For half a century we have been arguing about “the Vietnam War.” Is it possible that we didn’t know what we were talking about? After all that has been written (some 30,000 books and counting), it scarcely seems possible, but such, it turns out, has literally been the case.
Now, in Kill Anything that Moves, Nick Turse has for the first time put together a comprehensive picture, written with mastery and dignity, of what American forces actually were doing in Vietnam. The findings disclose an almost unspeakable truth. Meticulously piecing together newly released classified information, court-martial records, Pentagon reports, and firsthand interviews in Vietnam and the United States, as well as contemporaneous press accounts and secondary literature, Turse discovers that episodes of devastation, murder, massacre, rape, and torture once considered isolated atrocities were in fact the norm, adding up to a continuous stream of atrocity, unfolding, year after year, throughout that country.
It has been Turse’s great achievement to see that, thanks to the special character of the war, its prime reality — an accurate overall picture of what physically was occurring on the ground — had never been assembled; that with imagination and years of dogged work this could be done; and that even a half-century after the beginning of the war it still should be done. Turse acknowledges that, even now, not enough is known to present this picture in statistical terms. To be sure, he offers plenty of numbers — for instance the mind-boggling estimates that during the war there were some two million civilians killed and some five million wounded, that the United States flew 3.4 million aircraft sorties, and that it expended 30 billion pounds of munitions, releasing the equivalent in explosive force of 640 Hiroshima bombs.
Yet it would not have been enough to simply accumulate anecdotal evidence of abuses. Therefore, while providing an abundance of firsthand accounts, he has supplemented this approach. Like a fabric, a social reality — a town, a university, a revolution, a war — has a pattern and a texture. No fact is an island. Each one is rich in implications, which, so to speak, reach out toward the wider area of the surrounding facts. When some of these other facts are confirmed, they begin to reveal the pattern and texture in question.
Chad Wys Art
Chad Wys is a conceptual artist and designer from Illinois.
His paintings are experiments in composition, color, and form. He uses a wide variety of media and often inharmonious color schemes.
His subjects are depicted in unusual colors, but their original context is typically preserved. ‘By retooling the object I intend to add new layers to the the original,’ he says.
Can you hear the space