Vietnam War

President Nixon's announcement on April 30, 1970, that US troops were invading neutral Cambodia as part of the ongoing Vietnam War campaign sparked a complicated series of events with tragic consequences on many fronts. In Cambodia, the invasion renewed calls for a government independent of western power and influence, eventually resulting in a civil war and the rise of the Khmer Rouge. Here at home, Nixon's expansion of the war galvanized the longstanding anti-Vietnam War movement, including at Kent State University, leading to the tragic shooting deaths of four students on May 4, 1970. This short book concisely contextualizes these events, filling a gap in the popular memory of the 1970 shootings and the wider conceptions of the war in Southeast Asia. In three brief chapters, James A. Tyner and Mindy Farmer provide background on the decade of activism around the United States that preceded the events on Kent State's campus, an overview of Cambodia's history and developments following the US incursion, and a closing section on historical memory--poignantly tying together the subject matter of the preceding chapters. As we grapple with the legacy of the Kent State shootings, Tyner and Farmer assert, we should also grapple with the larger context of the protests, of the decision to bomb and invade a neutral country, and the violence and genocide that followed.

"At the same time that the dangerous war was being fought in the jungles of Vietnam, Campus Wars were being fought in the United States by antiwar protesters. Kenneth J. Heineman found that the campus peace campaign was first spurred at state universities rather than at the big-name colleges. His useful book examines the outside forces, like military contracts and local communities, that led to antiwar protests on campus." --Herbert Mitgang, The New York Times "Shedding light on the drastic change in the social and cultural roles of campus life, Campus Wars looks at the way in which the campus peace campaign took hold and became a national movement." --History Today "Heineman's prodigious research in a variety of sources allows him to deal with matters of class, gender, and religion, as well as ideology. He convincingly demonstrates that, just as state universities represented the heartland of America, so their student protest movements illustrated the real depth of the anguish over US involvement in Vietnam. Highly recommended." --Choice "Represents an enormous amount of labor and fills many gaps in our knowledge of the anti-war movement and the student left." --Irwin Unger, author of These United States The 1960s left us with some striking images of American universities: Berkeley activists orating about free speech atop a surrounded police car; Harvard SDSers waylaying then-Secretary of Defense Robert McNamara; Columbia student radicals occupying campus buildings; and black militant Cornell students brandishing rifles, to name just a few. Tellingly, the most powerful and notorious image of campus protest is that of a teenage runaway, arms outstretched in anguish, kneeling beside the bloodied corpse of Jeff Miller at Kent State University. While much attention has been paid to the role of elite schools in fomenting student radicalism, it was actually at state institutions, such as Kent State, Michigan State, SUNY, and Penn State, where anti-Vietnam war protest blossomed. Kenneth Heineman has pored over dozens of student newspapers, government documents, and personal archives, interviewed scores of activists, and attended activist reunions in an effort to recreate the origins of this historic movement. In Campus Wars, he presents his findings, examining the involvement of state universities in military research -- and the attitudes of students, faculty, clergy, and administrators thereto -- and the manner in which the campus peace campaign took hold and spread to become a national movement. Recreating watershed moments in dramatic narrative fashion, this engaging book is both a revisionist history and an important addition to the chronicle of the Vietnam War era.

Shedding light on a misunderstood form of opposition to the Vietnam War, Michael Foley tells the story of draft resistance, the cutting edge of the antiwar movement at the height of the war's escalation. Unlike so-called draft dodgers, who left the country or manipulated deferments, draft resisters openly defied draft laws by burning or turning in their draft cards. Like civil rights activists before them, draft resisters invited prosecution and imprisonment. Focusing on Boston, one of the movement's most prominent centers, Foley reveals the crucial role of draft resisters in shifting antiwar sentiment from the margins of society to the center of American politics. Their actions inspired other draft-age men opposed to the war--especially college students--to reconsider their place of privilege in a draft system that offered them protections and sent disproportionate numbers of working-class and minority men to Vietnam. This recognition sparked the change of tactics from legal protest to mass civil disobedience, drawing the Johnson administration into a confrontation with activists who were largely suburban, liberal, young, and middle class--the core of Johnson's Democratic constituency. Examining the day-to-day struggle of antiwar organizing carried out by ordinary Americans at the local level, Foley argues for a more complex view of citizenship and patriotism during a time of war.

"Small . . . finds, rather, that the media had a built-in bias against [Vietnam] protesters--in particular, the television reports sought out scenes of violence, and hence gave disproportionate emphasis to even the smallest counter-demonstration. Small is methodical, indeed, comparing carefully what was supposed to happen, what actually did happen, what the media said had happened about what had happened, and about what 'two thin-skinned presidents,' Johnson and Nixon, thought about what the media said. . . . This study . . . should be valuable to students of the media, or to those who believe that all questions are political and to be settled by counting heads."--Rapport "Melvin Small's invaluable book persuasively analyzes media coverage of the antiwar movement and in doing so shatters the persistent and mischievous notion that the media lionized the antiwar movement and undermined support for the War."--George C. Herring, University of Kentucky It is commonly believed that, during the Vietnam War, journalists relayed a favorable image of antiwar protesters.  Melvin Small explodes that myth.  Journalists may do their best to be fair, but even fair reporters learn to focus on the violent and bizarre activities that make for dramatic news.  They may capture behavior on the fringes of a march, rather than the tone of the march as a whole.  They may ignore the arguments of the movement's leaders, which seem boring in comparison to action shots.  Small's commentary effectively portrays the battle between activists and the media while painting a compelling picture of Americans' inclination to accept the media's caricaturing lens.

As the Vietnam War divided the nation, a network of antiwar coffeehouses appeared in the towns and cities outside American military bases. Owned and operated by civilian activists, GI coffeehouses served as off-base refuges for the growing number of active-duty soldiers resisting the war. In the first history of this network, David L. Parsons shows how antiwar GIs and civilians united to battle local authorities, vigilante groups, and the military establishment itself by building a dynamic peace movement within the armed forces. Peopled with lively characters and set in the tense environs of base towns around the country, this book complicates the often misunderstood relationship between the civilian antiwar movement, U.S. soldiers, and military officials during the Vietnam era. Using a broad set of primary and secondary sources, Parsons shows us a critical moment in the history of the Vietnam-era antiwar movement, when a chain of counterculture coffeehouses brought the war's turbulent politics directly to the American military's doorstep.

The Vietnam War (1964-1975) divided American society like no other war of the twentieth century, and some of the most memorable American art and art-related activism of the last fifty years protested U.S. involvement. At a time when Pop Art, Minimalism, and Conceptual Art dominated the American art world, individual artists and art collectives played a significant role in antiwar protest and inspired subsequent generations of artists. This significant story of engagement, which has never been covered in a book-length survey before, is the subject of Kill for Peace. Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists' individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists' groups including the Art Workers' Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC's Q. And Babies? A. And Babies and APC's The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists' approaches to protest. These approaches range from extra-aesthetic actions--advertisements, strikes, walk-outs, and petitions without a visual aspect--to advance memorials, which were war memorials purposefully created before the war's end that criticized both the war and the form and content of traditional war memorials.

Between 1965 and 1973, hundreds of thousands of ordinary Americans participated in one of the most remarkable and significant people's movements in American history. Through marches, rallies, draft resistance, teach-ins, civil disobedience, and non-violent demonstrations at both the national and local levels, Americans vehemently protested the country's involvement in the Vietnam War. Rethinking the American Anti-War Movement provides a short, accessible overview of this important social and political movement, highlighting key events and key figures, the movement's strengths and weaknesses, how it intersected with other social and political movements of the time, and its lasting effect on the country. The book is perfect for anyone wanting to obtain an introduction to the Anti-War movement of the twentieth century.

The anti-Vietnam War movement in the United States is perhaps best remembered for its young, counterculture student protesters. However, the Vietnam War was the first conflict in American history in which a substantial number of military personnel actively protested the war while it was in progress. In The Turning, Andrew Hunt reclaims the history of the Vietnam Veterans Against the War (VVAW), an organization that transformed the antiwar movement by placing Vietnam veterans in the forefront of the nationwide struggle to end the war. Misunderstood by both authorities and radicals alike, VVAW members were mostly young men who had served in Vietnam and returned profoundly disillusioned with the rationale for the war and with American conduct in Southeast Asia. Angry, impassioned, and uncompromisingly militant, the VVAW that Hunt chronicles in this first history of the organization posed a formidable threat to America's Vietnam policy and further contributed to the sense that the nation was under siege from within. Based on extensive interviews and in-depth primary research, including recently declassified government files, The Turning is a vivid history of the men who risked censures, stigma, even imprisonment for a cause they believed to be "an extended tour of duty."

In 1968 Michael Mullen, a graduate student in biochemistry, was drafted; in 1969 he was sent to Vietnam as a foot soldier in Colonel Norman Schwarzkopf's Charlie Company; and in 1970 he was killed by the same OC friendly fireOCO that destroyed thousands of other lives during the Vietnam War. Back home on the family farm in Iowa, his parents made his death a crusade to awaken all parents to the insanity of war. C. D. B. Bryan's "Friendly Fire" and the TV movie of the same name documented these dramatic years, and Peg Mullen became a national symbol of grassroots activism. Now Peg Mullen shifts from symbol to reality as she tells her story in print for the first time. Outspoken, fearless, and wickedly humorous, Peg Mullen had a duel mission in the years after Michael's death: to penetrate the lies and evasions behind the artillery misfire that killed her oldest son and to publicize the senseless horror of the Vietnam War. "Unfriendly Fire" draws on the many letters sent to the Mullens after Michael's death; in addition, Michael's own bitter, weary letters home are reprinted. In these the voices of parents, brothers, sisters, comrades, teachers, and Michael himself echo Peg Mullen's call for truth and peace."

This volume is intended to demonstrate how opposition to the war in Vietnam, the military-industrial complex, and the national security state crystallized in a variety of different and often divergent political traditions. Indeed, for many of the figures discussed, dissent was a decidedly conservative act in that they felt that the war threatened traditional values, mores, and institutions, even though their definitions of what was sacred differed profoundly. To an extent many of the dissenters treated in this volume were at one time Cold War liberals. During the course of the Vietnam War, they came to see the foreign policy which they were supporting, with its willingness to invoke the democratic ideal and at the same time tolerate dictatorships in the cause of anticommunism, as morally and politically corrupt. Most dissenters increasingly came to perceive cold war liberalism as a radical departure that threatened the fundamental ideals of the republic.

Previous analyses of the student antiwar movement during the Vietnam War have focussed almost exclusively on a few radical student leaders and upon events that occurred at a few elite East Coast universities. This volume breaks new ground in the treatment it affords critiques of the war offered by conservative students, in its assessment of antiwar sentiment among Midwestern and Southern college students, and in its invesitgation of antiwar protests in American high schools. It also provides fresh insight through a discussion of the ways in which American films depicted the student movements and an examination of the role of women and religion in the campus wars of the Sixties and Seventies. The campus dimensions of the antiwar movement were more broad-based and more diverse in membership, roots, and strategy than is often assumed. Each essay in this collection strives not only to present a fair-minded picture of the impact of the Vietnam War on campus, but also to offer balanced reflections on its significance for today's body politic. Contributing authors conclude leading scholars on the war's impact on American society and two artists closely associated with that conflict, Vietnam veteran, writer, and poet W.D. Ehrhart and Country Joe McDonald, author of the antiwar era anthem, I Feel Like I'm Fixing to Die Rag.

The War Within: America's Battle over Vietnam is a painfully engrossing and popularly written account of how the battle on the home front ended America's least popular war. This absorbing narrative, hailed by critics of every persuasion, is the fruit of over a decade's worth of research: the author sifted through mountains of government documents, press coverage, and transcripts of interviews he conducted with virtually all of the key players, both inside the U.S. government and among the dissenters who eventually brought the war to an end. In these pages the antiwar era comes to life through the words of scores of participants, both the famous and the forgotten, who speak with candor and passion about this tumultuous period. A remarkable story of a powerful grassroots movement and its influence on officials in Washington.

Winter Soldiers asks why some of the Americans who served in Vietnam returned home to oppose the war. Growing up in the shadows of World War II, these young men volunteered or were drafted to serve as "citizen soldiers". But their patriotic fervor was shaken by the brutal realities of this war. Back in the U.S., they joined the antiwar movement and, as soldiers who had actually fought, they could not be dismissed as draft dodgers. The government perceived them as a threat and harassed, infiltrated, and prosecuted them. Organizational struggles and disputes over tactics caused the VVAW to fragment. With the U.S. withdrawal and the war's end, many members shifted to other pursuits, but others struggled to prevent future Vietnams. Stacewicz seeks to tell their story by interviewing over thirty members of the VVAW and drawing on their archives. The book deals with the internal conflict, self-discovery, alienation, and activism of veterans. The interviews are honest, introspective, and passionate. Winter Soldiers moves beyond the story of one protest group to become a history of the U.S. since World War II. -- Provides a new perspective on the war in Vietnam as well as the antiwar movement in theSstates -- Most readable general interest title on the VVAW