This is how it was to be a REMF in Vietnam- the ice cream, the Coca Cola, the air conditioning, the clean, starched jungle fatigues, and yes, the parades and the whores, I leave nothing out; it is all in there. The typing and the saluting, too. With this, David Willson sets the tone for REMF Diary. Between these covers is a very funny, ironic novel of the Vietnam War. It is a story told by an army clerk stationed in Saigon. His perceptions of the war and of the paper war around him make for hilarious reading.
Please welcome back David Willson's REMF, an altogether different kind of war story charcter. In The REMF Returns, Willson continues his story of the office-based soldier who never fires a shot in anger- and whose days are pervaded by the moral and spiritual twilight of life in the rear echelon of a shooting war. Willson's sly humor and carefully stylized minutiae of daily life in the Army join to make this book an important document in an area rarely confronted in our literature of Vietnam.
Popular representations of the Vietnam War tend to emphasize violence, deprivation, and trauma. By contrast, in Armed with Abundance, Meredith Lair focuses on the noncombat experiences of U.S. soldiers in Vietnam, redrawing the landscape of the war
This is a collection of essays on the life and writing of W.D. Ehrhart, poet, essayist, memoirist and teacher. The twenty contributors--scholars, publishers, poets--are from the U.S., France, Britain, the Netherlands, Austria, India and Japan. Some are Vietnam or Iraq war veterans. The collection overall studies various aspects of Ehrhart's writing, as well as his direct influence on the lives of people, both as a writer and as a teacher. The volume concludes with a selection of Ehrhart poems chosen by the contributors because they embody some quality discussed in the essays. The book includes a selected bibliography of Bill Ehrhart's published writings.
This book provides a fresh approach to understanding the American combat soldier's experience in Vietnam. It integrates such topics as the political culture, the experiences of training, the actual Vietnam experience, and the 'homecoming', and offers a remarkable overview of the 870,000 'grunts' who bore the brunt of the fighting in the jungles and highlands of South Vietnam, and eventually Cambodia and Laos.The book addresses many of the stereotypes of the Vietnam combat veteran that have been perpertrated in popular culture, and also considers how Vietnam veterans have been commemorated through memorials and other means, and how the veterans remember each other. The coverage also includes women who served in or near the front lines as well as on the home front. The author draws on memoirs and oral histories including his personal interviews with veterans, but the book conveys a picture of the Vietnam combat soldier's experience far more powerful than what individual memoirs can provide.
History has not been kind to the 1980s. The decade is often associated with absurd fashion choices, neo-Conservatism in the Reagan/Bush years, the AIDS crisis, Wall Street ethics, and uninspired television, film, and music. Yet the literature of the 1980s is undeniably rich and lasting. American Literature in Transition, 1980–1990 seeks to frame some of the decade's greatest achievements such as Toni Morrison's monumental novel Beloved and to consider some of the trends that began in the 1980s and developed thereafter, including the origins of the graphic novel, prison literature, and the opening of multiculturalism vis-à-vis the 'canon wars'. This volume argues not only for the importance of 1980s American literature, but also for its centrality in understanding trends and trajectories in all contemporary literature against the broader background of culture. This volume serves as both an introduction and a deep consideration of the literary culture of our most maligned decade.
What Americans refer to as the Vietnam War embraces much more than the conflict with North Vietnam. Milton J. Bates considers the other conflicts that Americans brought to that war: the divisions stemming from differences in race, class, sex, generation, and frontier ideology. In exploring the rich vein of writing and film that emerged from the Vietnam War era, he strikingly illuminates how these stories reflect American social crises of the period. Some material examined here is familiar, including the work of Michael Herr, Tim O'Brien, Philip Caputo, Susan Sontag, Francis Ford Coppola, and Oliver Stone. Other material is less well known—Neverlight by Donald Pfarrer and De Mojo Blues by A. R. Flowers, for example. Bates also draws upon an impressive range of secondary readings, from Freud and Marx to Geertz and Jameson. As the products of a culture in conflict, Vietnam memoirs, novels, films, plays, and poems embody a range of political perspectives, not only in their content but also in their structure and rhetoric. In his final chapter Bates outlines a "politico-poetics" of the war story as a genre. Here he gives special attention to our motives—from the deeply personal to the broadly cultural—for telling war stories.
There are many lessons to be learned from the Vietnam War, foremost among them being that war as an instrument of peace is not viable. Solheim provides a full picture of the war era at home and in Southeast Asia by combining historical narrative with biographical profiles and personal reflections. He allows the story to unfold in multiple layers, as seen through the eyes of those who were involved on all sides of the conflict: the North Vietnamese, the South Vietnamese, the American generals and politicians, and the American war correspondents and antiwar protestors. With this book, Solheim explores, and hopes to answer, vital questions about the American war in Vietnam. What is the meaning and significance of the Vietnam War for Americans today? What lessons have Americans learned from our defeat and how should we apply that knowledge in implementing current foreign policy? Who or what is to be blamed for the loss in Vietnam? How can we heal our nation from the Vietnam War syndrome? How do we fit the Vietnam War era into our greater historical narrative?
