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Vietnamese Conflict, 1961-1975, Postmodernism, United States--Civilization--1970-
publication date
:
2000
lcc
:
DS557.7.V56659 2000eb
ddc
:
959.704/3
subject
:
Vietnamese Conflict, 1961-1975, Postmodernism, United States--Civilization--1970-
Page iii
The Vietnam War and Postmodernity
Edited by Michael Bibby
Page iv
Copyright 1999 by the University of Massachusetts Press
All rights reserved
Printed in the United States of America
ISBN 1-55849-237-2 (cloth); 238-0 (paper)
Designed by Milenda Nan Ok Lee
Set in Trump Mediaeval and Futura Book by Graphic Composition, Inc.
Printed and Bound by Sheridan Books, Inc.
Library of Congress Cataloging-in-Publication Data
The Vietnam war and postmodernity / edited by Michael Bibby. p. cm. Includes index. ISBN 1-55849-237-2 (cloth : alk. paper). ISBN 1-55849-238-0 (pbk. : alk. paper) 1. Vietnamese Conflict 19611975. 2. Postmodernism. 3. United StatesCivilization1970 I. Bibby, Michael, 1957 DS557.7.V56659 2000 959.704'3dc21 99-36757 CIP
British Library Cataloguing in Publication Data are available
This book is published with the support and cooperation of the University of Massachusetts Boston
Page v
CONTENTS
Introduction
Michael Bibby
ix
Part One Illumination Rounds
One The Last Huey
Philip D. Beidler
3
Two The Work of War after the Age of Mechanical Reproduction
Michael P. Clark
17
Three "What Do We Say Happened Here?": Memory, Identity, and the Vietnam War
Cynthia Fuchs
49
Part Two Tracers
Four "This Movie Is a Thing of Mine": Homeopathic Postmodernism in Michael Herr's Dispatches
Brady Harrison
89
Page vi
Five Rites of Incorporation in In Country and Indian Country
Tony Williams
109
Six Bruised Azaleas: Bruce Weigl and the Postwar Aesthetic
Eric Gadzinski
129
Part Three Post/Vietnam/Modern
Seven The Post-Vietnam Condition
Michael Bibby
143
Eight Postmodernism with a Vengeance: The Vietnam War
Chris Hables Gray
173
Nine From Vietnam to the Gulf: Postmodern Wars?
Douglas Kellner
199
Contributors
237
Index
239
Page ix
INTRODUCTION
Michael Bibby
Since the mid-seventies, "postmodernism" has become one of the keywords of cultural criticism and theory. Perhaps not coincidentally, the blossoming of postmodern studies occurred in the shadow of that moment when the last Huey lifted off from the U.S. embassy in Saigon, bringing to an ignominious close one of the most heinous chapters in twentieth-century history. And since the founding of the Wall in Washington, D.C., there has been an increased production of critical work concerning the literature, film, and cultural representation inspired by the Vietnam War. To date, however, there has been no book devoted to situating these two congruent and, perhaps, mutually constitutive historical phenomena in relation to each other in any extended and meaningful way. The present collection seeks to address this gap, both by investigating the postmodernity of American cultural representations inspired by the war and also by questioning the historical and theoretical relationships of postmodernity and the war. Previous studies of Vietnam War representation have made use of the critical vocabulary associated with postmodernism, yet none has focused specifically on how the war might problematize and/or make possible postmodernity, or how what we know now about the war, how we express and represent it, may be postmodernist. The essays collected here offer varying, sometimes conflicting
Page x
positions on these issues. This book, then, does not hope to provide definitive answers on the questions of the war's relationship to postmodernity; rather, it has been my hope that these essays might encourage further engagement with the enduring traces of the war in contemporary experience.
Although postmodernity's periodization remains in contention, varying widely across the century, perhaps few events better capture the sense of an epochal rupture and the dawning of postmodernity than the frantic withdrawal of U.S. forces from Vietnam, its last helicopters uneasily lifting off from the roof of the U.S. embassy in Saigon. Philip Beidler's "The Last Huey" evocatively explores this image and the Bell UH-1 Iroquois Helicopter, otherwise known as the Huey in the popular vernacular, as the meta-sign of the Vietnam War's postmodernity. Beidler argues that as a machine, the Huey represents the reification of performativity Lyotard and others point to as indicative of postmodernity. It is the "locomotion" in Michael Herr's "La Vida Loca," "chopping" up space, geography, and time for the soldiers who rode it and the people it invaded. The Huey also exaggerates the failings of the U.S. military's ''technowar" strategies in Vietnam, its hyperbolic entrance into any territory always signaling well in advance to the Vietcong and NVA the presence of U.S. troops. Beidler sees the image of the last Huey lifting off from the U.S. embassy in Saigon in 1975 as a primal scene for U.S. cultural history, the Fall that would usher in a new era and become the Repressed returning repeatedly to haunt post-Vietnam literature and films. For Beidler suggests that the last Huey must finally be taken as iconic, a spectral meta-sign of the tragedies of the U.S. intervention.
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