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.

Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of media, 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 (e.g. 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.

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.

The term "friendly fire" was coined in the 1970s but the theme appears in literature from ancient times to the present. It begins the narrative in Aeschylus's Persians and Larry Heinemann's Paco's Story. It marks the turning point in Homer's Iliad, Virgil's Aeneid, the Chanson de Roland, Stephen Crane's The Red Badge of Courage and Tim O'Brien's Going After Cacciato. It is the subject of transformative disclosure in Jaan Kross's Czar's Madman, Ron Kovic's Born on the Fourth of July, O'Brien's In the Lake of the Woods and A.B. Yehoshua's Friendly Fire. In some stories, events propel the characters into a friendly-fire catastrophe, as in Thomas Taylor's A Piece of this Country and Oliver Stone's 1986 film Platoon. This study examines friendly fire in a broad range of literary contexts.