Search Results for: Vietnam

First Chapter: Dave Eggers’ Novel, ‘Your Fathers, Where Are They? And the Prophets, Do They Live Forever?’

Dave Eggers | Your Fathers, Where Are They? And the Prophets, Do They Live Forever? | June 2014 | 23 minutes (5,800 words)

 

BUILDING 52

—I did it. You’re really here. An astronaut. Jesus.
—Who’s that?
—You probably have a headache. From the chloroform.
—What? Where am I? Where is this place? Who the fuck are you?
—You don’t recognize me?
—What? No. What is this? Read more…

The House of Mondavi: How an American Wine Empire Was Born

Julia Flynn Siler | The House of Mondavi | 2007 | 14 minutes (3,328 words)

 
For our latest Longreads Member Pick, we’re excited to feature an excerpt from The House of Mondavi, Julia Flynn Siler’s book about a family that turned a Napa Valley winery into a billion-dollar fortune. Thanks to Siler and Gotham Books for sharing it with the Longreads community.

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Greet the Enemy

Longreads Pick

The writer on his experience with night terrors, which he associates with his love of horror films and the work of Tom Savini, a special-effects artist known for working with director George Romero on zombie films:

Savini joined the Army rather than wait to get drafted because enlisted men got to pick their jobs. He served as a combat photographer in Vietnam. After the war, he moved to North Carolina and started acting in a repertory theater. He was still playing around with makeups, still using them to scare the holy shit out of people. (In Vietnam, he had been all, “Mama-san, take . . . a . . . look . . . at . . . THIS!”) In fact, that’s what earned him his early notoriety, the verisimilitude of his wounds. “There’s something about seeing the real thing that sets me apart from, let’s say, some other makeup artists who have never experienced that,” he said in a post-Vietnam interview. “When I’m creating an effect, if it doesn’t look good to me—real—doesn’t give me that feeling I used to get when I’d see the real stuff, then it’s just not real enough for me.”

Source: Tin House
Published: Jun 1, 2014
Length: 21 minutes (5,453 words)

The Magical Stranger: A Son’s Journey Into His Father’s Life

Stephen Rodrick | The Magical Stranger | 2014 | 11 minutes (2,779 words)

Below is the first chapter from The Magical Stranger, Stephen Rodrick’s memoir about his father, squadron commander and Navy pilot Peter Rodrick. Our thanks to Rodrick for sharing it with the Longreads community. Read more…

Why Men Love War

Longreads Pick

Originally published in Esquire nearly three decades ago, Broyles’ essay is an American classic. Drawing from the author’s own experience in Vietnam, “Why Men Love War” is a meditation on the intense, complicated, and at times near-erotic relationship between men and battle.

War is beautiful. There is something about a firefight at night, something about the mechanical elegance of an M -60 machine gun. They are everything they should be, perfect examples of their form. When you are firing out at night, the red racers go out into tile blackness is if you were drawing with a light pen. Then little dots of light start winking back, and green tracers from the AK-47s begin to weave ill with the red to form brilliant patterns that seem, given their great speeds, oddly timeless, as if they had been etched on the night. And then perhaps the gunships called Spooky come in and fire their incredible guns like huge hoses washing down from the sky, like something God would do when He was really ticked off. And then the flares pop, casting eerie shadows as they float down on their little parachutes, swinging in the breeze, and anyone who moves, in their light seems a ghost escaped from hell.

Daytime offers nothing so spectacular, but it also has its charms. Many men loved napalm, loved its silent power, the way it could make tree lines or houses explode as if by spontaneous combustion. But I always thought napalm was greatly overrated, unless you enjoy watching tires burn. I preferred white phosphorus, which exploded with a fulsome elegance, wreathing its target in intense and billowing white smoke, throwing out glowing red comets trailing brilliant white plumes I loved it more–not less –because of its function: to destroy, to kill. The seduction of War is in its offering such intense beauty–divorced from I all civilized values, but beauty still.

Source: Esquire
Published: Jan 1, 1984
Length: 18 minutes (4,604 words)

The Good Girls Revolt

Lynn Povich | The Good Girls Revolt, Public Affairs | 2012 | 14 minutes (3,368 words)

 

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“Editors File Story; Girls File Complaint”

On March 16, 1970, Newsweek magazine hit the newsstands with a cover story on the fledgling feminist movement titled “Women in Revolt.” The bright yellow cover pictured a naked woman in red silhouette, her head thrown back, provocatively thrusting her fist through a broken blue female-sex symbol. As the first copies went on sale that Monday morning, forty-six female employees of Newsweek announced that we, too, were in revolt. We had just filed a complaint with the Equal Employment Opportunity Commission charging that we had been “systematically discriminated against in both hiring and promotion and forced to assume a subsidiary role” simply because we were women. It was the first time women in the media had sued on the grounds of sex discrimination and the story, irresistibly timed to the Newsweek cover, was picked up around the world:

• “‘Discriminate,’ le redattrici di Newsweek?” (La Stampa) “Newsweek’s Sex Revolt” (London Times)
• “Editors File Story; Girls File Complaint” (Newsday)
• “Women Get Set for Battle” (London Daily Express)
• “As Newsweek Says, Women Are in Revolt, Even on Newsweek” (New York Times)

The story in the New York Daily News, titled “Newshens Sue Newsweek for ‘Equal Rights,’” began, “Forty-six women on the staff of Newsweek magazine, most of them young and most of them pretty, announced today they were suing the magazine.”

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The Last Living Recipient of VA Benefits from the Civil War

Ms. Triplett’s pension, small as it is, stands as a reminder that war’s bills don’t stop coming when the guns fall silent. The VA is still paying benefits to 16 widows and children of veterans from the 1898 Spanish-American War.

The last U.S. World War I veteran died in 2011. But 4,038 widows, sons and daughters get monthly VA pension or other payments. The government’s annual tab for surviving family from those long-ago wars comes to $16.5 million.

Spouses, parents and children of deceased veterans from World War II, Korea, Vietnam, Kuwait, Iraq and Afghanistan received $6.7 billion in the 2013 fiscal year that ended Sept. 30. Payments are based on financial need, any disabilities, and whether the veteran’s death was tied to military service.

Those payments don’t include the costs of fighting or caring for the veterans themselves. A Harvard University study last year projected the final bill for the Iraq and Afghanistan wars would hit $4 trillion to $6 trillion in the coming decades…

A declaration of war sets in motion expenditures that can span centuries, whether the veterans themselves were heroes, cowards or something in between.

Michael M. Phillips, writing in the Wall Street Journal. Phillips profiled Irene Triplett, the last living recipient of VA benefits connected to the Civil War. According to Phillips, Triplett, who is 84, “collects $73.13 from the Department of Veterans Affairs, a pension payment for her father’s military service—in the Civil War,” which ended in 1865.

Read the story here

More stories from The Wall Street Journal

Photo: Library of Congress, Flickr

From the Garden of Sex, Drugs, and Rock ’n’ Roll to the Yale English Department

You couldn’t see Skull and Bones from the seminar room in Linsly-Chittenden Hall, though it was directly across the street. But the building was much on my mind the afternoon of the reception and had been from the day I got to New Haven. To my 26-year-old self, it seemed nearly impossible that literature—Keats, Shelley, Shakespeare, Whitman—was sharing space with Skull and Bones. I did not know much about Bones, but I took it to be a bastion of reactionary America. The society reached out its withered hand to tap future Wall Street pirates, CIA agents, and the sort of State Department operatives who had leveraged us into Vietnam, where a number of my high-school buddies had gone to be maimed and worse.

At least the Skull and Bones building looked its part. They called it the Crypt—and it did look like it was designed by Edgar Allan Poe. It was all stone and metal, with no real windows, and doors of enormous weight. Those doors must have closed with the grimmest finality, though never in my five New Haven years did I see them open or shut.

Mark Edmundson, in the Chronicle of Higher Education, on his time at the Yale English department in the late 1970s. Read more from the Chronicle of Higher Education in the Longreads archive. 

Photo: Wikimedia Commons

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On the Far Side of the Fire: Life, Death and Witchcraft in the Niger Delta

Child Rights and Rehabilitation Center, Eket, Nigeria

Jessica Wilbanks | Ninth Letter | Fall/Winter 2013 | 27 minutes (6,860 words)

 

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One of our previous Longreads Member Picks, an essay by Jessica Wilbanks, is now free for everyone. “On The Far Side of the Fire” first appeared in Ninth Letter and was awarded the  journal’s annual creative nonfiction award. This is the first time it has been published online.

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Longreads Best of 2013: 22 Outstanding Book Chapters We Featured This Year

This year we featured not only the best stories from the web, but also great chapters from new and classic books. Here’s a complete guide to every book chapter we featured this year, both for free and for Longreads Members: Read more…