"Vietnam Zippos showcases the engravings made by U.S. soldiers on their lighters during the height of the conflict, from 1965 to 1973. Sherry Buchanan, through the collection of American artist Bradford Edwards, tells the story of how the humble Zippo became a talisman and companion for American GIs during their tours of duty. The engravings gathered in this illustrated volume run the full emotional spectrum with both sardonic reflections - "I love the f***ing Army and the Army loves f***ing me" - and poignant maxims - "When the power of love overcomes the love of power, the world will know peace." Part pop art and part military artifact, they capture the large moods of the sixties and the darkest days of Vietnam - all through the world of the tiny Zippo."--BOOK JACKET.

More than 900 photographs with detailed text about the Vietnam War, its Zippo lighters, tips on collecting, and their current values are included in this book.

Showcasing the engravings made by U.S. soldiers on their Zippo lighters during the height of the Vietnam conflict, from 1965 to 1973, this volume tells the fascinating story of how the humble Zippo became a talisman and companion for American GIs during their tours of duty.

A NEW YORK TIMES NOTABLE BOOK • The national bestseller that tells the truth about the Vietnam War from the black soldiers’ perspective. An oral history unlike any other, Bloods features twenty black men who tell the story of how members of their race were sent off to Vietnam in disproportionate numbers, and of the special test of patriotism they faced. Told in voices no reader will soon forget, Bloods is a must-read for anyone who wants to put the Vietnam experience in historical, cultural, and political perspective. Praise for Bloods “Superb . . . a portrait not just of warfare and warriors but of beleaguered patriotism and pride. The violence recalled in Bloods is chilling. . . . On most of its pages hope prevails. Some of these men have witnessed the very worst that people can inflict on one another. . . . Their experience finally transcends race; their dramatic monologues bear witness to humanity.”—Time “[Wallace] Terry’s oral history captures the very essence of war, at both its best and worst. . . . [He] has done a great service for all Americans with Bloods. Future historians will find his case studies extremely useful, and they will be hard pressed to ignore the role of blacks, as too often has been the case in past wars.”—The Washington Post Book World “Terry set out to write an oral history of American blacks who fought for their country in Vietnam, but he did better than that. He wrote a compelling portrait of Americans in combat, and used his words so that the reader—black or white—knows the soldiers as men and Americans, their race overshadowed by the larger humanity Terry conveys. . . . This is not light reading, but it is literature with the ring of truth that shows the reader worlds through the eyes of others. You can’t ask much more from a book than that.”—Associated Press “Bloods is a major contribution to the literature of this war. For the first time a book has detailed the inequities blacks faced at home and on the battlefield. Their war stories involve not only Vietnam, but Harlem, Watts, Washington D.C. and small-town America.”—Atlanta Journal-Constitution “I wish Bloods were longer, and I hope it makes the start of a comprehensive oral and analytic history of blacks in Vietnam. . . . They see their experiences as Americans, and as blacks who live in, but are sometimes at odds with, America. The results are sometimes stirring, sometimes appalling, but this three-tiered perspective heightens and shadows every tale.”—The Village Voice “Terry was in Vietnam from 1967 through 1969. . . . In this book he has backtracked, Studs Terkel–like, and found twenty black veterans of the Vietnam War and let them spill their guts. And they do; oh, how they do. The language is raw, naked, a brick through a window on a still night. At the height of tension a sweet story, a soft story, drops into view. The veterans talk about fighting two wars: Vietnam and racism. They talk about fighting alongside the Ku Klux Klan.”—The Boston Globe

Throughout the 1930s the Zippo Company in Pennsylvania prospered on the growing success of its stylish, charismatic little cigarette lighter. The lighter was made mostly of brass, but with the Second World War that metal was declared a ‘strategic material’ in the U.S. where huge amounts of it were needed for shell and cartridge casings. Zippo replaced the brass with steel, which can corrode, and wartime Zippos were given a new baked-on black ‘crackle’ finish to protect them. That non-reflective characteristic helped save the lives of many American soldiers in combat zones. The demand of the Armed Forces for the lighter led to the company to earmark its entire production for military. The big wartime market for the Zippo resulted in a rise of imitations. After the war, through subsequent conflicts in Korea, Vietnam and elsewhere, thousands of such phoneys appeared in boot sales and swap meets across the world. Movie stars added sophistication and glamor when someone lit up a cigarette with a Zippo and the distinctive ‘clink-clop’ sound the lighter made when opened and closed was unmatchable. Legend has it that the great star Bette Davis was once asked by an interviewer if she smoked after sex. Her supposed response: “To tell you the truth, I’ve never looked.” In later years- and a dark medical reality- the cigarette began losing its allure, but in wartime the soldier, sailor, marine and airman was frequently nervous in the service and found solace and a brief time-out-of-war in the relaxation of a quick smoke. Zippo was ready in such moments. Today many examples survive with a special history and caché. When Zippo Went to War is illustrated with more than 140 unpublished photos those unique little lighters of old. Like the remarkable Zippo itself, the book works well and sheds some new light on its subject.

"Hue-Tam Ho Tai's masterful collection of essays that explore how the past is being remade in contemporary Vietnam constitutes a welcome addition to the study of the larger problem of engineering memory, especially in political cultures where the identity of the nation-state is in a considerable state of flux . . .. This book also suggests that the 'commemorative fever' that is sweeping Vietnam is about more than Vietnam's history. It also has a great deal to do with the problems premodern cultures presented to those who promoted the creation of contemporary states. In this regard both Vietnam and this book offer all scholars of nationalism and remembering in the West a fascinating perspective on their own nations."—John Bodnar, Chancellors' Professor of History at Indiana University, from the Foreword

Thom Jones made his literary debut in The New Yorker in 1991. Within six months his stories appeared in Harper's, Esquire, Mirabella, Story, Buzz, and in The New Yorker twice more. "The Pugilist at Rest" - the title story from this stunning collection - took first place in Prize Stories 1993: The O. Henry Awards and was selected for inclusion in Best American Short Stories 1992. He is a writer of astonishing talent. Jones's stories - whether set in the combat zones of Vietnam or the brittle social and intellectual milieu of an elite New England college, whether recounting the poignant last battles of an alcoholic ex-fighter or the hallucinatory visions of an American wandering lost in Bombay in the aftermath of an epileptic fugue - are fueled by an almost brutal vision of the human condition, in a world without mercy or redemption. Physically battered, soul-sick, and morally exhausted, Jones's characters are yet unable to concede defeat: his stories are infused with the improbable grace of the spirit that ought to collapse, but cannot. For in these extraordinary pieces of fiction, it is not goodness that finally redeems us, but the heart's illogical resilience, and the ennobling tenacity with which we cling to each other and to our lives. The publication of The Pugilist at Rest is a major literary event, heralding the arrival of an electrifying new voice in American fiction, and a writer of magnificent depth and range. With these eleven stories, Thom Jones takes his place among the ranks of this country's most important authors.