Joey Bui Joey Bui i(12936338 works by)
Gender: Female
Heritage: Vietnamese
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Works By

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1 Hey, Brother Joey Bui , 2019 single work prose
— Appears in: Meanjin Online 2019;
1 5 y separately published work icon Lucky Ticket Joey Bui , Melbourne : Text Publishing , 2019 17064005 2019 selected work short story

'IN the comic-tragic story ‘Lucky Ticket’, the narrator, a genial disabled old man, sells lottery tickets on a street corner in bustling Saigon. In ‘Mekong Love’, two young people in a restrictive society find a way to consummate their relationship—in an extraordinary tropical landscape.

'In ‘Abu Dhabi Gently’, a story of dreams and disappointment, of camaraderie and disillusionment, a migrant worker leaves Vietnam to earn money in the UAE in order to be able to marry his fiancée. ‘White Washed’ depicts a strained friendship between two students in Melbourne, the Vietnamese narrator and a white girl.

'What does it mean to be Asian? What does it mean to be white? And what makes up identity? In Lucky Ticket, Joey Bui introduces a diverse range of characters, all with distinctive voices, and makes us think differently about mixed-race relationships, difficulties between family generations, war, dislocation and identity.'

Source: Publisher's blurb.
1 Black Beans and Wine Joey Bui , 2018 single work short story
— Appears in: Voiceworks , Winter no. 112 2018; (p. 33-38) ' 'I was dating a new guy'. That was on my mind as I stirred the saucepan-full of black beans and water. I had said something terrible to him. The white eyes of the beans magnified beneath the water and made me feel sudden paranoia. I turned down the heat and let the pot bubble gently...'

 (Publication abstract)
1 Dinosaurs Joey Bui , Maeve Baker (illustrator), 2018 single work
— Appears in: Voiceworks , Autumn no. 111 2018; (p. 44-50)

'The bathroom had pink tiles. That was one thing. Another thing, I told them, was a squat, oblong window above the sink. Too squat to let a body through, but enough to let the Buenos Aires songs come in, and keep coming in. It was a Tuesday night. I remember because as I was pissing, a guy was walking by outside on the other side of the wall, and he was singing, 'Saturday, Saturday, Saturday, oh Saturday night is over.' I heard him like he was right next to me. The window was just above my head and had no flyscreen or glass or anything. I remember because I was drunk and I thought, That at least is true, because it is Tuesday and so Saturday night is over. It is true like so very few things are.'  (Publication abstract)
1 Hot Days Joey Bui , 2018 single work short story
— Appears in: Overland , Autumn no. 230 2018;

'In the summer days of 2010, Linh squatted in the back of the kitchen and pressed her bare back to the stone sink. Customers stopped coming in and even the ice melted in their tubs of sweet drinks in the fridge. At the end of the days, cubes of grass jelly shrivelled, growing wrinkled layers of film on their sides and Linh had to throw it all into the bushes at the back of the cafe.' (Introduction)
1 Horizon Joey Bui , 2017 single work short story
— Appears in: Voiceworks , Summer no. 110 2017-2018; (p. 45-51)

'After the exhibit went down, people asked me how did it feel to be an artist and they always said the word in English. Buwa couldn't say it without laughing. Manna told him what I was saying to my friends at the university: it was a real honour to show people how the civil war hurt us, it was an emotional experience, et cetera...' (Publication abstract)
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