Peter Steinhauer's magnificent landscapes & subtle portraits reveal much of the diversity & the breathtaking beauty of a country whose political history has long obscured our view of its wonders.
The American experience in Vietnam divided us as a nation and eroded our confidence in both the morality and the effectiveness of our foreign policy. Yet our understanding of this tragic episode remains superficial because, then and now, we have never grasped the passionate commitment with which the Vietnamese clung to and fought over their own competing visions of what Vietnam was and what it might become. To understand the war, we must understand the Vietnamese, their culture, and their ways of looking at the world. Neil L. Jamieson, after many years of living and working in Vietnam, has written the book that provides this understanding. Jamieson paints a portrait of twentieth-century Vietnam. Against the background of traditional Vietnamese culture, he takes us through the saga of modern Vietnamese history and Western involvement in the country, from the coming of the French in 1858 through the Vietnam War and its aftermath. Throughout his analysis, he allows the Vietnamese—both our friends and foes, and those who wished to be neither—to speak for themselves through poetry, fiction, essays, newspaper editorials and reports of interviews and personal experiences. By putting our old and partial perceptions into this new and broader context, Jamieson provides positive insights that may perhaps ease the lingering pain and doubt resulting from our involvement in Vietnam. As the United States and Vietnam appear poised to embark on a new phase in their relationship, Jamieson's book is particularly timely.
Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam's capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country's fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845-1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
"The other side of the war in Vietnam, told through interviews with North Vietnamese, former Vietcong and Southern opposition leaders"--Jacket subtitle.
When he left war-ravaged Vietnam some thirty years ago, journalist David Lamb averred "I didn't care if I ever saw the wretched country again." But in 1997, he found himself living in Hanoi, in charge of the Los Angeles Times's first peacetime bureau and in the midst of a country on the move, as it progresses toward a free-market economy and divorces itself from the restrictive, isolationist policies established at the end of the war. This was a new country; in Vietnam, Now, David Lamb brings it--and us--forward from its dark, distant past. From the myriad personalities entwined in the dark, distant history of the war to those focused toward the future, Lamb reveals a rich and culturally diverse people as they share their memories of the country's past, and their hopes for a peacetime future. A portrait of a beautiful country and a remarkable, determined people, Vietnam, Now is a personal journey that will change the way we think of Vietnam, and perhaps the war as well.
"More than any other Vietnam book in recent years, The Girl in the Picture confronts us with the ceaseless, ever-compounding casualties of modern warfare." —The San Francisco Chronicle On June 8, 1972, nine-year-old Kim Phuc, severely burned by napalm, ran from her blazing village in South Vietnam and into the eye of history. Her photograph-one of the most unforgettable images of the twentieth century-was seen around the world and helped turn public opinion against the Vietnam War. This book is the story of how that photograph came to be-and the story of what happened to that girl after the camera shutter closed. Award-winning biographer Denise Chong's portrait of Kim Phuc-who eventually defected to Canada and is now a UNESCO spokesperson-is a rare look at the Vietnam War from the Vietnamese point-of-view and one of the only books to describe everyday life in the wake of this war and to probe its lingering effects on all its participants.
Between the French Indochina war of the fifties and the fall of Phnom Penn and Saigon in 1975, 134 photographers from different nations were killed. Horst Faas, two-times Pullitzer Prize winner and Chief Photographer for The Associated Press in Saigon at the height of the war, and Tim Page, another veteran who had been badly wounded, have gathered many thousands of photos from the Western agencies and from archives in Hanoi and Ho Chi Minh City. These have now been assembled to form both a monument to the dead and a record of the most terrifying war photography ever taken. Never again will the media have the kind of access to the war zone that was offered to the photographers in Vietnam. In many cases the photographers tried to get as close as possible, then paid the price.