On a spring day, I read "Paris: Two Autumns Meet Again" by Professor Ha Minh Duc.

As one of his students, I can only simply conclude that perhaps this extraordinary man was so accustomed to a single task: working in the "field of words," so accustomed that he couldn't break free. Writing had almost become ingrained in his blood and flesh, so now he had no greater joy than "playing" with words. Perhaps for someone who had done the same work, in old age they might only consider writing a light form of entertainment, but Ha Minh Duc still clung to the "field of words." Writing, for him, was a way of life. Perhaps that's why, even though he had retired, People's Teacher Ha Minh Duc quietly and secretly continued to publish new books.Paris"Two autumns to meet again"It is one such book.

The book "Paris: Two Autumns Reunited" by Professor Ha Minh Duc

"Paris, two autumns reunited"Actually, this is a collection of articles from Professor Ha Minh Duc's two trips to Paris, separated by nearly 20 years: his visit to the Lille School of Journalism in 1994, and his most recent return to Paris in August 2014. It's unclear what unexpected coincidence led to this...Paris, two autumns reunited"or more preciselyParis (We meet again after twenty autumns)by Professor Ha Minh Duc with “Twenty years later(Vingt ans après) by Alexandre Dumas Sr., a 19th-century French writer, coincidentally shares a similarity at the number 20? ("At the age of 20, when the direction of life is seen / No matter how difficult, one will set out on the journey" - Bui Minh Quoc). Dumas, the author of the famous novel "The Three MusketeersI was so captivated by the adventure of the four young men (Artagnant, Athos, Porthos, and Aramis) in their quest for justice, with the motto "all for one and one for all," that even twenty years later, when they were no longer young, they returned with the same eagerness as in the beginning (in another book). I encountered in the pages...Paris"Two autumns to meet again"Professor Ha Minh Duc shared the same eagerness, but it was an eagerness to seek knowledge. Throughout his long life, this People's Teacher seemed to always be preoccupied with his profession. For him, these journeys were never purely for leisure. Arriving in Paris, a strange land full of mysteries and fascinations, while young people seized their rare free time to seek and explore new pleasures, Ha Minh Duc focused solely on researching and documenting what was necessary for his profession. And his profession was not simply teaching and researching literature. He was also a journalist, even a "real" journalist, because in addition to directly writing hundreds of articles and books on journalism, he was also the first head of the Faculty of Journalism and Communication at the University of Social Sciences and Humanities, Hanoi (now the legacy he left behind has been built and developed by young faculty members into one of the strongest journalism and communication training centers in the country). Perhaps that's why, when he first set foot in France, he felt the same excitement as a young man in his twenties visiting a foreign land for the first time. Journalist Ha Minh Duc sincerely expressed this thought: "I was sent by the Vietnam Journalists Association as part of a delegation to visit the Lille School of Journalism in France. As a teacher of journalism, I was happy because the trip was close to my profession, and it was also my first time visiting France."Visiting the Lille School of Journalism in the northern French city..

Professor, People's Teacher Ha Minh Duc

I haven't had the chance to read all of Professor Ha Minh Duc's recently published books. This is because he not only writes extensively but also works across many genres: research, collections, compilations, and poetry. Essays have been a favorite genre of his for decades. Since unexpectedly venturing into a field completely different from his long-standing research career, I've noticed he's become calmer, yet also more youthful. He writes both poetry and essays with the eagerness to explore the familiar world around him, much like a young person experiencing life for the first time. His research skills honed over half a century have truly given his essays the necessary depth. Poetry, on the other hand, is the catalyst that allows his essays to soar, preventing them from being overly dry.

The journal lies between the boundaries of research and creative writing, and this "field" is where Ha Minh Duc maintains and hones his rich potential: the habit of observing, recording, and analyzing. Indeed, I realize in "Paris, two autumns reunited."These are the strengths of a writer who, throughout almost his entire life, diligently and "genuinely sought out" all the new knowledge of life to enrich himself. I dare to assert that the vast body of writings that Ha Minh Duc has produced to date is built upon that foundation of diligent work. Ha Minh Duc writes essays in a very simple and sincere manner. He is not pretentious or ornate in his essays, for he surely understands that the ultimate goal is to inspire knowledge. Reading "Paris"Two autumns to meet again"We always encounter a simple, unpretentious, and sincere narrative style. In particular, Ha Minh Duc has a very quick and accurate approach to reality. Visiting the Lille School of Journalism, he wrote: “People often say you will cry twice when you come to this northern city, once when you meet and once when you say goodbye” (“Visiting the Lille School of Journalism, a northern city of France”). With the qualities of a journalist, showing great detail and meticulousness, he also provides us with other interesting information: “Lille has about 1,153,113 people, after Paris, Lyon, and Marseille. This is a young city, 42% of whom are under 25 years old, with nearly 100,000 students, several thousand researchers, many universities, and especially the Lille School of Journalism.” Regarding the University of Paris 7, he also provides figures: “The school has 26,000 students, 6,000 foreign students, and 200 partners.” To be honest, I myself was an intern at Paris 7, where I spent almost a year, working with many professors in the Literature department, but I never knew such a specific number. Meanwhile, wherever Professor Ha Minh Duc went, his burning desire was to have accurate and specific figures in his notebook (which he always carried with him). As an intellectual who spent almost his entire life researching and teaching (at the University and the Institute of Literature), when he entered the field of journalism, his "professional blood" seemed to cling to him, never leaving this professor of literature research and teaching. Therefore, note-taking became a constant habit for him. The places he visited were not simply tourist destinations like many others, but often research centers, teaching centers, or intellectual activities. Wherever he went, his first priority was to quickly gather and access information. At the L'Humanité Press Conference of the French Communist Party, meeting with familiar French friends who had wholeheartedly supported the Vietnamese revolution even during the most difficult times, he immediately shared the numbers: "The number of people attending the conference was very large; some newspapers reported 600,000, but the actual number was even higher." The same was true at all the other places he visited: the Lille School of Journalism, Paris 7 University, Versailles Palace, Lido Theatre, and even other locations outside France such as Germany, Belgium, and Czechoslovakia. Readers are presented with his simple, sincere, and accurate notes—a man who, regardless of his work, was always dedicated and serious.

I would also like to explain a little more: when we say that Ha Minh Duc's writing style is simple and sincere, with notes full of numbers, it doesn't mean that his writings are soulless. In fact, when writing his notes, Ha Minh Duc is still somewhat influenced by his background as a researcher. His preference for numbers and accuracy is normal. For him, the most important thing in his writing is "knowledge," not "flowery literature." He values ​​detail and accuracy through numbers. For all the events and people he encounters on his travels, at work, and in cultural centers, Ha Minh Duc has a habit of treating them like a scholar.folk storytellerIn the final article, the section about Paris..."Go see a dance performance at the Lido Theatre and shop for designer goods."He himself revealed his style of writing memoirs in this way:Paris, two autumns reunited.These are authentic accounts of what I saw and heard during short trips to a major city. The travelogue is also a hurried account, but the writer expresses sincere feelings about Paris and unforgettable memories through a genuine perspective and heartfelt sincerity.

Another beautiful aspect of Ha Minh Duc's writing style is revealed through "Paris, two autumns reunited."It also includes humor, wit, and intelligence, which resonate deeply with the French spirit and character. In fact, this is a very familiar trait of Ha Minh Duc in everyday life. I still remember when we worked together at the former University of Hanoi and now the University of Social Sciences and Humanities; in serious (sometimes tense) meetings, Ha Minh Duc's opinions were always the most anticipated. He truly had a knack for public speaking. His manner of speaking was clear and concise, but most importantly, it was witty. Whether praising or criticizing anyone, he knew how to subtly conceal his comments with gentle, well-rounded remarks, tinged with humor. Therefore, it was rare for anyone to get angry at him for his "teasing." This style is quite evident in his memoirs.Paris"Two autumns to meet again"For example, on his first visit to Paris, while strolling through what are considered the most elegant streets in Europe, he unexpectedly recalled the writings of the cultural figure Huu Ngoc about the "magnificent" capital of Paris: "Paris has a circumference of 36 km, is 12 km long and 9 km wide, it rains 164 days a year, has snow 13 days, and has 270,000 dogs (on the sidewalks, there's a pile of dog feces every 35 meters). Reading these lines, I involuntarily burst out laughing. Of course, those are just relative numbers. Paris is now larger, more ancient, and also more modern. "Dog feces" on the streets of Paris is perfectly accurate, because many people keep dogs here. They are a "close friend" of humans, but they can hardly be as "polite" as humans. Encountering things that are not very "civilized" on the streets of the French capital is perhaps understandable. Or further, in the article "Go see a dance performance at the Lido Theatre."… (a very special theater located right on the Champs Élysé with "refreshing" performances by female dancers), as soon as he entered, he sincerely asked the ticket inspector: "My eyesight is poor, please let me sit closer; I won't be able to see anything if I sit far away." This sincere confession reveals a Hà Minh Đức (as I understand it) who is extremely "aesthetically inclined." Ha Minh Duc has always been a lover of beauty. I think that's also a driving force that helps him "flourish" in both his work and daily life. This particular trait is clearly shown in the photos he takes with "beautiful women," sometimes with a journalism student from Lille, sometimes with a Russian intern, or even with a Czech female graduate student, which he often uses to illustrate his essays. Furthermore, to embellish this new collection of essays, after almost every article, Ha Minh Duc includes poems as part of his "eyewitness and hearsay" notes (similar to the style of notes taken by Victor Hugo, the 19th-century French writer), as an "appendix" to supplement the raw, authentic nature of his notes. Perhaps this is also a characteristic of Ha Minh Duc's essay writing style in general, and...Paris"Two autumns to meet again"In particular, to create aunique markHa Minh Duc's own...

In early spring, leisurely reading memoirs.Paris, two autumns reunited."I've come to know another aspect of Professor Ha Minh Duc's talent – ​​a People's Teacher. Entering 2015, this esteemed professor turned 80. And it seems he hasn't stopped his "wordplay." I wish him, as he enters his "ancient" age (even more than a decade ahead), abundant health, continued engagement with life, passionate pursuit of beauty and creativity, and the ability to reach his full potential.the 100th spring, so that "20 years from now" there will be even more new writings like "Paris, two autumns reunited.".