From retired Air Force pilot Marshall Harrison comes a remarkable memoir of aerial warfare in Vietnam. In his third combat tour, Harrison found himself converted from the high performance world of jets to the awkward-looking OV-10 Bronco and assigned as a FAC forward air controller. A captivating tale of valor, brotherhood, and patriotism unravels in the pages of A Lonely Kind of War, Forward Air Controller, Vietnam, a posthumous release by this published author through Xlibris. Harrison is a born story teller. There is excitement, suspense, and humor in this account of the life of a FAC. They were a small group of dedicated pilots flying lightly armed prop-driven aircrafts in South Vietnam. Considered to be the eyes and ears of the attack aircraft, their job was to fly low and slow, find, fix, and direct airstrikes against an elusive enemy concealed by the heavy rainforest and jungles, an area the FACs referred to as the Green Square. The flying scenes are riveting: learning to fly the maneuverable Bronco, clearing in the fast-movers to drop massive 750-lb bombs without causing injury to the friendlies, and conducting covert operation into Cambodia---over the fence with the mad men in the green beanies. On one of these secret missions, he is shot down and spends a harrowing night in the jungle. FACs lived with the troops in the field and flew from unimproved airstrips; they virtually controlled the aerial battlefields of South Vietnam. Their losses were staggering and they usually died alone.

In his first collection of poems, many of which were written during his years as a US Army Special Forces medic, Graham Barnhart explores themes of memory, trauma, and isolation. Ranging from conventional lyrics and narrative verse to prose poems and expressionist forms, the poems here display a strange, quiet power as Barnhart engages in the pursuit and recognition of wonder, even while concerned with whether it is right to do so in the fraught space of the war zone. We follow the speaker as he treads the line between duty and the horrors of war, honor and compassion for the victims of violence, and the struggle to return to the daily life of family and society after years of trauma. Evoking the landscapes and surroundings of war, as well as its effects on both US military service members and civilians in war-stricken countries, The War Makes Everyone Lonely is a challenging, nuanced look at the ways American violence is exported, enacted, and obscured by a writer poised to take his place in the long tradition of warrior-poets.

In the summer of 2009, as she was covering the popular uprisings in Tehran for the New York Times, Iranian journalist Nazila Fathi received a phone call. "They have given your photo to snipers," a government source warned her. Soon after, with undercover agents closing in, Fathi fled the country with her husband and two children, beginning a life of exile. In The Lonely War, Fathi interweaves her story with that of the country she left behind, showing how Iran is locked in a battle between hardliners and reformers that dates back to the country's 1979 revolution. Fathi was nine years old when that uprising replaced the Iranian shah with a radical Islamic regime. Her father, an official at a government ministry, was fired for wearing a necktie and knowing English; to support his family he was forced to labor in an orchard hundreds of miles from Tehran. At the same time, the family's destitute, uneducated housekeeper was able to retire and purchase a modern apartment -- all because her family supported the new regime. As Fathi shows, changes like these caused decades of inequality -- especially for the poor and for women -- to vanish overnight. Yet a new breed of tyranny took its place, as she discovered when she began her journalistic career. Fathi quickly confronted the upper limits of opportunity for women in the new Iran and earned the enmity of the country's ruthless intelligence service. But while she and many other Iranians have fled for the safety of the West, millions of their middleclass countrymen -- many of them the same people whom the regime once lifted out of poverty -- continue pushing for more personal freedoms and a renewed relationship with the outside world. Drawing on over two decades of reporting and extensive interviews with both ordinary Iranians and high-level officials before and since her departure, Fathi describes Iran's awakening alongside her own, revealing how moderates are steadily retaking the country.

In this anthology, Vietnamese writers describe their experience of what they call the American War and its lasting legacy through the lens of their own vital artistic visions. A North Vietnamese soldier forms a bond with an abandoned puppy. Cousins find their lives upended by the revelation that their fathers fought on opposite sides of the war. Two lonely veterans in Hanoi meet years after the war has ended through a newspaper dating service. A psychic assists the search for the body of a long-vanished soldier. The father of a girl suffering from dioxin poisoning struggles with corrupt local officials. The twenty short stories collected in Other Moons range from the intensely personal to narratives that deal with larger questions of remembrance, trauma, and healing. By a diverse set of authors, including many veterans, they span styles from social realism to tales of the fantastic. Yet whether describing the effects of Agent Orange exposure or telling ghost stories, all speak to the unresolved legacy of a conflict that still haunts Vietnam. Among the most widely anthologized and popular pieces of short fiction about the war in Vietnam, these works appear here for the first time in English. Other Moons offers Anglophone audiences an unparalleled opportunity to experience how the Vietnamese think and write about the conflict that consumed their country from 1954 to 1975—a perspective still largely missing from American narratives.

Updated with maps, photographs, and battlefield diagrams, this special fiftieth anniversary edition of the classic history of the Korean War is a dramatic and hard-hitting account of the conflict written from the perspective of those who fought it. Partly drawn from official records, operations journals, and histories, it is based largely on the compelling personal narratives of the small-unit commanders and their troops. Unlike any other work on the Korean War, it provides both a clear panoramic overview and a sharply drawn you were there account of American troops in fierce combat against th.

THEY FLEW LOW, SLOW, AND INTO THE FACE OF ENEMY FIRE... In Vietnam, an elite group of air force pilots fought a secret air war in Cessna 0-2 and OV-10 Bronco prop planes-flying as low as they could get. The eyes and ears of the fast-moving jets who rained death and destruction down on enemy positions, the forward air controller made an art form out of an air strike-knowing the targets, knowing where friendly troops were, and reacting with split-second, life and death decisions as a battle unfolded. For Tom Yarborough, the risk was constant, intense, electrifying. A member of the super secret Prairie Fire unit, Yarborough became one of the most frequently shot-up pilots flying out of Da Nang-engaging in a series of dangerous secret missions in Laos. This is Yarborough's adrenaline-pumping chronicle of heroism, danger, and brotherhood in Vietnam. From the rescuing of downed pilots to taking out enemy positions, to the most harrowing day-long missions, here is the dedication, courage, and skill of the fliers who took the war into the enemy's backyard...

“The diversity of voices and songs reminds us that the home front and the battlefront are always connected and that music and war are deeply intertwined.” —Heather Marie Stur, author of 21 Days to Baghdad For a Kentucky rifleman who spent his tour trudging through Vietnam’s Central Highlands, it was Nancy Sinatra’s “These Boots Are Made for Walkin’.” For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin’s “Chain of Fools.” And for countless other Vietnam vets, it was “I Feel Like I’m Fixin’ to Die” or the song that gives this book its title. In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans—black and white, Latino and Native American, men and women, officers and “grunts”—whose personal reflections drive the book’s narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also “solo” pieces by veterans whose writings have shaped our understanding of the war—Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers—as well as songwriters and performers whose music influenced soldiers’ lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories—individual and cultural—that capture a central if often overlooked component of the American war in Vietnam.

This volume derives from an unprecedented seminar held at Columbia University's School of International and Public Affairs in November 1990. At the seminar, leading Western diplomatic and military historians and Vietnam scholars met with prominent Vietnamese Communists to reflect on the Vietnam War. The book contains four parts: The Vietnamese Revolution and Political/Military strategy; the war from the American side; the war in the South and Cambodia; and retrospective and postwar issues. In addition to Jane Werner and Luu Doan Huynh, the contributors are Mark Bradley, William Duiker, David Elliott, Christine White, George Vickers, James Harrison, George Herring, Ronald Spector, Paul Joseph, Jeffrey Clarke, Ngo Vinh Long, Benedict Kiernan, Marilyn Young, Keith Taylor, and Tran Van Tra. General Tra was Commander of the People's Liberation Armed Forces of South Vietnam from 1963 to 1975. His eye-opening analysis of the Tet Offensive has never before been available in English.

George Tilson is an eighteen-year-old farm boy from Iowa. Enlisted in the Army during World War II and arriving in Normandy just after D-day, he is nicknamed Heck for his reluctance to swear. From summers of farm labor Heck is already strong. He knows how to accept orders and how to work uncomplainingly. But in combat Heck witnesses a kind of brutality unlike anything he could have imagined. Fear consumes his every thought and Heck soon realizes a terrible thing about himself: He is a coward. Possessed of this dark knowledge, Heck is then faced with an impossible task.

From the bestselling author of Day of Infamy: In the bloodiest island combat of WWII, one group of men kept watch from behind Japanese lines. The Solomon Islands was where the Allied war machine finally broke the Japanese empire. As pilots, marines, and sailors fought for supremacy in Guadalcanal, Bougainville, and the Slot, a lonely group of radio operators occupied the Solomon Islands’ highest points. Sometimes encamped in comfort, sometimes exposed to the elements, these coastwatchers kept lookout for squadrons of Japanese bombers headed for Allied positions, holding their own positions even when enemy troops swarmed all around. They were Australian-born but Solomon-raised, and adept at survival in the unforgiving jungle environment. Through daring and insight, they stayed one step ahead of the Japanese, often sacrificing themselves to give advance warning of an attack. In Lonely Vigil, Walter Lord, the #1 New York Times–bestselling author of A Night to Remember and The Miracle of Dunkirk, tells of the survivors of the campaign and what they risked to win the war in the Pacific.