy was by no means limited to the Democratic Republic of Vietnam in the North but was also perpetuated in the Republic of Vietnam in the South ater independence and the partitioning of the country into North and South in 1954