an apartment right above the house of Huy Cận, who was now married to Xuân Diệu's younger sister, Ngô Xuân Như. Between 1955 and June 1958, Xuân Diệu was embroiled in the famous Nhân Văn-Giai Phẩm affair. As the First Indochina War had come to an end, and some reforms of the new administration had led to disastrous results, dissenting voices began to rise amongst those who had supported the Việt Minh and were now demanding the freedom to criticize the wrongdoings of the government. Although the government did come to admit their mistakes, the movement soon developed from criticism of the government to personal attacks and calls for a major overhaul, causing a rift between pro-government writers and dissenters like Lê Đạt or Trần Dần. In the end, Xuân Diệu, along with Huy Cận and others, took the side of the government; in a scathing response published in May 1958, he accused the likes of Lê Đạt, Hoàng Cầm and Trần Dần of "capitalistic individualism" and "attempting to poison our atmosphere of prose and poetry, which means that we should wipe them out, that we should cleanse them." Later years As tensions rose between North and South Vietnam leading up to the Vietnam War, Xuân Diệu continued to write in support of the communist efforts against U.S. and South Vietnamese forces. He also translated a variety of foreign-language writers, including Nâzım Hikmet, Nicolás Guillén, and Alexander Pushkin. His first works of literary analysis, released in the late 1950s and throughout the 1960s, explored the cultural significance of classic Vietnamese poets like Nguyễn Du and Hồ Xuân Hương, the latter of whom was given the sobriquet "the Queen of Nôm poetry" that is still invoked by other writers generations later. In the last two decades of his life, Xuân Diệu became an advocate for young writers. He wrote the book Conversation with Young Poets in 1961 to give some advice both as an experienced writer and as an enthusiast who wished to see Vietnamese poetry flourish in the future. When a ten-year-old boy named Trần Đăng Khoa from Hải Dương Province gained attention with his flair for poetry, Xuân Diệu himself went to meet the boy and offered to proofread his first poetry collection. In his later reminiscences, Khoa remarked on how Xuân Diệu mentored him as he grew up and changed his writing style. By the time Khoa became