Healing the Vietnam Wound Michael Rogin (bio) Echoes of Combat: The Vietnam War in American Memory. By Fred Turner. New York: Doubleday Anchor, 1996. viii + 276 pages. $23.95. The Scar That Binds: American Culture and the Vietnam War. By Keith Beattie. New York: NYU Press, 1998. x + 229 pages. $40.00. In the three decades since the Tet offensive catalyzed the American defeat in Southeast Asia, Vietnam has entered American cultural remembrance, these two books agree, around two dominant intertwined figures—the Vietnam veteran himself, and Vietnam as America’s wound. Fred Turner and Keith Beattie analyze an amnesiac, hallucinatory collective memory that substitutes for the American destruction in Vietnam an investment in what Vietnam did to the United States, America as the victim. Both books chart the shift—with Taxi Driver and the Rambo films as the hinges—from the silent, violent, psychotic veteran of the last years of the war to the healing returned soldiers and therapeutic communities that have dominated the ensuing decades. Both explore the emergence of Post-traumatic Stress Disorder as a diagnostic category in which home front rejection and isolation displace wartime horror, where what the vet suffered and not also what he did produces trauma, and, as Turner puts it, where the warrior is separated from the war. Beattie and Turner both analyze “Bringing the War ‘Home’“ (to cite the title of one of Beattie’s sections; “Bringing It All Back Home,” and “Lost Fathers” are two of Turner’s chapters), the process by which American families and platoons-as-families heal the [End Page 702] veteran’s wounds. Here, the two books share powerful critiques of Platoon, whose split-good-and-evil paternal family romance Oliver Stone and David Halberstam misrecognized as (Turner quoting Halberstam, 135) “historically and politically accurate,” as (Stone to his Oscar-awarders, quoted in Beattie, 88) “really understand[ing] what happened over there.” Beattie adds E.T. as a Vietnam homecoming movie, whereas Turner treats the Star Wars trilogy as Vietnam father/son combat and reconciliation. Echoes of Combat and The Scar That Binds both show how, from major mainstream journalists William Broyles, Jr. and James Fallows to the pulp fiction and paramilitary organizations also analyzed by James Gibson and Susan Jeffords, the war wound was American impotence; male violence, far from defining the war crimes of the United States, became the way to recuperate from the Vietnam syndrome. 1 Noncombatant Fallows’s self-involved concern with the manhood of what he characterized as his elite, draft-evading generation, reported in Echoes of Combat, matches veteran Broyles’s celebration of violence as male birthing ritual. Broyles’s insistence that only the veteran has authority to speak about the war has as its counterpart in The Scar That Binds Fallows’s group narcissist claim that, “The Vietnam War will be important in history only for what it did internally to the United States” (Beattie, 31). Both books, with a wealth of examples, expose the long reach of Vietnam in organizing American cultural life in the quarter-century since the U.S. defeat. 2 Beattie incisively organizes his material into three sections, “The Healed Wound,” “The Vietnam Veteran as Ventriloquist,” and “Bringing the War ‘Home.’” The Scar That Binds begins with “The Healed Wound,” the ubiquitous organic metaphor that folds the national into the personal body. Echoes of Combat also gives pride of place to Vietnam as America’s wound. “Healing as History” and “Scar Tissue” title Turner’s final chapters; his last words are “we must continue to run our fingers along the scars” (195). Sharing so much common ground, however, this deepest commonality of the two volumes is what fundamentally divides them. For Turner (whose book was published shortly before Beattie’s, time enough to appear in the bibliography of The Scar That Binds but not in the text) falls into exactly the pattern that Beattie wants to discredit. By putting returning Vietnam veterans at the center, one can hear Beattie saying, by making their wounds, killings, and psychological traumas synchedochical for the impact of [End Page 703] Vietnam on “American culture at large” (Turner, 13), Turner ends up celebrating the scar tissue that, for Beattie, sutures...
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