Synopses & Reviews
One of the most resilient images of the Vietnam era is that of the anti-war protester often a woman spitting on the uniformed veteran just off the plane. The lingering potency of this icon was evident during the Gulf War, when war supporters invoked it to discredit their opposition.
In this startling book, Jerry Lembcke demonstrates that not a single incident of this sort has been convincingly documented. Rather, the anti-war Left saw in veterans a natural ally, and the relationship between anti-war forces and most veterans was defined by mutual support. Indeed one soldier wrote angrily to Vice President Spiro Agnew that the only Americans who seemed concerned about the soldier's welfare were the anti-war activists.
While the veterans were sometimes made to feel uncomfortable about their service, this sense of unease was, Lembcke argues, more often rooted in the political practices of the Right. Tracing a range of conflicts in the twentieth century, the book illustrates how regimes engaged in unpopular conflicts often vilify their domestic opponents for "stabbing the boys in the back."
Concluding with an account of the powerful role played by Hollywood in cementing the myth of the betrayed veteran through such films as Coming Home, Taxi Driver, and Rambo, Jerry Lembcke's book stands as one of the most important, original, and controversial works of cultural history in recent years.
Review
"Well-argued and documented" -Berkshire Eagle,
Review
"The image is ingrained: A Vietnam veteran, arriving home from the war, gets off a plane only to be greeted by an angry mob of antiwar protesters yelling, 'Murderer!' and 'Baby killer!' Then out of the crowd comes someone who spits in the veteran's face. The only problem, according to Jerry Lembcke, is that no such incident ever has been documented. It is instead, says Lembcke, a kind of urban myth that reflects our lingering national confusion over the war."-Los Angeles Times,
Review
"The myth of the spat-upon veteran is not only bad history, but it has been instrumental in selling the American public on bad policy."-Maurice Isserman,Chicago Tribune
Review
"The best history I have seen on the impact of the war on Americans, both then and now." -David Dellinger,
Review
"Lembcke builds a compelling case against collective memory by demonstrating that remembrances of Vietnam were almost at direct odds with circumstantial evidence." -San Francisco Chronicle,
Review
"Well-argued and documented"
"The image is ingrained: A Vietnam veteran, arriving home from the war, gets off a plane only to be greeted by an angry mob of antiwar protesters yelling, 'Murderer!' and 'Baby killer!' Then out of the crowd comes someone who spits in the veteran's face. The only problem, according to Jerry Lembcke, is that no such incident ever has been documented. It is instead, says Lembcke, a kind of urban myth that reflects our lingering national confusion over the war."
"The myth of the spat-upon veteran is not only bad history, but it has been instrumental in selling the American public on bad policy."
"The best history I have seen on the impact of the war on Americans, both then and now."
"Lembcke builds a compelling case against collective memory by demonstrating that remembrances of Vietnam were almost at direct odds with circumstantial evidence."
Review
"Introduces the audience to consider the value of the insider/outsider relationship in another's culture"-National Women's Studies Association Journal,
Synopsis
How the startling image of an anti-war protested spitting on a uniformed veteran misrepresented the narrative of Vietnam War political debate
One of the most resilient images of the Vietnam era is that of the anti-war protester -- often a woman -- spitting on the uniformed veteran just off the plane. The lingering potency of this icon was evident during the Gulf War, when war supporters invoked it to discredit their opposition.
In this startling book, Jerry Lembcke demonstrates that not a single incident of this sort has been convincingly documented. Rather, the anti-war Left saw in veterans a natural ally, and the relationship between anti-war forces and most veterans was defined by mutual support. Indeed one soldier wrote angrily to Vice President Spiro Agnew that the only Americans who seemed concerned about the soldier's welfare were the anti-war activists.
While the veterans were sometimes made to feel uncomfortable about their service, this sense of unease was, Lembcke argues, more often rooted in the political practices of the Right. Tracing a range of conflicts in the twentieth century, the book illustrates how regimes engaged in unpopular conflicts often vilify their domestic opponents for stabbing the boys in the back.
Concluding with an account of the powerful role played by Hollywood in cementing the myth of the betrayed veteran through such films as Coming Home, Taxi Driver, and Rambo, Jerry Lembcke's book stands as one of the most important, original, and controversial works of cultural history in recent years.
Synopsis
One of the most resilient images of the Vietnam era is that of the anti-war protester often a woman spitting on the uniformed veteran just off the plane. The lingering potency of this icon was evident during the Gulf War, when war supporters invoked it to discredit their opposition.
In this startling book, Jerry Lembcke demonstrates that not a single incident of this sort has been convincingly documented. Rather, the anti-war Left saw in veterans a natural ally, and the relationship between anti-war forces and most veterans was defined by mutual support. Indeed one soldier wrote angrily to Vice President Spiro Agnew that the only Americans who seemed concerned about the soldier's welfare were the anti-war activists.
While the veterans were sometimes made to feel uncomfortable about their service, this sense of unease was, Lembcke argues, more often rooted in the political practices of the Right. Tracing a range of conflicts in the twentieth century, the book illustrates how regimes engaged in unpopular conflicts often vilify their domestic opponents for "stabbing the boys in the back."
Concluding with an account of the powerful role played by Hollywood in cementing the myth of the betrayed veteran through such films as Coming Home, Taxi Driver, and Rambo, Jerry Lembcke's book stands as one of the most important, original, and controversial works of cultural history in recent years.
Synopsis
Long hair in the 60s, Afros in the early 70s, bobs in the 80s, fuschia in the 90s. Hair is one of the first attributes to catch our eye, not only because it reflects perceptions of attractiveness or unattractiveness, but also because it conveys important political, cultural, and social meanings, particularly in relation to group identity. Given that mainstream images of beauty do not privilege dark skin and tightly coiled hair, African American women's experience provides a starkly different perspective on the meaning of hair in social identity."
--National Women's Studies Association Journal
"Grab your copy at your local bookseller and get hip to what your hair is saying to others with regards to beauty, culture and politics. Learn about how culture has a love for coifs, because after all, so do you!"
Sophisticate's Black Hair Styles Guide
Drawing on interviews with over 50 women, from teens to seniors, Hair Matters is the first book on the politics of Black hair to be based on substantive, ethnographically informed research. Focusing on the everyday discussions that Black women have among themselves and about themselves, Ingrid Banks analyzes how talking about hair reveals Black women's ideas about race, gender, sexuality, beauty, and power. Ultimately, what emerges is a survey of Black women's consciousness within both their own communities and mainstream culture at large.
About the Author
Jerry Lembcke is Associate Professor of Sociology at Holy Cross College. In 1969 he was a Chaplain's Assistant assigned to the 41st Artillery Group in Vietnam.