Podcast appearances and mentions of jerry lembcke

We welcome esteemed sociologist Jerry Lembcke to talk about how the memory of the Vietnam War was both recreated and used in the 1980s and 1990s to unify public sentiment against the liberatory movements of the 1960s. Lembcke reminds us that even in the creation of memory, there is a political struggle for the future that needs to be waged.

In the third installment of our series on war and memory we speak with American academic and Vietnam veteran Jerry Lembcke on how resistance to the conflict in South East Asia was framed during the 1960s and 70s. The discussion focuses on two key positions in Jerry's work: stab in the back theory and the pathologising of dissent through the coining of post-traumatic stress disorder. He unpacks how in the former, mysogny was used to paint anti-war activists as weak and effeminate against the strength and heroic resolve of the troops; whilst in the latter, the critical voices of veterans returning from the conflict were explained as the product of mental health rather than a form of resistance to the war. Jerry Lembcke is  Associate Professor Emeritus at Holy Cross College in Worcester, Massachusetts and the author of eight books, including The Spitting Image: Myth, Memory, and the Legacy of Vietnam, CNN's Tailwind: Inside Vietnam's Last Great Myth, and Hanoi Jane: War, Sex, and Fantasies of Betrayal. His opinion pieces have appeared in the New York Times, Boston Globe, San Francisco Chronicle, and The Chronicle of Higher Education. He has been a guest on several NPR programs including On the Media. You can find out more on Jerry's amazing work here.Music by Esion Noise. We would also like to thank Jacob over at Liverpool Podcast Studios. Support the show (https://www.forceswatch.net/support-our-work)

Featuring Tom Wilber & Jerry Lembcke -- "The POWs who came out against the war ... as far as anything they said ... they did so as a matter of conscience." The post Podcast (VN-E42): “They did it of their own volition” – Dissenting POWs appeared first on Courage to Resist.

On this edition of Parallax Views, Academy Award winning actress Jane Fonda made news recently for endorsing endorsing Vermont Senator Bernie Sanders' bid for the Democratic Party's Presidential nomination ahead of the 2020 Election. And with this news came a ghost that has been haunting Fonda for decades: the accusation that the Hollywood star betrayed American troops in the Vietnam War. In the waning years of that conflict Fonda became an outspoken antiwar activist whose efforts culminated in an infamous visit to Vietnam's capitol, Hanoi, that remains a point of heated controversy for many Americans. During this trip the actress cavorted with the Vietnamese, was granted a  tour of POW camps, and participated in broadcasts from Radio Hanoi pleading with U.S. servicemen to stop the bombings. As a result, Fonda gained the scorn-ridden nickname "Hanoi Jane" and the ire of many Americans, including Vietnam War veterans, who've come to see her as a traitor to the U.S. states military and its troops.Dr. Jerry Lembcke, a retired professor of Sociology at Holy Cross College and a Vietnam War Veteran himself, however, controversially argues that there's a gap between Jane Fonda the human being and what he argues is the myth of Hanoi Jane is his book Hanoi Jane: War, Sex, and Fantasies of Betrayal (University of Massachusetts Press; 2010). Furthermore, Lembcke has made the case that the story of the traitorous Hanoi Jane is but one piece of a broader American mythology pertaining to the Vietnam War. Specifically, Lembcke persuasively questioned the popular notion that veterans returning from the war were spat upon by disrespectful antiwar protesters in his meticulously researched The Spitting Image: Myth, Memory, and the Legacy of Vietnam (NYU Press; 1998). If Lembcke is correct, why do such myths arise and what purpose do they serve for America's collective psyche? Jerry Lembecke joins us to on this edition of the program to answer those questions and lay out what he considers the myths of the Vietnam War in what is sure to be one of the most thought-provoking and controversial conversations featured on Parallax Views to date. Additionally, Jerry tells us about his experience in Vietnam and what drove him to investigate these matters. All that and more on this edition of Parallax Views. SUPPORT PARALLAX VIEWSON PATREON! FORBONUS CONTENTANDARCHIVED EPISODES!

Jerry Lembcke is a professor of sociology at Holy Cross College, and the author of several books, including "The Spitting Image: Myth, Memory, and the Legacy of Vietnam."

Concluding part of our two-part episode on the GI resistance to the Vietnam war, in conversation with Jerry Lembcke, a Vietnam army veteran, now sociologist and author. Most further reading is linked to in the show notes of part 1. Support our work by backing us on patreon and get exclusive audio and other benefits: https://patreon.com/workingclasshistory This article gives a good general overview of the GI resistance movement: https://libcom.org/history/1961-1973-gi-resistance-in-the-vietnam-war This is our GI resistance merchandise in our online store: https://working-class-history.myshopify.com/collections/vietnam-gi-resistance This is our short video history of the movement: https://www.youtube.com/watch?v=PzhM9eDoM80 This is our playlist of Vietnam war protest music: https://www.youtube.com/watch?v=2Pj9AucSc9Y&list=PL71HxBMvC6bxaaxqKun66juixXqPZFjCN You can get Jerry Lembcke's books here: https://www.amazon.com/Jerry-Lembcke/e/B001HCZKCS/ref=sr_ntt_srch_lnk_1?qid=1533499864&sr=1-1 FOOTNOTES – Here you can get the excellent documentary, Sir, No Sir!: https://www.amazon.com/Sir-No-Suppressed-Movement-Vietnam/dp/B000IB0DE4 – This is an article Jerry wrote on the "spitting" myth: https://www.nytimes.com/2017/10/13/opinion/myth-spitting-vietnam-protester.html ACKNOWLEDGEMENTS – This episode was edited by Stephanie Hydal: http://www.stephaniehydal.com/portfolio/ – Music used this episode was "Ain't Going to Study War no more" by Leon Lishner and Friends – http://freemusicarchive.org/music/Leon_Lishner_and_Friends/Songs_For_The_Dawn_Of_Peace/26_-_Aint_Gonna_Study_War_No_More_Down_by_the_Riverside_USA – licensed under a Attribution-ShareAlike License – https://creativecommons.org/licenses/by-sa/4.0/legalcode

During the later years of the Vietnam war, a little-known but powerful rebellion developed within the ranks of the US forces. In this two-part episode, we talk about the GI resistance to the war with Jerry Lembcke, a Vietnam army veteran, now sociologist and author, and Bart, a navy veteran about their experiences. This article gives a good general overview of the GI resistance movement: https://libcom.org/history/1961-1973-gi-resistance-in-the-vietnam-war Support our work and get access to other exclusive audio and other benefits on patreon: https://patreon.com/workingclasshistory This is our GI resistance merchandise in our online store: https://working-class-history.myshopify.com/collections/vietnam-gi-resistance This is our short video history of the movement: https://www.youtube.com/watch?v=PzhM9eDoM80 This is our playlist of Vietnam war protest music: https://www.youtube.com/watch?v=2Pj9AucSc9Y&list=PL71HxBMvC6bxaaxqKun66juixXqPZFjCN You can get Jerry Lembcke's books here: https://www.amazon.com/Jerry-Lembcke/e/B001HCZKCS/ref=sr_ntt_srch_lnk_1?qid=1533499864&sr=1-1 FOOTNOTES – Vietnam: the collapse of the armed forces by Marine Colonel Robert D Heinl Jr: https://libcom.org/history/vietnam-collapse-armed-forces – USS Constellation mutiny: more information about that in this article https://libcom.org/history/1961-1973-gi-resistance-in-the-vietnam-war – USS Columbia Eagle mutiny: https://libcom.org/history/ss-columbia-eagle-mutiny-1970-steven-johns – The class war at home: check out our episode 8 (currently a patreon exclusive at time of publishing) for more about class struggle in the US at the time: https://patreon.com/workingclasshistory – This is a workers' whistleblowing guide: https://libcom.org/organise/workplace/articles/whistle-blowing.php – This is a workers' working to rule guide: https://libcom.org/organise/workplace/articles/work-to-rule.php – This personal account of the movement has info about "search and avoid": https://libcom.org/history/aint-marchin-anymore-gis-revolt-vietnam-dave-blalock – The Bravo Company mutiny: https://libcom.org/history/gi-revolts-breakdown-us-army-vietnam – The Presidio mutiny: https://libcom.org/history/presidio-mutiny-1968-randy-rowland MORE INFORMATION – This is a short history of the war by Howard Zinn: https://libcom.org/history/articles/vietnam-war – GI resistance photo gallery: https://libcom.org/gallery/gi-resistance-vietnam-war – Check out the excellent documentary, Sir, No Sir!: https://www.amazon.com/Sir-No-Suppressed-Movement-Vietnam/dp/B000IB0DE4 ACKNOWLEDGEMENTS – This episode was edited by Stephanie Hydal for editing this episode: http://www.stephaniehydal.com/portfolio/ Full acknowledgements including music and sound effects here on our website: https://workingclasshistory.com/2018/08/06/e10-the-gi-resistance-in-vietnam-part-1/

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu.

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices