Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of mediums, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. Friendly Fire, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (i.e. Kovic's Born on the Fourth of July, Didion's Democracy, O'Brien's Going After Cacciato, Rabe's Sticks and Bones and Streamers), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology.

Friendly Fire refers not merely to a tragic error of war, witnessed at least as much in Vietnam as in American wars prior and following - it also refers, metaphorically, to America's war with itself during the Vietnam years.

Ends of Empire examines Asian American cultural production and its challenge to the dominant understanding of American imperialism, Cold War dynamics, and race and gender formation.Jodi Kim demonstrates the degree to which Asian American literature and film critique the record of U.S. imperial violence in Asia and provides a glimpse into the imperial and gendered racial logic of the Cold War. She unfolds this particularly entangled and enduring episode in the history of U.S. global hegemony—one that, contrary to leading interpretations of the Cold War as a simple bipolar rivalry, was significantly triangulated in Asia.The Asian American works analyzed here constitute a crucial body of what Kim reveals as transnational “Cold War compositions,” which are at once a geopolitical structuring, an ideological writing, and a cultural imagining. Arguing that these works reframe the U.S. Cold War as a project of gendered racial formation and imperialism as well as a production of knowledge, Ends of Empire offers an interdisciplinary investigation into the transnational dimensions of Asian America and its critical relationship to Cold War history.

More than three decades after the withdrawal of American troops from Southeast Asia, the Vietnam War still resonates in political and cultural discourse and still motivates vibrant historical inquiry. [In this book, the editors] present the newest perspectives on the war in Vietnam, from the homefront to Ho Chi Minh City, from the government halls to the hotbeds of activist opposition. The seventeen essays compiled by David L. Anderson and John Ernst examine Vietnamese as well as American experiences of the grueling conflict, breaking new ground on questions relating to gender, religion, ideology, media, and public opinion. The [book] sheds new light on the evolving historical meanings of the Vietnam War, its enduring impact, and its potential to influence future political and military decision-making, in times of peace as well as war.-Dust jacket.

The true story of Michael Mullen, a soldier killed in Vietnam, and his parents’ quest for the truth from the US government: “Brilliantly done” (The Boston Globe). Drafted into the US Army, Michael Mullen left his family’s Iowa farm in September 1969 to fight for his country in Vietnam. Six months later, he returned home in a casket. Michael wasn’t killed by the North Vietnamese, but by artillery fire from friendly forces. With the government failing to provide the precise circumstances of his death, Mullen’s devastated parents, Peg and Gene, demanded to know the truth. A year later, Peg Mullen was under FBI surveillance. In a riveting narrative that moves from the American heartland to the jungles of Vietnam to the Vietnam Veterans Against the War march in Washington, DC, to an interview with Mullen’s battalion commander, Lt. Col. H. Norman Schwarzkopf, author C. D. B. Bryan brings to life with brilliant clarity a military mission gone horrifically wrong, a patriotic family’s explosive confrontation with their government, and the tragedy of a nation at war with itself. Originally intended to be an interview for the New Yorker, the story Bryan uncovered proved to be bigger than he expected, and it was serialized in three consecutive issues during February and March 1976, and was eventually published as a book that May. In 1979, Friendly Fire was made into an Emmy Award–winning TV movie, starring Carol Burnett, Ned Beatty, and Sam Waterston. This ebook features an illustrated biography of C. D. B. Bryan, including rare images from the author’s estate.

Friendly fire incidents often disrupt the close and continuous combined arms cooperation so essential to success in modern combat, especially when that combat is conducted against a well armed, well trained, and numerically superior opponent. This study, by presenting selected examples in their historical settings, is intended only to explain a few of the most obvious types of friendly fire incidents and some of the causative factors associated with them. By directing the attention of commanders and staff officers responsible for the development, training, and employment of combat forces to the hitherto little explored problem of friendly fire incidents, this study is intended to generate interest in and solutions for the problems outlined. The scope of this study is limited to incidents involving US forces in World War II and Vietnam, although some evidence is available from other conflicts in the twentieth century has also been considered. In sum, this study can claim to be no more than a narrative exposition of selected examples. Although its conclusions must be considered highly speculative and tentative in nature, this study can be of substantial value to an understanding of the problem of friendly fire in modern war. Chapters one through 5 of this report discuss: Artillery Amicicide; Air Amicicide; Antiaircraft Amicicide; Ground Amicicide.

How does American culture deal with its memories of the Vietnam War and what role does literature play in this process? Remembering Viet Nam is a fascinating exploration of the ways in which authors of Vietnam War literature represent American cultural memory in their writings. The analysis is based on a wide array of sources including historical, political, cultural and literary studies as well as works on trauma. It begins with an examination of American foundation myths - their normative, formative and, most of all, their bonding nature - and the role institutions such as the military and the media play in upholding these myths. The study then considers the soldiers' and war veterans' minds and bodies and the stories they tell as key sites in the debates over the war's place in American cultural memory. The multilayered approach of Remembering Viet Nam allows the investigation of Vietnam War literature in its whole breadth including the debates instigated by the works examined and the influence these narratives themselves have on American cultural memory. Most importantly, the analysis uncovers why American foundation myths - despite their being thoroughly questioned and even exposed as cultural inventions by authors and reviewers of Vietnam War literature - can still retain their power within American society.

American Revenge Narratives critically examines the nation’s vengeful storytelling tradition. With essays on late twentieth and twenty-first century fiction, film, and television, it maps the coordinates of the revenge genre’s contemporary reinvention across American culture. By surveying American revenge narratives, this book measures how contemporary payback plots appraise the nation’s political, social, and economic inequities. The volume’s essays collectively make the case that retribution is a defining theme of post-war American culture and an artistic vehicle for critique. In another sense, this book presents a scholarly coming to terms with the nation’s love for vengeance. By investigating recent iterations of an ancient genre, contributors explore how the revenge narrative evolves and thrives within American literary and filmic imagination. Taken together, the book’s diverse chapters attempt to understand American culture’s seemingly inexhaustible production of vengeful tales.

War and violence have arguably been some of the strongest influences on literature, but the relation is complex: more than just a subject for story-telling, war tends to reshape literature and culture. Modern war literature necessarily engages with national ideologies, and this volume looks at the specificity of how American literature deals with the emotional, intellectual, social, political, and economic contradictions that evolve into and out of war. Raising questions about how American ideals of independence and gender affect representations of war while also considering how specifically American experiences of race and class interweave with representations of combat, this book is a rich and coherent introduction to these texts and critical debates.

John Wayne and Ideology is an examination of John Waynes legacy as a political force. It is no exaggeration to say that, playing the lead in over 150 movies, he is one of the most popular actors in the history of cinema. This book argues that his enduring popularity is historically mediated. Certainly an A-list actor before and during World War II, John Wayne nevertheless did not become an icon until after the war, when, because of the war and emerging calls for womens and minorities rights, white masculinity anxieties spiked. The American political reaction to this new world was a radical shift to the right, with John Wayne and Ronald Reagan embodying that change. The racist, misogynous, and homophobic films of John Wayne, still hugely popular, bear witness to that right turn. Moreover, that legacy continues, with generations of Johns Waynesuch as, Arnold Schwarzenegger, Sylvester Stallone, and post-9/11 superheroesdesperately trying to recenter white American masculinity.