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"content": "\u003cp>The year of the cat is what differentiates the Vietnamese zodiac calendar from the Chinese and Korean calendars. In \u003ca href=\"https://www.kqed.org/news/tag/vietnam\">Vietnam\u003c/a>, the year of the cat replaces the year of the rabbit.\u003c/p>\n\u003cp>And 1975 was the year of the cat.\u003c/p>\n\u003cp>On April 30 of that year, Saigon, the capital city of South Vietnam, fell to communist forces from Northern Vietnam. As U.S. troops rapidly retreated, hundreds of thousands of Vietnamese fled their homeland.\u003c/p>\n\u003cp>The year 1975 “marks the beginning of mass migration for my mother, and folks like my mother,” Tony Nguyen tells me. “And my mother was pregnant with me at that time.”\u003c/p>\n\u003cfigure id=\"attachment_13975165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975165 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8.jpg 1277w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A clipping from the Seymour Tribune shows filmmaker Tony Nguyen’s mother (far right) shortly after fleeing Vietnam and seeking refuge in the U.S. She was seven months pregnant with Tony at the time, in September of 1975. \u003ccite>(Courtesy of Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Oakland-based filmmaker born in Indiana in the fall of 1975, Nguyen explains that the process of making his latest film, in some ways, began that very year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://caamfest.com/2025/movies/year-of-the-cat/\">Year of the Cat\u003c/a>\u003c/em>, a 98-minute documentary which screens May 9 as part of \u003ca href=\"https://caamfest.com/2025/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> in San Francisco, chronicles Nguyen’s quest to find his father. Along the way, Nguyen learns more than anticipated about both his family and world history, all while creating a roadmap of sorts for the next generation.\u003c/p>\n\u003cp>Nguyen digs through digital phonebooks and listens to first-person accounts that won’t appear in history textbooks. He takes DNA tests, tests the patience of strangers, and knocks on doors unannounced at houses in U.S. suburbs. At one point in the film, he breaks a sweat while walking through a cemetery in Vietnam.\u003c/p>\n\u003cp>And in the end, he finds what he’s looking for: the truth.\u003c/p>\n\u003cfigure id=\"attachment_13975166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975166 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-800x450.jpeg\" alt=\"An over-the-shoulder shot of two men talking while sitting on a park bench.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Nguyen gets acquainted with his newly found half-brother in a scene from ‘Year of The Cat.’ \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a journey for a film that begins as Nguyen and a younger relative, there to translate his broken Vietnamese, sit down with Nguyen’s mother to discuss his father’s whereabouts.\u003c/p>\n\u003cp>His mom, who’d recently survived a stroke, engages in a tough-to-watch conversation. In the scene, Nguyen’s checkered relationship with his mother (and his motherland) becomes clear as he listens to her tell of living through the fall of Saigon, surviving sexual assault, seeking refuge and divulging family secrets.\u003c/p>\n\u003cp>Nguyen then follows all the leads he can to find more information about his father. In addition to consulting family members and contacting people through ancestry sites, he hires \u003ca href=\"https://www.youtube.com/channel/UCScMaU2pIseOUJcRz9ACjfQ\" target=\"_blank\" rel=\"noopener\">Kyle Le\u003c/a>, a Vietnamese YouTuber who specializes in reuniting people.\u003c/p>\n\u003cp>Around 30 minutes into the film, Nguyen hits a wall in his research. So he records and sends a video to someone he’s been connected with via an ancestry site. It’s a Hail Mary of sorts, in a scene which gives the viewer a full understanding of what’s at stake.\u003c/p>\n\u003cfigure id=\"attachment_13975167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975167 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-800x450.jpg\" alt=\"Two people hugging while sitting. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Tony Nguyen shares an embrace with his newly acquainted half-sister. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he records the video, he describes his own children and how he cares for them, explaining that fatherhood has inspired him to find out more about his own father. And then he nods to a larger story — one that speaks to the heart of those who fled Vietnam 50 years ago.\u003c/p>\n\u003cp>As the camera cuts away from him, the audience gets a glimpse of a maneki-neko, a golden cat figurine believed to bring good luck. Nguyen says, in a voiceover, “I upload the video to YouTube, and say a prayer to the cats in the kitchen.”\u003c/p>\n\u003cp>Throughout the film Nguyen’s emotions range from sorrow to determination as he repeatedly makes phone calls to strangers and pushes the boundaries of what’s socially acceptable.\u003c/p>\n\u003cp>“In the moment,” he says, “I was all gloves off.”\u003c/p>\n\u003cfigure id=\"attachment_13975164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-800x450.jpeg\" alt=\"A wide shot of two men sitting at a cafe in Vietnam. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YouTuber Kyle Le and filmmaker Tony Nguyen take a break from their research as they sit at a cafe in Vietnam. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What you’re seeing is very much so true to my search,” Nguyen says during a phone interview, adding that he wanted the film to retain even his unflattering acts, like contacting people repeatedly.\u003c/p>\n\u003cp>“I was trying to be respectful; at least in my eyes, that’s what respect looks like,” Nguyen says in regard to knocking on doors and reaching out to strangers whose DNA results showed a match. “Not getting anywhere with those family members, I just felt like I needed to take that risk.”\u003c/p>\n\u003cp>He cites being born into loss as his motivation to seek answers.\u003c/p>\n\u003cp>“My mother’s loss of a country, coming here to America as a refugee, not growing up with a father, not knowing anything about him, never seeing a picture and so forth,” Nguyen says.\u003c/p>\n\u003cp>Nguyen aimed to be ethical about his pursuit of the truth. He didn’t steal hair samples or go through anyone’s trash. But “in the end, in terms of the actual search for my father, I did what I thought was best,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13975168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975168 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-800x450.jpeg\" alt=\"A man crouches while holding a cellphone with the light on, looking at a room full of urns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Tony Nguyen crouches while looking at a collection of urns as he searches for the truth about his father’s identity. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen’s search for answers began five years before the film was finished, with what he calls a “naive idea” that he’d go straight from point A to point B. He certainly didn’t.\u003c/p>\n\u003cp>However, over the course of the process, he helped a cousin discover a half-sibling, and found two half-siblings of his own. He came across images of his father with long hair, and discovered that his father, like Nguyen, was an artist too.\u003c/p>\n\u003cp>In a scene at the documentary’s end, Nguyen and his kids have dinner, and his 15 year-old son, without breaking from eating, says he respects his dad for embarking on his journey. After five years, many family stories and ultimately discovering the truth about his father, Nguyen’s mission is complete.\u003c/p>\n\u003cp>“I see this as a document for my children’s generation,” says Nguyen of the film. “And hopefully future generations within my own family.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Year of The Cat’ makes its Bay Area premiere as part of CAAMFest on May 9 at the AMC Kabuki in San Francisco. \u003ca href=\"https://caamfest.com/2025/movies/year-of-the-cat/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year of the cat is what differentiates the Vietnamese zodiac calendar from the Chinese and Korean calendars. In \u003ca href=\"https://www.kqed.org/news/tag/vietnam\">Vietnam\u003c/a>, the year of the cat replaces the year of the rabbit.\u003c/p>\n\u003cp>And 1975 was the year of the cat.\u003c/p>\n\u003cp>On April 30 of that year, Saigon, the capital city of South Vietnam, fell to communist forces from Northern Vietnam. As U.S. troops rapidly retreated, hundreds of thousands of Vietnamese fled their homeland.\u003c/p>\n\u003cp>The year 1975 “marks the beginning of mass migration for my mother, and folks like my mother,” Tony Nguyen tells me. “And my mother was pregnant with me at that time.”\u003c/p>\n\u003cfigure id=\"attachment_13975165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975165 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-8.jpg 1277w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A clipping from the Seymour Tribune shows filmmaker Tony Nguyen’s mother (far right) shortly after fleeing Vietnam and seeking refuge in the U.S. She was seven months pregnant with Tony at the time, in September of 1975. \u003ccite>(Courtesy of Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An Oakland-based filmmaker born in Indiana in the fall of 1975, Nguyen explains that the process of making his latest film, in some ways, began that very year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://caamfest.com/2025/movies/year-of-the-cat/\">Year of the Cat\u003c/a>\u003c/em>, a 98-minute documentary which screens May 9 as part of \u003ca href=\"https://caamfest.com/2025/\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> in San Francisco, chronicles Nguyen’s quest to find his father. Along the way, Nguyen learns more than anticipated about both his family and world history, all while creating a roadmap of sorts for the next generation.\u003c/p>\n\u003cp>Nguyen digs through digital phonebooks and listens to first-person accounts that won’t appear in history textbooks. He takes DNA tests, tests the patience of strangers, and knocks on doors unannounced at houses in U.S. suburbs. At one point in the film, he breaks a sweat while walking through a cemetery in Vietnam.\u003c/p>\n\u003cp>And in the end, he finds what he’s looking for: the truth.\u003c/p>\n\u003cfigure id=\"attachment_13975166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975166 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-800x450.jpeg\" alt=\"An over-the-shoulder shot of two men talking while sitting on a park bench.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-bop-1-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Nguyen gets acquainted with his newly found half-brother in a scene from ‘Year of The Cat.’ \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a journey for a film that begins as Nguyen and a younger relative, there to translate his broken Vietnamese, sit down with Nguyen’s mother to discuss his father’s whereabouts.\u003c/p>\n\u003cp>His mom, who’d recently survived a stroke, engages in a tough-to-watch conversation. In the scene, Nguyen’s checkered relationship with his mother (and his motherland) becomes clear as he listens to her tell of living through the fall of Saigon, surviving sexual assault, seeking refuge and divulging family secrets.\u003c/p>\n\u003cp>Nguyen then follows all the leads he can to find more information about his father. In addition to consulting family members and contacting people through ancestry sites, he hires \u003ca href=\"https://www.youtube.com/channel/UCScMaU2pIseOUJcRz9ACjfQ\" target=\"_blank\" rel=\"noopener\">Kyle Le\u003c/a>, a Vietnamese YouTuber who specializes in reuniting people.\u003c/p>\n\u003cp>Around 30 minutes into the film, Nguyen hits a wall in his research. So he records and sends a video to someone he’s been connected with via an ancestry site. It’s a Hail Mary of sorts, in a scene which gives the viewer a full understanding of what’s at stake.\u003c/p>\n\u003cfigure id=\"attachment_13975167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975167 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-800x450.jpg\" alt=\"Two people hugging while sitting. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/0-6-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Tony Nguyen shares an embrace with his newly acquainted half-sister. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he records the video, he describes his own children and how he cares for them, explaining that fatherhood has inspired him to find out more about his own father. And then he nods to a larger story — one that speaks to the heart of those who fled Vietnam 50 years ago.\u003c/p>\n\u003cp>As the camera cuts away from him, the audience gets a glimpse of a maneki-neko, a golden cat figurine believed to bring good luck. Nguyen says, in a voiceover, “I upload the video to YouTube, and say a prayer to the cats in the kitchen.”\u003c/p>\n\u003cp>Throughout the film Nguyen’s emotions range from sorrow to determination as he repeatedly makes phone calls to strangers and pushes the boundaries of what’s socially acceptable.\u003c/p>\n\u003cp>“In the moment,” he says, “I was all gloves off.”\u003c/p>\n\u003cfigure id=\"attachment_13975164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-800x450.jpeg\" alt=\"A wide shot of two men sitting at a cafe in Vietnam. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-and-kyle-wide-2-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YouTuber Kyle Le and filmmaker Tony Nguyen take a break from their research as they sit at a cafe in Vietnam. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What you’re seeing is very much so true to my search,” Nguyen says during a phone interview, adding that he wanted the film to retain even his unflattering acts, like contacting people repeatedly.\u003c/p>\n\u003cp>“I was trying to be respectful; at least in my eyes, that’s what respect looks like,” Nguyen says in regard to knocking on doors and reaching out to strangers whose DNA results showed a match. “Not getting anywhere with those family members, I just felt like I needed to take that risk.”\u003c/p>\n\u003cp>He cites being born into loss as his motivation to seek answers.\u003c/p>\n\u003cp>“My mother’s loss of a country, coming here to America as a refugee, not growing up with a father, not knowing anything about him, never seeing a picture and so forth,” Nguyen says.\u003c/p>\n\u003cp>Nguyen aimed to be ethical about his pursuit of the truth. He didn’t steal hair samples or go through anyone’s trash. But “in the end, in terms of the actual search for my father, I did what I thought was best,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13975168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13975168 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-800x450.jpeg\" alt=\"A man crouches while holding a cellphone with the light on, looking at a room full of urns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-2048x1152.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/tony-looking-at-urns-4-2-1920x1080.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Tony Nguyen crouches while looking at a collection of urns as he searches for the truth about his father’s identity. \u003ccite>(Tony Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen’s search for answers began five years before the film was finished, with what he calls a “naive idea” that he’d go straight from point A to point B. He certainly didn’t.\u003c/p>\n\u003cp>However, over the course of the process, he helped a cousin discover a half-sibling, and found two half-siblings of his own. He came across images of his father with long hair, and discovered that his father, like Nguyen, was an artist too.\u003c/p>\n\u003cp>In a scene at the documentary’s end, Nguyen and his kids have dinner, and his 15 year-old son, without breaking from eating, says he respects his dad for embarking on his journey. After five years, many family stories and ultimately discovering the truth about his father, Nguyen’s mission is complete.\u003c/p>\n\u003cp>“I see this as a document for my children’s generation,” says Nguyen of the film. “And hopefully future generations within my own family.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Year of The Cat’ makes its Bay Area premiere as part of CAAMFest on May 9 at the AMC Kabuki in San Francisco. \u003ca href=\"https://caamfest.com/2025/movies/year-of-the-cat/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>War, like love, has long inspired artists and musicians. That is especially true of the songs written in response to the Vietnam War during the countercultural movements of the 1960s and ’70s. The songs released in that time — and in the years that followed — sought to highlight the experiences of those affected by combat and in a period of societal upheaval.\u003c/p>\n\u003cp>This month marks 50 years since the fall of Saigon. Below, explore 11 songs from the 1960s through the 2010s about the conflict, from artists around the world.\u003c/p>\n\u003ch2>‘Saigon Bride,’ Joan Baez (1967)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=m20Glis_wWE\u003c/p>\n\u003cp>Based on a poem sent to Joan Baez by Nina Duschek, “Saigon Bride” is emblematic of ’60s folk music and tells the story of a soldier who goes to war, leaving his wife behind. “How many dead men will it take / To build a dike that will not break?” she sings in her soft vibrato. “How many children must we kill / Before we make the waves stand still?”\u003c/p>\n\u003ch2>‘Đường Trường Sơn xe anh qua,’ Văn Dung (1968)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=zbLnylRfN0I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Văn Dung’s ”Đường Trường Sơn xe anh qua” (“The Truong Son Road Your Vehicles Passed Through”) is written about the Ho Chi Minh trail, an expansive system of paths and trails used by North Vietnam to bring troops and supplies into South Vietnam, Cambodia and Laos during the war. Dung wrote the song in 1968, when he arrived at the Khe Sanh front, about female youth volunteers. There are many wonderful covers of this one, too, including a theatrical rendition by Trọng Tấn.\u003c/p>\n\u003ch2>‘Fortunate Son,’ Creedence Clearwater Revival (1969)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ZWijx_AgPiA\u003c/p>\n\u003cp>It may very well be the first song that comes to mind when the Vietnam War is brought up. Creedence Clearwater Revival’s three-time platinum “Fortunate Son” is a benchmark by which to compare the efficacy of all other protest anthems. Frontman John Fogerty wrote this one to highlight what he viewed as an innate hypocrisy: American leaders perpetuating war while protecting themselves from making the same sacrifices they asked of the public. “Yeah-yeah, some folks inherit star-spangled eyes,” he sings. “Hoo, they send you down to war, Lord.”\u003c/p>\n\u003ch2>‘I Should Be Proud,’ Martha Reeves & the Vandellas (1970)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4aDuqGjF_hc\u003c/p>\n\u003cp>Martha Reeves & the Vandellas’ “I Should Be Proud” is conflicted. Soul singer Reeves embodies a narrator who learns her love has been killed in combat during the Vietnam War. Instead of being filled with pride for his sacrifice, she grieves. “But I don’t want no silver star,” she sings. “Just the good man they took from me.”\u003c/p>\n\u003ch2>‘Ca Dao Mẹ,’ Trịnh Công Sơn (1970)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=F33ZxY4lPiY\u003c/p>\n\u003cp>The Vietnamese singer-songwriter Trịnh Công Sơn has a rich catalog featuring a myriad of anti-war songs; selecting just one is a challenge. But “Ca Dao Mẹ” (“A Mother’s Lullaby”) is a clear standout. It details a mother’s sacrifice during wartime. In the last verse, the mother sings a lullaby to her child and also the young country. Vietnamese singer Khánh Ly does a lovely cover of it, too.\u003c/p>\n\u003ch2>‘Ohio,’ Crosby, Stills, Nash & Young (1971)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Q7Ohc7kQh5U\u003c/p>\n\u003cp>On May 4, 1970, the Ohio National Guard opened fire on unarmed college students during a protest at \u003ca href=\"https://www.kqed.org/arts/13962625/kent-state-a-chilling-examination-of-1970-campus-shooting-and-its-ramifications\">Kent State University\u003c/a>. Four students were killed, and nine others were injured. Not all of those hurt or killed were involved in the demonstration, which opposed the U.S. bombing of neutral Cambodia during the Vietnam War. Neil Young was sitting on a porch with David Crosby when he saw images of the horrific event in a magazine and decided to write a song about it. “What if you knew her and found her dead on the ground?” he sang.\u003c/p>\n\u003ch2>‘What’s Going On,’ Marvin Gaye (1971)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-kA3UtBj4M\u003c/p>\n\u003cp>There isn’t an emotion Marvin Gaye couldn’t perfectly articulate with his rich tone; the classic “What’s Going On” is no exception. The song was originally inspired by an act of police brutality in 1969 known as “Bloody Thursday”; when it got to Gaye, it was imbued with experiences gleaned from his brother, a Vietnam veteran. The message, of course, is timeless.\u003c/p>\n\u003ch2>‘Happy Xmas (War Is Over),’ John Lennon, Yoko Ono, The Plastic Ono Band with the Harlem Community Choir (1971)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=uMH_wMvMy_8\u003c/p>\n\u003cp>There isn’t a lot of overlap with Christmas songs and protest music, but John Lennon, Yoko Ono, the Plastic Ono Band and the Harlem Community Choir certainly knew how to get their message across with “Happy Xmas (War Is Over).” It’s a smart choice — combining the sweetness of a holiday tune with a message of unity — delivered with guitar, piano, chimes and, most effective of all, a children’s choir.\u003c/p>\n\u003ch2>‘Back to Vietnam,’ Television Personalities (1984)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kzIWIqODN9g\u003c/p>\n\u003cp>Formed the year punk broke — that’s 1977, two years after the end of the Vietnam War — English post-punk band Television Personalities are a cult favorite for their cheeky, ramshackle, clever pop songs, led by frontman Dan Treacy’s undeniable schoolboy charm. The final track on their 1984 album “The Painted Word,” however, tells a different story. “Back to Vietnam” describes an insomniac man experiencing wartime post-traumatic stress disorder, replete with the sounds of gunshots and screams.\u003c/p>\n\u003ch2>‘Agent Orange,’ Sodom (1989)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=uXNyEZqE1j4\u003c/p>\n\u003cp>German thrash metal band Sodom’s 1989 album \u003cem>Agent Orange\u003c/em> put their extreme music on the map, even breaking into the Top 40 in their native country. Beyond its ferocious pleasures, the album centers on lead vocalist and principal songwriter Tom Angelripper’s fascination with the Vietnam War, leading with the opening title track. “Operation Ranch Hand / Spray down the death,” he releases a throaty scream.\u003c/p>\n\u003ch2>‘The Wall,’ Bruce Springsteen (2014)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=j3m0BXVKPu0\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dedicated fans of the Boss know “The Wall” is one Bruce Springsteen held onto for a while; he performed it at a 2002 benefit long before its official release on his 2014 album \u003cem>High Hopes\u003c/em>. The song was inspired by a trip he took to the Vietnam Veterans Memorial in Washington. “This black stone and these hard tears,” he sings in the first verse, “are all I got left now of you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>War, like love, has long inspired artists and musicians. That is especially true of the songs written in response to the Vietnam War during the countercultural movements of the 1960s and ’70s. The songs released in that time — and in the years that followed — sought to highlight the experiences of those affected by combat and in a period of societal upheaval.\u003c/p>\n\u003cp>This month marks 50 years since the fall of Saigon. Below, explore 11 songs from the 1960s through the 2010s about the conflict, from artists around the world.\u003c/p>\n\u003ch2>‘Saigon Bride,’ Joan Baez (1967)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m20Glis_wWE'\n title='//www.youtube.com/embed/m20Glis_wWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on a poem sent to Joan Baez by Nina Duschek, “Saigon Bride” is emblematic of ’60s folk music and tells the story of a soldier who goes to war, leaving his wife behind. “How many dead men will it take / To build a dike that will not break?” she sings in her soft vibrato. “How many children must we kill / Before we make the waves stand still?”\u003c/p>\n\u003ch2>‘Đường Trường Sơn xe anh qua,’ Văn Dung (1968)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zbLnylRfN0I'\n title='//www.youtube.com/embed/zbLnylRfN0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Văn Dung’s ”Đường Trường Sơn xe anh qua” (“The Truong Son Road Your Vehicles Passed Through”) is written about the Ho Chi Minh trail, an expansive system of paths and trails used by North Vietnam to bring troops and supplies into South Vietnam, Cambodia and Laos during the war. Dung wrote the song in 1968, when he arrived at the Khe Sanh front, about female youth volunteers. There are many wonderful covers of this one, too, including a theatrical rendition by Trọng Tấn.\u003c/p>\n\u003ch2>‘Fortunate Son,’ Creedence Clearwater Revival (1969)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZWijx_AgPiA'\n title='//www.youtube.com/embed/ZWijx_AgPiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may very well be the first song that comes to mind when the Vietnam War is brought up. Creedence Clearwater Revival’s three-time platinum “Fortunate Son” is a benchmark by which to compare the efficacy of all other protest anthems. Frontman John Fogerty wrote this one to highlight what he viewed as an innate hypocrisy: American leaders perpetuating war while protecting themselves from making the same sacrifices they asked of the public. “Yeah-yeah, some folks inherit star-spangled eyes,” he sings. “Hoo, they send you down to war, Lord.”\u003c/p>\n\u003ch2>‘I Should Be Proud,’ Martha Reeves & the Vandellas (1970)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4aDuqGjF_hc'\n title='//www.youtube.com/embed/4aDuqGjF_hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Martha Reeves & the Vandellas’ “I Should Be Proud” is conflicted. Soul singer Reeves embodies a narrator who learns her love has been killed in combat during the Vietnam War. Instead of being filled with pride for his sacrifice, she grieves. “But I don’t want no silver star,” she sings. “Just the good man they took from me.”\u003c/p>\n\u003ch2>‘Ca Dao Mẹ,’ Trịnh Công Sơn (1970)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F33ZxY4lPiY'\n title='//www.youtube.com/embed/F33ZxY4lPiY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Vietnamese singer-songwriter Trịnh Công Sơn has a rich catalog featuring a myriad of anti-war songs; selecting just one is a challenge. But “Ca Dao Mẹ” (“A Mother’s Lullaby”) is a clear standout. It details a mother’s sacrifice during wartime. In the last verse, the mother sings a lullaby to her child and also the young country. Vietnamese singer Khánh Ly does a lovely cover of it, too.\u003c/p>\n\u003ch2>‘Ohio,’ Crosby, Stills, Nash & Young (1971)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q7Ohc7kQh5U'\n title='//www.youtube.com/embed/Q7Ohc7kQh5U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On May 4, 1970, the Ohio National Guard opened fire on unarmed college students during a protest at \u003ca href=\"https://www.kqed.org/arts/13962625/kent-state-a-chilling-examination-of-1970-campus-shooting-and-its-ramifications\">Kent State University\u003c/a>. Four students were killed, and nine others were injured. Not all of those hurt or killed were involved in the demonstration, which opposed the U.S. bombing of neutral Cambodia during the Vietnam War. Neil Young was sitting on a porch with David Crosby when he saw images of the horrific event in a magazine and decided to write a song about it. “What if you knew her and found her dead on the ground?” he sang.\u003c/p>\n\u003ch2>‘What’s Going On,’ Marvin Gaye (1971)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H-kA3UtBj4M'\n title='//www.youtube.com/embed/H-kA3UtBj4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There isn’t an emotion Marvin Gaye couldn’t perfectly articulate with his rich tone; the classic “What’s Going On” is no exception. The song was originally inspired by an act of police brutality in 1969 known as “Bloody Thursday”; when it got to Gaye, it was imbued with experiences gleaned from his brother, a Vietnam veteran. The message, of course, is timeless.\u003c/p>\n\u003ch2>‘Happy Xmas (War Is Over),’ John Lennon, Yoko Ono, The Plastic Ono Band with the Harlem Community Choir (1971)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uMH_wMvMy_8'\n title='//www.youtube.com/embed/uMH_wMvMy_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There isn’t a lot of overlap with Christmas songs and protest music, but John Lennon, Yoko Ono, the Plastic Ono Band and the Harlem Community Choir certainly knew how to get their message across with “Happy Xmas (War Is Over).” It’s a smart choice — combining the sweetness of a holiday tune with a message of unity — delivered with guitar, piano, chimes and, most effective of all, a children’s choir.\u003c/p>\n\u003ch2>‘Back to Vietnam,’ Television Personalities (1984)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kzIWIqODN9g'\n title='//www.youtube.com/embed/kzIWIqODN9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Formed the year punk broke — that’s 1977, two years after the end of the Vietnam War — English post-punk band Television Personalities are a cult favorite for their cheeky, ramshackle, clever pop songs, led by frontman Dan Treacy’s undeniable schoolboy charm. The final track on their 1984 album “The Painted Word,” however, tells a different story. “Back to Vietnam” describes an insomniac man experiencing wartime post-traumatic stress disorder, replete with the sounds of gunshots and screams.\u003c/p>\n\u003ch2>‘Agent Orange,’ Sodom (1989)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uXNyEZqE1j4'\n title='//www.youtube.com/embed/uXNyEZqE1j4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>German thrash metal band Sodom’s 1989 album \u003cem>Agent Orange\u003c/em> put their extreme music on the map, even breaking into the Top 40 in their native country. Beyond its ferocious pleasures, the album centers on lead vocalist and principal songwriter Tom Angelripper’s fascination with the Vietnam War, leading with the opening title track. “Operation Ranch Hand / Spray down the death,” he releases a throaty scream.\u003c/p>\n\u003ch2>‘The Wall,’ Bruce Springsteen (2014)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j3m0BXVKPu0'\n title='//www.youtube.com/embed/j3m0BXVKPu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dedicated fans of the Boss know “The Wall” is one Bruce Springsteen held onto for a while; he performed it at a 2002 benefit long before its official release on his 2014 album \u003cem>High Hopes\u003c/em>. The song was inspired by a trip he took to the Vietnam Veterans Memorial in Washington. “This black stone and these hard tears,” he sings in the first verse, “are all I got left now of you.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The evening news brought the \u003ca href=\"https://www.kqed.org/arts/tag/vietnam\">Vietnam War\u003c/a> into American living rooms, but once the news was over, so was the war. Prime-time shows brought nary a mention of it as networks looked to bring uncontroversial content to the broadest possible audience. But the war simmered below the surface as subtext, and when enough years passed, television would finally take it on as a subject.\u003c/p>\n\u003ch2>‘Gomer Pyle, U.S.M.C.’ (1964-1969)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RHUS99zQU_A\u003c/p>\n\u003cp>\u003cem>Gomer Pyle, U.S.M.C.\u003c/em> premiered on CBS six weeks after the 1964 Gulf of Tonkin resolution authorized U.S. combat troops in Vietnam, and the daft comedy was among the chief images of the military in American homes through the peak of U.S. involvement in 1969. Naturally, the show about a country rube in the Marine Corps never directly mentioned the war. But most of the real-life Marines who marched in its introduction would soon be fighting in Vietnam. Star Jim Nabors later said watching that intro was difficult, knowing some of those men had died.\u003c/p>\n\u003ch2>‘All in the Family’ (1971-1979)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=i4AgUHo-6-E\u003c/p>\n\u003cp>It would take \u003cem>All in the Family\u003c/em> to bring the war into prime-time discourse. The Norman Lear-created CBS comedy owed its popularity to timely political bickering between cantankerous patriarch Archie Bunker (Carroll O’Connor) and his liberal-minded son-in-law Michael “Meathead” Stivic (Rob Reiner). Vietnam was the sole subject of a landmark 1976 episode where a draft-dodging fugitive friend of Michael’s comes to Christmas dinner, and an explosive argument ensues. “When the hell are you going to admit that the war was wrong?!” Michael shouts. A friend of Archie’s whose son died in the war shocks him by taking his son-in-law’s side.\u003c/p>\n\u003ch2>‘M*A*S*H’ (1972-1983)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Eut7WqY99Hw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Set in the Korean War of the early 1950s, \u003cem>M*A*S*H\u003c/em>, the CBS dramedy about wisecracking U.S. Army doctors, was among the most popular shows in the country during the Vietnam War’s final years. It was heavy with anti-military, anti-war sentiment, evoking the zeitgeist of a Vietnam-exhausted populace. “War isn’t Hell,” Hawkeye Pierce, played by Alan Alda, says in a typical line. “There are no innocent bystanders in Hell, but war is chock full of them.” (The Robert Altman film the show stemmed from deliberately minimized references to Korea to maximize its unspoken commentary on Vietnam.)\u003c/p>\n\u003ch2>‘The A-Team’ (1983-1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Cn6kEsloMdE\u003c/p>\n\u003cp>Television’s first regular portrayal of Vietnam veterans came in the form of a cartoonish crew of daring mercenaries that reflected the era of Reagan and Rambo. NBC’s \u003cem>The A-Team\u003c/em>, whose members included a mohawked-and-gold-chained Mr. T and a cigar-chomping George Peppard, were a “crack commando unit” who were innocent fugitives from military justice and worked as mercenaries pulling off weekly capers. Explosions and jumping cars abounded. In a fourth-season episode, the team returns to Vietnam for a job. Peppard’s Hannibal momentarily struggles with dark war memories before getting back to the lighthearted action.\u003c/p>\n\u003ch2>‘The Welcome Home Concert’ (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ypF44Pib5lU&list=PLXfRIqGrZVpA5x5IRb8ONNL6JsF9VdFzz\u003c/p>\n\u003cp>HBO aired and helped organize a 1987 charity concert dubbed \u003cem>Welcome Home\u003c/em> that billed itself as the warm celebration Vietnam War veterans never got upon their return. Performers included James Brown, Linda Ronstadt and Stevie Wonder. The July Fourth concert was not a militaristic affair, and had a hate-the-war, love-the-troops vibe. Some of the most anti-war songs of the ’60s were performed by artists like John Fogerty and Crosby, Stills & Nash. The event would be a harbinger of a wave of cultural nostalgia and reckoning as baby boomers began turning 40 and were in the mood to reflect.\u003c/p>\n\u003ch2>‘Tour of Duty’ (1987-1990)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=fvP1JEUJe1Q\u003c/p>\n\u003cp>With\u003cem> Tour of Duty\u003c/em>, the Vietnam War finally came to prime time. The CBS series that premiered in 1987 showed actual combat and the young men who fought and died in it. It might have been called \u003cem>Platoon: The Series\u003c/em>, after the \u003ca href=\"https://www.kqed.org/arts/13975266/10-best-movies-about-the-vietnam-war\">Vietnam film\u003c/a> that had just won best picture at the Oscars. Surprisingly gory and gritty for a network show, it had all the hallmarks of the era’s many Vietnam movies. But executives seeking lower costs and higher ratings — which never came — eventually moved production from Hawaii to California and introduced romances and soapy plotlines typical of TV dramas.\u003c/p>\n\u003ch2>‘China Beach’ (1988-1991)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=tH_-ugUwagI\u003c/p>\n\u003cp>And suddenly, there were two Vietnam series on TV. ABC’s \u003cem>China Beach\u003c/em> was part-\u003cem>M*A*S*H\u003c/em>, part-\u003cem>Grey’s Anatomy\u003c/em>, part-\u003cem>Mad Men\u003c/em>. Set in a wartime evacuation hospital — the title was the Americans’ nickname for My Khe Beach in Đà Nẵng — it focused on Army medics and civilians. It was festooned with ’60s songs whose copyrights have kept the series off streaming services. Beloved by critics, \u003cem>China Beach\u003c/em> made a star and a best-actress Emmy winner of Dana Delany, but never found a mass audience. With its cancellation, network TV depictions of the war would disappear for years.\u003c/p>\n\u003ch2>‘The Wonder Years’ (1988-1993)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=klJ5T4NX19w\u003c/p>\n\u003cp>\u003cem>The Wonder Years\u003c/em> was baby boomer nostalgia in its purest form. The ABC series, narrated by an adult Kevin Arnold (voiced by Daniel Stern, played as a child by Fred Savage), depicts his boyhood feelings and experiences with the backing of sentimental ’60s songs. The specter of Vietnam dominates its first season, which sees Kevin’s hero — the big brother of his neighbor and crush Winnie Cooper — die in the war. In a \u003ca href=\"https://www.kqed.org/arts/13903779/abcs-new-wonder-years-succeeds-by-centering-a-black-family-in-1968\">2021 reboot\u003c/a>, the story shifts to a Black family in Alabama, with narrator Dean Williams’ brother a returning Vietnam vet who faces racism at home.\u003c/p>\n\u003ch2>‘The ’60s’ (1999)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DTwxXZmyrnE\u003c/p>\n\u003cp>The NBC miniseries \u003cem>The ’60s\u003c/em> was a roundup of the decade’s cliches that by then had been well-established in movies and TV. The 1999 two-night event was billed as “the movie event of a generation.” Its subjects were three Chicago siblings who each go on very 1960s journeys. For Jerry O’Connell’s high-school quarterback character, that meant serving in Vietnam. He enlists in a gung-ho moment, but by the show’s second night, he’s back home with an Army jacket and long hair, drinking to bury his trauma. The show drew a big audience at a time when NBC was ratings king.\u003c/p>\n\u003ch2>‘This Is Us’ (2016-2022)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=inTxw-J3ELI\u003c/p>\n\u003cp>The time-hopping, tear-jerking NBC family drama \u003cem>This Is Us\u003c/em> used the Vietnam War to delve into the psyche of Jack Pearson (Milo Ventimiglia), who refused to talk about his experience as a soldier with his wife and kids before his premature death. In dual plotlines that run through its third season, with the emotional themes and folk-acoustic soundtrack that are hallmarks of \u003cem>This Is Us\u003c/em>, Jack is shown enlisting to try to protect his drafted younger brother. Decades later, his son Kevin (Justin Hartley) travels to Vietnam to find out what happened to his father and uncle.\u003c/p>\n\u003ch2>‘The Vietnam War’ (2017)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=iWFzaUlZz-k\u003c/p>\n\u003cp>In a docuseries that ran over 10 nights on PBS, the Vietnam War got the same hallowed treatment Ken Burns brought nearly 30 years earlier to the Civil War. Burns and Lynn Novick’s \u003ca href=\"https://video.kqed.org/show/vietnam-war/\">\u003cem>The Vietnam War\u003c/em>\u003c/a> was not as soft or sentimental as his reputation might have suggested. It was a rare PBS show with a TV-MA rating, and its tone, with a modern soundtrack from composers Trent Reznor and Atticus Ross, matched the messiness of the conflict. The show went to lengths to include a North Vietnamese perspective along with American and South Vietnamese vets and historians.\u003c/p>\n\u003ch2>‘The Sympathizer’ (2024)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=47dRkhiERpE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It took until 2024 before a fictional television show would attempt a Vietnamese perspective of the war’s end and its aftermath, though it brought mixed reactions from Vietnamese American viewers. HBO’s \u003cem>The Sympathizer\u003c/em> was based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel. The first two episodes of the black-comic limited series depict a harrowing flight during the fall of Saigon. Actors of Vietnamese descent played most of its main roles, including lead Hoa Xuande. But much of the attention given to it — and its only Emmy nomination — went to Robert Downey Jr. for his portrayal of four different white American men.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The evening news brought the \u003ca href=\"https://www.kqed.org/arts/tag/vietnam\">Vietnam War\u003c/a> into American living rooms, but once the news was over, so was the war. Prime-time shows brought nary a mention of it as networks looked to bring uncontroversial content to the broadest possible audience. But the war simmered below the surface as subtext, and when enough years passed, television would finally take it on as a subject.\u003c/p>\n\u003ch2>‘Gomer Pyle, U.S.M.C.’ (1964-1969)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RHUS99zQU_A'\n title='//www.youtube.com/embed/RHUS99zQU_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Gomer Pyle, U.S.M.C.\u003c/em> premiered on CBS six weeks after the 1964 Gulf of Tonkin resolution authorized U.S. combat troops in Vietnam, and the daft comedy was among the chief images of the military in American homes through the peak of U.S. involvement in 1969. Naturally, the show about a country rube in the Marine Corps never directly mentioned the war. But most of the real-life Marines who marched in its introduction would soon be fighting in Vietnam. Star Jim Nabors later said watching that intro was difficult, knowing some of those men had died.\u003c/p>\n\u003ch2>‘All in the Family’ (1971-1979)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i4AgUHo-6-E'\n title='//www.youtube.com/embed/i4AgUHo-6-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It would take \u003cem>All in the Family\u003c/em> to bring the war into prime-time discourse. The Norman Lear-created CBS comedy owed its popularity to timely political bickering between cantankerous patriarch Archie Bunker (Carroll O’Connor) and his liberal-minded son-in-law Michael “Meathead” Stivic (Rob Reiner). Vietnam was the sole subject of a landmark 1976 episode where a draft-dodging fugitive friend of Michael’s comes to Christmas dinner, and an explosive argument ensues. “When the hell are you going to admit that the war was wrong?!” Michael shouts. A friend of Archie’s whose son died in the war shocks him by taking his son-in-law’s side.\u003c/p>\n\u003ch2>‘M*A*S*H’ (1972-1983)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Eut7WqY99Hw'\n title='//www.youtube.com/embed/Eut7WqY99Hw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Set in the Korean War of the early 1950s, \u003cem>M*A*S*H\u003c/em>, the CBS dramedy about wisecracking U.S. Army doctors, was among the most popular shows in the country during the Vietnam War’s final years. It was heavy with anti-military, anti-war sentiment, evoking the zeitgeist of a Vietnam-exhausted populace. “War isn’t Hell,” Hawkeye Pierce, played by Alan Alda, says in a typical line. “There are no innocent bystanders in Hell, but war is chock full of them.” (The Robert Altman film the show stemmed from deliberately minimized references to Korea to maximize its unspoken commentary on Vietnam.)\u003c/p>\n\u003ch2>‘The A-Team’ (1983-1987)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cn6kEsloMdE'\n title='//www.youtube.com/embed/Cn6kEsloMdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Television’s first regular portrayal of Vietnam veterans came in the form of a cartoonish crew of daring mercenaries that reflected the era of Reagan and Rambo. NBC’s \u003cem>The A-Team\u003c/em>, whose members included a mohawked-and-gold-chained Mr. T and a cigar-chomping George Peppard, were a “crack commando unit” who were innocent fugitives from military justice and worked as mercenaries pulling off weekly capers. Explosions and jumping cars abounded. In a fourth-season episode, the team returns to Vietnam for a job. Peppard’s Hannibal momentarily struggles with dark war memories before getting back to the lighthearted action.\u003c/p>\n\u003ch2>‘The Welcome Home Concert’ (1987)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ypF44Pib5lU'\n title='//www.youtube.com/embed/ypF44Pib5lU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>HBO aired and helped organize a 1987 charity concert dubbed \u003cem>Welcome Home\u003c/em> that billed itself as the warm celebration Vietnam War veterans never got upon their return. Performers included James Brown, Linda Ronstadt and Stevie Wonder. The July Fourth concert was not a militaristic affair, and had a hate-the-war, love-the-troops vibe. Some of the most anti-war songs of the ’60s were performed by artists like John Fogerty and Crosby, Stills & Nash. The event would be a harbinger of a wave of cultural nostalgia and reckoning as baby boomers began turning 40 and were in the mood to reflect.\u003c/p>\n\u003ch2>‘Tour of Duty’ (1987-1990)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fvP1JEUJe1Q'\n title='//www.youtube.com/embed/fvP1JEUJe1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With\u003cem> Tour of Duty\u003c/em>, the Vietnam War finally came to prime time. The CBS series that premiered in 1987 showed actual combat and the young men who fought and died in it. It might have been called \u003cem>Platoon: The Series\u003c/em>, after the \u003ca href=\"https://www.kqed.org/arts/13975266/10-best-movies-about-the-vietnam-war\">Vietnam film\u003c/a> that had just won best picture at the Oscars. Surprisingly gory and gritty for a network show, it had all the hallmarks of the era’s many Vietnam movies. But executives seeking lower costs and higher ratings — which never came — eventually moved production from Hawaii to California and introduced romances and soapy plotlines typical of TV dramas.\u003c/p>\n\u003ch2>‘China Beach’ (1988-1991)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tH_-ugUwagI'\n title='//www.youtube.com/embed/tH_-ugUwagI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And suddenly, there were two Vietnam series on TV. ABC’s \u003cem>China Beach\u003c/em> was part-\u003cem>M*A*S*H\u003c/em>, part-\u003cem>Grey’s Anatomy\u003c/em>, part-\u003cem>Mad Men\u003c/em>. Set in a wartime evacuation hospital — the title was the Americans’ nickname for My Khe Beach in Đà Nẵng — it focused on Army medics and civilians. It was festooned with ’60s songs whose copyrights have kept the series off streaming services. Beloved by critics, \u003cem>China Beach\u003c/em> made a star and a best-actress Emmy winner of Dana Delany, but never found a mass audience. With its cancellation, network TV depictions of the war would disappear for years.\u003c/p>\n\u003ch2>‘The Wonder Years’ (1988-1993)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/klJ5T4NX19w'\n title='//www.youtube.com/embed/klJ5T4NX19w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Wonder Years\u003c/em> was baby boomer nostalgia in its purest form. The ABC series, narrated by an adult Kevin Arnold (voiced by Daniel Stern, played as a child by Fred Savage), depicts his boyhood feelings and experiences with the backing of sentimental ’60s songs. The specter of Vietnam dominates its first season, which sees Kevin’s hero — the big brother of his neighbor and crush Winnie Cooper — die in the war. In a \u003ca href=\"https://www.kqed.org/arts/13903779/abcs-new-wonder-years-succeeds-by-centering-a-black-family-in-1968\">2021 reboot\u003c/a>, the story shifts to a Black family in Alabama, with narrator Dean Williams’ brother a returning Vietnam vet who faces racism at home.\u003c/p>\n\u003ch2>‘The ’60s’ (1999)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DTwxXZmyrnE'\n title='//www.youtube.com/embed/DTwxXZmyrnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The NBC miniseries \u003cem>The ’60s\u003c/em> was a roundup of the decade’s cliches that by then had been well-established in movies and TV. The 1999 two-night event was billed as “the movie event of a generation.” Its subjects were three Chicago siblings who each go on very 1960s journeys. For Jerry O’Connell’s high-school quarterback character, that meant serving in Vietnam. He enlists in a gung-ho moment, but by the show’s second night, he’s back home with an Army jacket and long hair, drinking to bury his trauma. The show drew a big audience at a time when NBC was ratings king.\u003c/p>\n\u003ch2>‘This Is Us’ (2016-2022)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/inTxw-J3ELI'\n title='//www.youtube.com/embed/inTxw-J3ELI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The time-hopping, tear-jerking NBC family drama \u003cem>This Is Us\u003c/em> used the Vietnam War to delve into the psyche of Jack Pearson (Milo Ventimiglia), who refused to talk about his experience as a soldier with his wife and kids before his premature death. In dual plotlines that run through its third season, with the emotional themes and folk-acoustic soundtrack that are hallmarks of \u003cem>This Is Us\u003c/em>, Jack is shown enlisting to try to protect his drafted younger brother. Decades later, his son Kevin (Justin Hartley) travels to Vietnam to find out what happened to his father and uncle.\u003c/p>\n\u003ch2>‘The Vietnam War’ (2017)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iWFzaUlZz-k'\n title='//www.youtube.com/embed/iWFzaUlZz-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a docuseries that ran over 10 nights on PBS, the Vietnam War got the same hallowed treatment Ken Burns brought nearly 30 years earlier to the Civil War. Burns and Lynn Novick’s \u003ca href=\"https://video.kqed.org/show/vietnam-war/\">\u003cem>The Vietnam War\u003c/em>\u003c/a> was not as soft or sentimental as his reputation might have suggested. It was a rare PBS show with a TV-MA rating, and its tone, with a modern soundtrack from composers Trent Reznor and Atticus Ross, matched the messiness of the conflict. The show went to lengths to include a North Vietnamese perspective along with American and South Vietnamese vets and historians.\u003c/p>\n\u003ch2>‘The Sympathizer’ (2024)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/47dRkhiERpE'\n title='//www.youtube.com/embed/47dRkhiERpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took until 2024 before a fictional television show would attempt a Vietnamese perspective of the war’s end and its aftermath, though it brought mixed reactions from Vietnamese American viewers. HBO’s \u003cem>The Sympathizer\u003c/em> was based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel. The first two episodes of the black-comic limited series depict a harrowing flight during the fall of Saigon. Actors of Vietnamese descent played most of its main roles, including lead Hoa Xuande. But much of the attention given to it — and its only Emmy nomination — went to Robert Downey Jr. for his portrayal of four different white American men.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Fiction and Nonfiction Books Inspired by the Vietnam War",
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"headTitle": "10 Fiction and Nonfiction Books Inspired by the Vietnam War | KQED",
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"content": "\u003cp>Vietnam has been called the first “television” war. But it has also inspired generations of writers who have explored its origins, its horrors, its aftermath and the innate flaws and miscalculations that drove the world’s most powerful country, the U.S., into a long, gruesome and hopeless conflict.\u003c/p>\n\u003ch2>FICTION\u003c/h2>\n\u003cfigure id=\"attachment_13975272\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene.png\" alt=\"A book cover illustration of a young man wearing a grey suit and tie.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘The Quiet American’ by Graham Greene. \u003ccite>(Penguin Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Quiet American,’ Graham Greene (1955)\u003c/h2>\n\u003cp>British author Graham Greene’s novel has long held the stature of tragic prophecy. Alden Pyle is a naive CIA agent whose dreams of forging a better path for Vietnam — a “Third Force” between communism and colonialism that existed only in books — leads to senseless destruction. \u003cem>The Quiet American\u003c/em> was released when U.S. military involvement in Vietnam was just beginning, yet anticipated the Americans’ prolonged and deadly failure to comprehend the country they claimed to be saving.\u003c/p>\n\u003cfigure id=\"attachment_13975273\" class=\"wp-caption aligncenter\" style=\"max-width: 1372px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried.png\" alt=\"A book cover showing silhouettes of soldiers waving guns in the air.\" width=\"1372\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried.png 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-1020x1487.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-1054x1536.png 1054w\" sizes=\"auto, (max-width: 1372px) 100vw, 1372px\">\u003cfigcaption class=\"wp-caption-text\">‘The Things They Carried,’ Tim O’Brien. \u003ccite>(Mariner Books Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Things They Carried,’ Tim O’Brien (1990)\u003c/h2>\n\u003cp>The Vietnam War was the last extended conflict waged while the U.S. still had a military draft, and the last to inspire a wide range of notable, first-hand fiction — none more celebrated or popular than O’Brien’s 1990 collection of interconnected stories. O’Brien served in an infantry unit in 1969-70, and the million-selling \u003cem>The Things They Carried\u003c/em> has tales ranging from a soldier who wears his girlfriend’s stockings around his neck, even in battle, to the author trying to conjure the life story of a Vietnamese soldier he killed. O’Brien’s book has become standard reading about the war and inspired an exhibit at the National Veterans Art Museum in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13975274\" class=\"wp-caption aligncenter\" style=\"max-width: 1342px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn.png\" alt=\"A book cover depicting helicopters flying through clouds and mist. \" width=\"1342\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn.png 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-1020x1520.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-768x1145.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-1031x1536.png 1031w\" sizes=\"auto, (max-width: 1342px) 100vw, 1342px\">\u003cfigcaption class=\"wp-caption-text\">‘Matterhorn’ by Karl Marlantes. \u003ccite>(Corvus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Matterhorn,’ Karl Marlantes (2009)\u003c/h2>\n\u003cp>Karl Marlantes, a Rhodes scholar and decorated Marine commander, fictionalized his experiences in his 600-plus page novel about a recent college graduate and his fellow members of Bravo Company as they seek to retake a base near the border with Laos. Like \u003cem>The Quiet American\u003c/em>, \u003cem>Matterhorn\u003c/em> is, in part, the story of disillusionment, a young man’s discovery that education and privilege are no shields against enemy fire. “No strategy was perfect,” he realizes. “All choices were bad in some way.”\u003c/p>\n\u003cfigure id=\"attachment_13975275\" class=\"wp-caption aligncenter\" style=\"max-width: 1384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer.png\" alt=\"A red book cover featuring te illustration of an Asian man's face. \" width=\"1384\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer.png 1384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-800x1156.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-1020x1474.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-768x1110.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-1063x1536.png 1063w\" sizes=\"auto, (max-width: 1384px) 100vw, 1384px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sympathizer’ by Viet Thanh Nguyen. \u003ccite>(Grove Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Sympathizer,’ Viet Thanh Nguyen (2015)\u003c/h2>\n\u003cp>Viet Thanh Nguyen was just 4 when his family fled Vietnam in 1975, eventually settling in San Jose, California. \u003cem>The Sympathizer\u003c/em>, winner of the Pulitzer Prize in 2016, is Nguyen’s first book and high in the canon of Vietnamese American literature. The novel unfolds as the confessions of a onetime spy for North Vietnam who becomes a Hollywood consultant and later returns to Vietnam fighting on the opposite side. “I am a spy, a sleeper, a spook, a man of two faces,” the narrator tells us. “Perhaps not surprisingly, I am also a man of two minds.”\u003c/p>\n\u003cfigure id=\"attachment_13975276\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing.png\" alt=\"A red, green and yellow book cover featuring illustrations of mountains and leaves.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-1060x1536.png 1060w\" sizes=\"auto, (max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mountains Sing’ by Nguyễn Phan Quế Mai. \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mountains Sing,’ Nguyễn Phan Quế Mai (2020)\u003c/h2>\n\u003cp>Nguyễn Phan Quế Mai was born in North Vietnam in 1973, two years before the U.S. departure, and was reared on stories of her native country’s haunted and heroic past. Her novel alternates narration between a grandmother born in 1920 and a granddaughter born 40 years later. Together, they take readers through much of 20th century Vietnam, from French colonialism and Japanese occupation to the rise of Communism and the growing and brutal American military campaign to fight it. Quế Mai dedicates the novel to various ancestors, including an uncle whose “youth the Vietnam War consumed.”\u003c/p>\n\u003ch2>NONFICTION\u003c/h2>\n\u003cfigure id=\"attachment_13975277\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975277\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest.png\" alt=\"A blue book cover featuring an eagle on a seal.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-800x1171.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-1020x1493.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best and the Brightest’ by David Halberstam. \u003ccite>(Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Best and the Brightest,’ David Halberstam (1972)\u003c/h2>\n\u003cp>As a young reporter in Vietnam, David Halberstam had been among the first journalists to report candidly on the military’s failures and the government’s deceptions. The title of his bestseller became a catchphrase and the book itself a document of how the supposedly finest minds of the post-World War II generation — the elite set of advisers in the Kennedy and Johnson administrations — could so badly miscalculate the planning and execution of a war and so misunderstand the country they were fighting against.\u003c/p>\n\u003cfigure id=\"attachment_13975278\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975278\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake.png\" alt=\"A red and yellow book cover featuring an Asian symbol.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Fire in the Lake’ by Frances FitzGerald. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Fire in the Lake,’ Frances FitzGerald (1972)\u003c/h2>\n\u003cp>Frances FitzGerald’s celebrated book was published the same year and stands with \u003cem>The Best and the Brightest\u003c/em> as an early and prescient take on the war’s legacy. Fitzgerald had reported from South Vietnam for the \u003cem>Village Voice\u003c/em> and \u003cem>The New Yorker\u003c/em>, and she drew upon firsthand observations and deep research in contending that the U.S. was fatally ignorant of Vietnamese history and culture.\u003c/p>\n\u003cfigure id=\"attachment_13975279\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975279\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches.png\" alt=\"A dark grey book cover with white writing on it.\" width=\"1290\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-800x1240.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-1020x1581.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-160x248.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-768x1191.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-991x1536.png 991w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">‘Dispatches’ by Michael Herr. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dispatches,’ Michael Herr (1977)\u003c/h2>\n\u003cp>Michael Herr, who would eventually help write \u003cem>Apocalypse Now\u003c/em>, was a Vietnam correspondent for \u003cem>Esquire\u003c/em> who brought an off-hand, charged-up rock ‘n’ roll sensibility to his highly praised and influential book. In one “dispatch,” he tells of a soldier who “took his pills by the fistful,” uppers in one pocket and downers in another. “He told me they cooled out things just right for him,” Herr wrote, “that he could see that old jungle at night like he was looking at it through a starlight scope.”\u003c/p>\n\u003cfigure id=\"attachment_13975281\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods.png\" alt=\"A book cover featuring three Black soldiers in Vietnam.\" width=\"1261\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods.png 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-800x1269.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-1020x1618.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-160x254.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-768x1218.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-968x1536.png 968w\" sizes=\"auto, (max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">‘Bloods’ by Wallace Terry. \u003ccite>(Presidio Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bloods,’ Wallace Terry (1984)\u003c/h2>\n\u003cp>A landmark, \u003cem>Bloods\u003c/em> was among the first books to center the experiences of Black veterans. Former \u003cem>Time\u003c/em> magazine correspondent Wallace Terry compiled the oral histories of 20 Black veterans of varying backgrounds and ranks. One interviewee, Richard J. Ford III, was wounded three times and remembered being visited at the hospital by generals and other officers: “They respected you and pat you on the back. They said, ‘You brave and you courageous. You America’s finest. America’s best.’ Back in the states, the same officers that pat me on the back wouldn’t even speak to me.”\u003c/p>\n\u003cfigure id=\"attachment_13975283\" class=\"wp-caption aligncenter\" style=\"max-width: 1336px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie.png\" alt=\"A black book cover featuring the American and Vietnamese flags.\" width=\"1336\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie.png 1336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-800x1198.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-1020x1527.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-768x1150.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-1026x1536.png 1026w\" sizes=\"auto, (max-width: 1336px) 100vw, 1336px\">\u003cfigcaption class=\"wp-caption-text\">‘A Bright Shining Lie’ by Neil Sheehan. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Bright Shining Lie,’ Neil Sheehan (1988)\u003c/h2>\n\u003cp>Halberstam’s sources as a reporter included Lt. Col. John Paul Vann, a U.S. adviser to South Vietnam who became a determined critic of American military leadership and eventually died in battle in 1972. Vann’s story is told in full in \u003cem>A Bright Shining Lie\u003c/em>, by Neil Sheehan, the \u003cem>New York Times\u003c/em> reporter known for breaking the story of the Pentagon Papers and how they revealed the U.S. government’s long history of deceiving the public about the war. Winner of the Pulitzer in 1989, \u003cem>A Bright Shining Lie\u003c/em> was adapted into an HBO movie starring Bill Paxton as Vann.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "To mark the 50th anniversary of the fall of Saigon, these books explain the Vietnam war from every angle..",
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"title": "The 10 Best Books About the Vietnam War | KQED",
"description": "To mark the 50th anniversary of the fall of Saigon, these books explain the Vietnam war from every angle..",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vietnam has been called the first “television” war. But it has also inspired generations of writers who have explored its origins, its horrors, its aftermath and the innate flaws and miscalculations that drove the world’s most powerful country, the U.S., into a long, gruesome and hopeless conflict.\u003c/p>\n\u003ch2>FICTION\u003c/h2>\n\u003cfigure id=\"attachment_13975272\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene.png\" alt=\"A book cover illustration of a young man wearing a grey suit and tie.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/G-Greene-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘The Quiet American’ by Graham Greene. \u003ccite>(Penguin Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Quiet American,’ Graham Greene (1955)\u003c/h2>\n\u003cp>British author Graham Greene’s novel has long held the stature of tragic prophecy. Alden Pyle is a naive CIA agent whose dreams of forging a better path for Vietnam — a “Third Force” between communism and colonialism that existed only in books — leads to senseless destruction. \u003cem>The Quiet American\u003c/em> was released when U.S. military involvement in Vietnam was just beginning, yet anticipated the Americans’ prolonged and deadly failure to comprehend the country they claimed to be saving.\u003c/p>\n\u003cfigure id=\"attachment_13975273\" class=\"wp-caption aligncenter\" style=\"max-width: 1372px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried.png\" alt=\"A book cover showing silhouettes of soldiers waving guns in the air.\" width=\"1372\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried.png 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-1020x1487.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/things-carried-1054x1536.png 1054w\" sizes=\"auto, (max-width: 1372px) 100vw, 1372px\">\u003cfigcaption class=\"wp-caption-text\">‘The Things They Carried,’ Tim O’Brien. \u003ccite>(Mariner Books Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Things They Carried,’ Tim O’Brien (1990)\u003c/h2>\n\u003cp>The Vietnam War was the last extended conflict waged while the U.S. still had a military draft, and the last to inspire a wide range of notable, first-hand fiction — none more celebrated or popular than O’Brien’s 1990 collection of interconnected stories. O’Brien served in an infantry unit in 1969-70, and the million-selling \u003cem>The Things They Carried\u003c/em> has tales ranging from a soldier who wears his girlfriend’s stockings around his neck, even in battle, to the author trying to conjure the life story of a Vietnamese soldier he killed. O’Brien’s book has become standard reading about the war and inspired an exhibit at the National Veterans Art Museum in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13975274\" class=\"wp-caption aligncenter\" style=\"max-width: 1342px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn.png\" alt=\"A book cover depicting helicopters flying through clouds and mist. \" width=\"1342\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn.png 1342w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-1020x1520.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-768x1145.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/matterhorn-1031x1536.png 1031w\" sizes=\"auto, (max-width: 1342px) 100vw, 1342px\">\u003cfigcaption class=\"wp-caption-text\">‘Matterhorn’ by Karl Marlantes. \u003ccite>(Corvus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Matterhorn,’ Karl Marlantes (2009)\u003c/h2>\n\u003cp>Karl Marlantes, a Rhodes scholar and decorated Marine commander, fictionalized his experiences in his 600-plus page novel about a recent college graduate and his fellow members of Bravo Company as they seek to retake a base near the border with Laos. Like \u003cem>The Quiet American\u003c/em>, \u003cem>Matterhorn\u003c/em> is, in part, the story of disillusionment, a young man’s discovery that education and privilege are no shields against enemy fire. “No strategy was perfect,” he realizes. “All choices were bad in some way.”\u003c/p>\n\u003cfigure id=\"attachment_13975275\" class=\"wp-caption aligncenter\" style=\"max-width: 1384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer.png\" alt=\"A red book cover featuring te illustration of an Asian man's face. \" width=\"1384\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer.png 1384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-800x1156.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-1020x1474.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-768x1110.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/sympathizer-1063x1536.png 1063w\" sizes=\"auto, (max-width: 1384px) 100vw, 1384px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sympathizer’ by Viet Thanh Nguyen. \u003ccite>(Grove Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Sympathizer,’ Viet Thanh Nguyen (2015)\u003c/h2>\n\u003cp>Viet Thanh Nguyen was just 4 when his family fled Vietnam in 1975, eventually settling in San Jose, California. \u003cem>The Sympathizer\u003c/em>, winner of the Pulitzer Prize in 2016, is Nguyen’s first book and high in the canon of Vietnamese American literature. The novel unfolds as the confessions of a onetime spy for North Vietnam who becomes a Hollywood consultant and later returns to Vietnam fighting on the opposite side. “I am a spy, a sleeper, a spook, a man of two faces,” the narrator tells us. “Perhaps not surprisingly, I am also a man of two minds.”\u003c/p>\n\u003cfigure id=\"attachment_13975276\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing.png\" alt=\"A red, green and yellow book cover featuring illustrations of mountains and leaves.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/mountains-sing-1060x1536.png 1060w\" sizes=\"auto, (max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mountains Sing’ by Nguyễn Phan Quế Mai. \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mountains Sing,’ Nguyễn Phan Quế Mai (2020)\u003c/h2>\n\u003cp>Nguyễn Phan Quế Mai was born in North Vietnam in 1973, two years before the U.S. departure, and was reared on stories of her native country’s haunted and heroic past. Her novel alternates narration between a grandmother born in 1920 and a granddaughter born 40 years later. Together, they take readers through much of 20th century Vietnam, from French colonialism and Japanese occupation to the rise of Communism and the growing and brutal American military campaign to fight it. Quế Mai dedicates the novel to various ancestors, including an uncle whose “youth the Vietnam War consumed.”\u003c/p>\n\u003ch2>NONFICTION\u003c/h2>\n\u003cfigure id=\"attachment_13975277\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975277\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest.png\" alt=\"A blue book cover featuring an eagle on a seal.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-800x1171.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-1020x1493.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/best-brightest-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best and the Brightest’ by David Halberstam. \u003ccite>(Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Best and the Brightest,’ David Halberstam (1972)\u003c/h2>\n\u003cp>As a young reporter in Vietnam, David Halberstam had been among the first journalists to report candidly on the military’s failures and the government’s deceptions. The title of his bestseller became a catchphrase and the book itself a document of how the supposedly finest minds of the post-World War II generation — the elite set of advisers in the Kennedy and Johnson administrations — could so badly miscalculate the planning and execution of a war and so misunderstand the country they were fighting against.\u003c/p>\n\u003cfigure id=\"attachment_13975278\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975278\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake.png\" alt=\"A red and yellow book cover featuring an Asian symbol.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/fire-lake-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Fire in the Lake’ by Frances FitzGerald. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Fire in the Lake,’ Frances FitzGerald (1972)\u003c/h2>\n\u003cp>Frances FitzGerald’s celebrated book was published the same year and stands with \u003cem>The Best and the Brightest\u003c/em> as an early and prescient take on the war’s legacy. Fitzgerald had reported from South Vietnam for the \u003cem>Village Voice\u003c/em> and \u003cem>The New Yorker\u003c/em>, and she drew upon firsthand observations and deep research in contending that the U.S. was fatally ignorant of Vietnamese history and culture.\u003c/p>\n\u003cfigure id=\"attachment_13975279\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975279\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches.png\" alt=\"A dark grey book cover with white writing on it.\" width=\"1290\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-800x1240.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-1020x1581.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-160x248.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-768x1191.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/dispatches-991x1536.png 991w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">‘Dispatches’ by Michael Herr. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dispatches,’ Michael Herr (1977)\u003c/h2>\n\u003cp>Michael Herr, who would eventually help write \u003cem>Apocalypse Now\u003c/em>, was a Vietnam correspondent for \u003cem>Esquire\u003c/em> who brought an off-hand, charged-up rock ‘n’ roll sensibility to his highly praised and influential book. In one “dispatch,” he tells of a soldier who “took his pills by the fistful,” uppers in one pocket and downers in another. “He told me they cooled out things just right for him,” Herr wrote, “that he could see that old jungle at night like he was looking at it through a starlight scope.”\u003c/p>\n\u003cfigure id=\"attachment_13975281\" class=\"wp-caption aligncenter\" style=\"max-width: 1261px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods.png\" alt=\"A book cover featuring three Black soldiers in Vietnam.\" width=\"1261\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods.png 1261w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-800x1269.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-1020x1618.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-160x254.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-768x1218.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/bloods-968x1536.png 968w\" sizes=\"auto, (max-width: 1261px) 100vw, 1261px\">\u003cfigcaption class=\"wp-caption-text\">‘Bloods’ by Wallace Terry. \u003ccite>(Presidio Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bloods,’ Wallace Terry (1984)\u003c/h2>\n\u003cp>A landmark, \u003cem>Bloods\u003c/em> was among the first books to center the experiences of Black veterans. Former \u003cem>Time\u003c/em> magazine correspondent Wallace Terry compiled the oral histories of 20 Black veterans of varying backgrounds and ranks. One interviewee, Richard J. Ford III, was wounded three times and remembered being visited at the hospital by generals and other officers: “They respected you and pat you on the back. They said, ‘You brave and you courageous. You America’s finest. America’s best.’ Back in the states, the same officers that pat me on the back wouldn’t even speak to me.”\u003c/p>\n\u003cfigure id=\"attachment_13975283\" class=\"wp-caption aligncenter\" style=\"max-width: 1336px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie.png\" alt=\"A black book cover featuring the American and Vietnamese flags.\" width=\"1336\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie.png 1336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-800x1198.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-1020x1527.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-768x1150.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/shining-lie-1026x1536.png 1026w\" sizes=\"auto, (max-width: 1336px) 100vw, 1336px\">\u003cfigcaption class=\"wp-caption-text\">‘A Bright Shining Lie’ by Neil Sheehan. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Bright Shining Lie,’ Neil Sheehan (1988)\u003c/h2>\n\u003cp>Halberstam’s sources as a reporter included Lt. Col. John Paul Vann, a U.S. adviser to South Vietnam who became a determined critic of American military leadership and eventually died in battle in 1972. Vann’s story is told in full in \u003cem>A Bright Shining Lie\u003c/em>, by Neil Sheehan, the \u003cem>New York Times\u003c/em> reporter known for breaking the story of the Pentagon Papers and how they revealed the U.S. government’s long history of deceiving the public about the war. Winner of the Pulitzer in 1989, \u003cem>A Bright Shining Lie\u003c/em> was adapted into an HBO movie starring Bill Paxton as Vann.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Vietnam War cast a long shadow across one of the most fertile periods of American filmmaking, and has led filmmakers for the half-century since to reckon with its complicated legacy.\u003c/p>\n\u003cp>These 10 films, assembled to mark the 50th anniversary of the fall of Saigon, range from indelible anti-war classics to Vietnamese portraits of resistance, capturing the vastness of the war’s still-reverberating traumas.\u003c/p>\n\u003ch2>‘The Big Shave’ (1967)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=317_uIAWpbE\u003c/p>\n\u003cp>The war was more than a decade in and some eight years from its conclusion when a 25-year-old Martin Scorsese made this six-minute short. In it, a man simply shaves himself before a sink and a mirror. After a few knicks and cuts, he doesn’t stop, continuing until his face is a bloody mess — a neat but gruesome metaphor to Vietnam.\u003c/p>\n\u003ch2>‘The Little Girl of Hanoi’ (1974)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XJjHHwkKgOo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A young girl (Lan Hương) searches for her family in the bombed-out ruins of Hanoi in Hải Ninh’s landmark of Vietnamese cinema. It’s a work of wartime propaganda (it begins with the intro: “honoring the heroes of Hanoi who defeated the American imperialist B-52 bombing raid”) but also of aching humanity. Set against the December 1972 bombing raids on Hanoi, \u003cem>The Little Girl of Hanoi\u003c/em> is cinema made in the very midst of war.\u003c/p>\n\u003ch2>‘Hearts and Minds’ (1974)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=QcE6CdR60NY\u003c/p>\n\u003cp>Controversy greeted Peter Davis’ landmark documentary around its release, but time has only proved how soberly clear-eyed it was. Newsreel clips and homefront interviews are contrasted with the horrors on the ground in Vietnam in this penetrating examination of the gulf between American policy and Vietnamese reality. Its title comes from President Lyndon B. Johnson’s line, said when escalating the war, that “the ultimate victory will depend on the hearts and minds of the people who actually live out there.”\u003c/p>\n\u003ch2>‘The Deer Hunter’ (1979)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=g7q1SjVdsNk\u003c/p>\n\u003cp>It’s arguably the preeminent American film about the Vietnam War. No other movie more grandly or tragically charts the American evolution from innocence to disillusionment than Michael Cimino’s devastating epic about working-class friends (Robert De Niro, Christopher Walken, John Savage) from a Pennsylvania steel town drafted into war. The final sing-along scene to “God Bless America,” after their lives have irrevocably changed, remains a powerfully poignant gut punch.\u003c/p>\n\u003ch2>‘Apocalypse Now’ (1979)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9l-ViOOFH-s\u003c/p>\n\u003cp>Francis Ford Coppola wagered everything he had on his masterpiece — and nearly lost it. \u003cem>Apocalypse Now\u003c/em>, which transposes Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em> to the Vietnam War, is an epic of madness that teeters on the brink of hallucination. Shot in the Philippines and more faithful to Conrad than to Vietnam, \u003cem>Apocalypse Now\u003c/em> doesn’t so much illuminate the chaos and moral confusion of the war as elevate it to grandiose nightmare.\u003c/p>\n\u003ch2>‘Platoon’ (1986)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=R8weLPF4qBQ\u003c/p>\n\u003cp>The 1980s saw a wave of Hollywood films about Vietnam, including \u003cem>First Blood\u003c/em>, \u003cem>Hamburger Hill\u003c/em>, \u003cem>Good Morning Vietnam\u003c/em>, \u003cem>Casualties of War\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em>. Foremost among them is the Oscar best picture-winning \u003cem>Platoon\u003c/em>, which Oliver Stone wrote based on his own experiences as an infantryman in Vietnam. Widely acclaimed for its realism, Stone’s film remains among the most intensely vivid and visceral dramatizations of the war.\u003c/p>\n\u003ch2>‘Full Metal Jacket’ (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=n2i917l5RFc\u003c/p>\n\u003cp>Stanley Kubrick should be more often thought of as the supreme anti-war moviemaker. His devastating World War I film \u003cem>Paths of Glory\u003c/em> and the subversive satire \u003cem>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/em> are classics in their own right. \u003cem>Full Metal Jacket\u003c/em> carries those films’ themes of dehumanization into an even more brutal place. Split between the harrowing boot-camp tyranny of R. Lee Ermey’s drill instructor and the urban violence of the 1968 Tet Offensive, \u003cem>Full Metal Jacket\u003c/em> fuses both ends of the war machine.\u003c/p>\n\u003ch2>‘Little Dieter Needs to Fly’ (1997)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=nHbVrWPhQAA\u003c/p>\n\u003cp>How former soldiers lived with their experience in Vietnam has been a subject of many fine films, from Hal Ashby’s \u003cem>Coming Home\u003c/em> (1978) to Spike Lee’s\u003cem> Da 5 Bloods\u003c/em> (2020). In Werner Herzog’s nonfiction gem, he profiles the astonishing story of German-American pilot Dieter Dengler. In the film, which Herzog later remade as 2007’s \u003cem>Rescue Dawn\u003c/em> with Christian Bale, Dengler recounts — and sometimes reenacts — his experience being shot down over Laos, being captured and tortured and then escaping into the jungle.\u003c/p>\n\u003ch2>‘The Fog of War’ (2003)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k_O7bD8Swxk\u003c/p>\n\u003cp>Not long after the turn of the century, former U.S. defense secretary and Vietnam War architect Robert S. McNamara sat for interviews with documentarian Errol Morris. The result is a chilling reflection on the thinking that led to one of American’s greatest follies. It’s not a mea culpa but a thornier and more disquieting rumination on how rationalized ideology can lead to the deaths of millions — and still not yield an apology. Of McNamara’s lessons, No. 1 is “empathize with the enemy.”\u003c/p>\n\u003ch2>‘The Post’ (2017)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=nrXlY6gzTTM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Spielberg’s stirring film dramatizes the \u003cem>Washington Post’\u003c/em>s 1971 publishing of the Pentagon Papers, a collection of classified documents that chronicled America’s 20-year involvement in Southeast Asia. While government analyst Daniel Ellsberg (a moving participant in \u003cem>Hearts and Minds\u003c/em>) could be considered the hero of this story, \u003cem>The Post\u003c/em> turns its focus to \u003cem>Washington Post\u003c/em> publisher Katharine Graham (Meryl Streep) and the wartime role of the Fourth Estate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Vietnam War cast a long shadow across one of the most fertile periods of American filmmaking, and has led filmmakers for the half-century since to reckon with its complicated legacy.\u003c/p>\n\u003cp>These 10 films, assembled to mark the 50th anniversary of the fall of Saigon, range from indelible anti-war classics to Vietnamese portraits of resistance, capturing the vastness of the war’s still-reverberating traumas.\u003c/p>\n\u003ch2>‘The Big Shave’ (1967)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/317_uIAWpbE'\n title='//www.youtube.com/embed/317_uIAWpbE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The war was more than a decade in and some eight years from its conclusion when a 25-year-old Martin Scorsese made this six-minute short. In it, a man simply shaves himself before a sink and a mirror. After a few knicks and cuts, he doesn’t stop, continuing until his face is a bloody mess — a neat but gruesome metaphor to Vietnam.\u003c/p>\n\u003ch2>‘The Little Girl of Hanoi’ (1974)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XJjHHwkKgOo'\n title='//www.youtube.com/embed/XJjHHwkKgOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A young girl (Lan Hương) searches for her family in the bombed-out ruins of Hanoi in Hải Ninh’s landmark of Vietnamese cinema. It’s a work of wartime propaganda (it begins with the intro: “honoring the heroes of Hanoi who defeated the American imperialist B-52 bombing raid”) but also of aching humanity. Set against the December 1972 bombing raids on Hanoi, \u003cem>The Little Girl of Hanoi\u003c/em> is cinema made in the very midst of war.\u003c/p>\n\u003ch2>‘Hearts and Minds’ (1974)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QcE6CdR60NY'\n title='//www.youtube.com/embed/QcE6CdR60NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Controversy greeted Peter Davis’ landmark documentary around its release, but time has only proved how soberly clear-eyed it was. Newsreel clips and homefront interviews are contrasted with the horrors on the ground in Vietnam in this penetrating examination of the gulf between American policy and Vietnamese reality. Its title comes from President Lyndon B. Johnson’s line, said when escalating the war, that “the ultimate victory will depend on the hearts and minds of the people who actually live out there.”\u003c/p>\n\u003ch2>‘The Deer Hunter’ (1979)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g7q1SjVdsNk'\n title='//www.youtube.com/embed/g7q1SjVdsNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arguably the preeminent American film about the Vietnam War. No other movie more grandly or tragically charts the American evolution from innocence to disillusionment than Michael Cimino’s devastating epic about working-class friends (Robert De Niro, Christopher Walken, John Savage) from a Pennsylvania steel town drafted into war. The final sing-along scene to “God Bless America,” after their lives have irrevocably changed, remains a powerfully poignant gut punch.\u003c/p>\n\u003ch2>‘Apocalypse Now’ (1979)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9l-ViOOFH-s'\n title='//www.youtube.com/embed/9l-ViOOFH-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Francis Ford Coppola wagered everything he had on his masterpiece — and nearly lost it. \u003cem>Apocalypse Now\u003c/em>, which transposes Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em> to the Vietnam War, is an epic of madness that teeters on the brink of hallucination. Shot in the Philippines and more faithful to Conrad than to Vietnam, \u003cem>Apocalypse Now\u003c/em> doesn’t so much illuminate the chaos and moral confusion of the war as elevate it to grandiose nightmare.\u003c/p>\n\u003ch2>‘Platoon’ (1986)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R8weLPF4qBQ'\n title='//www.youtube.com/embed/R8weLPF4qBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 1980s saw a wave of Hollywood films about Vietnam, including \u003cem>First Blood\u003c/em>, \u003cem>Hamburger Hill\u003c/em>, \u003cem>Good Morning Vietnam\u003c/em>, \u003cem>Casualties of War\u003c/em> and \u003cem>Born on the Fourth of July\u003c/em>. Foremost among them is the Oscar best picture-winning \u003cem>Platoon\u003c/em>, which Oliver Stone wrote based on his own experiences as an infantryman in Vietnam. Widely acclaimed for its realism, Stone’s film remains among the most intensely vivid and visceral dramatizations of the war.\u003c/p>\n\u003ch2>‘Full Metal Jacket’ (1987)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n2i917l5RFc'\n title='//www.youtube.com/embed/n2i917l5RFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stanley Kubrick should be more often thought of as the supreme anti-war moviemaker. His devastating World War I film \u003cem>Paths of Glory\u003c/em> and the subversive satire \u003cem>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/em> are classics in their own right. \u003cem>Full Metal Jacket\u003c/em> carries those films’ themes of dehumanization into an even more brutal place. Split between the harrowing boot-camp tyranny of R. Lee Ermey’s drill instructor and the urban violence of the 1968 Tet Offensive, \u003cem>Full Metal Jacket\u003c/em> fuses both ends of the war machine.\u003c/p>\n\u003ch2>‘Little Dieter Needs to Fly’ (1997)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nHbVrWPhQAA'\n title='//www.youtube.com/embed/nHbVrWPhQAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How former soldiers lived with their experience in Vietnam has been a subject of many fine films, from Hal Ashby’s \u003cem>Coming Home\u003c/em> (1978) to Spike Lee’s\u003cem> Da 5 Bloods\u003c/em> (2020). In Werner Herzog’s nonfiction gem, he profiles the astonishing story of German-American pilot Dieter Dengler. In the film, which Herzog later remade as 2007’s \u003cem>Rescue Dawn\u003c/em> with Christian Bale, Dengler recounts — and sometimes reenacts — his experience being shot down over Laos, being captured and tortured and then escaping into the jungle.\u003c/p>\n\u003ch2>‘The Fog of War’ (2003)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k_O7bD8Swxk'\n title='//www.youtube.com/embed/k_O7bD8Swxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not long after the turn of the century, former U.S. defense secretary and Vietnam War architect Robert S. McNamara sat for interviews with documentarian Errol Morris. The result is a chilling reflection on the thinking that led to one of American’s greatest follies. It’s not a mea culpa but a thornier and more disquieting rumination on how rationalized ideology can lead to the deaths of millions — and still not yield an apology. Of McNamara’s lessons, No. 1 is “empathize with the enemy.”\u003c/p>\n\u003ch2>‘The Post’ (2017)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nrXlY6gzTTM'\n title='//www.youtube.com/embed/nrXlY6gzTTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Steven Spielberg’s stirring film dramatizes the \u003cem>Washington Post’\u003c/em>s 1971 publishing of the Pentagon Papers, a collection of classified documents that chronicled America’s 20-year involvement in Southeast Asia. While government analyst Daniel Ellsberg (a moving participant in \u003cem>Hearts and Minds\u003c/em>) could be considered the hero of this story, \u003cem>The Post\u003c/em> turns its focus to \u003cem>Washington Post\u003c/em> publisher Katharine Graham (Meryl Streep) and the wartime role of the Fourth Estate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a formula all too often applied to documentaries about wars. Officious voiceovers recount political machinations, decisions of military leaders, strategic movements on the battlefield and loss of life conveyed in numbers. Maps flash on screen. Explosions sound. But the new Apple TV+ series \u003cem>Vietnam: The War That Changed America\u003c/em> takes an altogether more personal approach.\u003c/p>\n\u003cp>[aside postid='arts_13967651']Though the six-part series provides a clear and informative overview of key moments in the war (Ethan Hawke narrates), it never once takes its eye off the humanity caught at the center of the conflict. This is a story primarily told by American veterans, Viet Cong fighters, civilians, journalists and far-away family members who all found themselves navigating the chaos. It is their willingness to speak bravely of both the worst things they’ve ever done and their deepest vulnerabilities that makes \u003cem>Vietnam\u003c/em> so consistently compelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SBoNrZ3JXy8\u003c/p>\n\u003cp>As much as America already knows about the Vietnam War, many of the first-person accounts in \u003cem>Vietnam\u003c/em> prove to be genuinely revelatory. In first episode “Boots on the Ground,” two proud veterans speak of their closeness on the battlefield with surprising tenderness. C.W. Bowman and Gary Heeter were “tunnel rats” — men tasked with entering and clearing the underground network of passageways and bunkers utilized by the Viet Cong. Theirs was one of the most claustrophobic and dangerous tasks of the war, but they embraced it.\u003c/p>\n\u003cp>Because of the brutal conditions of their work, Bowman and Heeter developed a unique love and trust for one another that has endured ever since. (“We’re still the best of friends,” Heeter says at one point. “I hope it never ends.”) Their vulnerability while talking about one another is incredibly moving. At one point, they relay the day that Heeter stepped on a mine, lost a leg and had to be evacuated home. Bowman describes the devastation of his friend leaving his side as if it happened yesterday. “I’d never felt so alone in my life,” he says, recalling collapsing in the jungle in uncontrollable tears. “Nothing mattered anymore. Nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13970226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13970226 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman.png\" alt=\"A senior man wearing a black polo shirt and baseball cap decorated with veteran logos.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Veteran C.W. Bowman, who operated as a so-called ‘Tunnel Rat’ during the Vietnam war. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mutiny,” the fourth episode in the series, is full of stunning stories of rebellion. Notably, the kind faced by Bill Broyles, an inexperienced lieutenant assigned to lead a platoon that, in the words of one of the soldiers in it, was “leaderless” and “like \u003cem>Lord of the Flies\u003c/em>.” Broyles spent his first weeks more afraid of death at the hands of his own platoon than of any official enemy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We had zero respect for officers in general,” Marine Jeff Hiers admits. “I refused to salute [Broyles]. The message was, ‘This isn’t your Marine Corps. We don’t need you … We wanted to make sure that he wasn’t in charge because he didn’t know enough about Vietnam to be in charge.”\u003c/p>\n\u003cp>[aside postid='arts_13968446']In the same episode, we hear from a Brooklyn nurse named Joan Furey who believed in the war so much she volunteered to go. She admits to being so transformed by witnessing a deluge of daily horrors that she began filling out evacuation requests for patients that in no way filled the criteria. Her goal quickly became to get as many men out of Vietnam as she could.\u003c/p>\n\u003cp>But there was a different kind of rebellion brewing elsewhere. We hear from Nguyễn Thành Trung, the son of a Viet Cong soldier killed in battle, who infiltrated the South Vietnamese air force. After years in an elite position, he bombed Saigon government headquarters, the Independence Palace, to avenge his father. “It was like shedding a weight I had carried for years,” Trung admits.\u003c/p>\n\u003cfigure id=\"attachment_13970223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13970223 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung.png\" alt=\"A pilot wearing an army green jumpsuit and white helmet is lifted off the ground in celebration by a group of men in green military uniforms.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1920x1271.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nguyễn Thành Trung welcomed home as a hero by communist forces after bombing the Independence Palace in Saigon from a South Vietnamese jet. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Vietnam\u003c/i> contains many descriptions of violence and acts of brutality, but the stories that will probably stay with viewers the longest are the ones in which people ignored orders to do the right thing. The final episode, “The Endgame,” closes with the story of a jaw-dropping effort by one U.S. Navy commander to save a single South Vietnamese family. This tale is such a testament to human spirits triumphing over tragic circumstances, I am genuinely surprised no one has turned it into a movie yet. I’ll not spoil it, but if you only watch one episode of \u003cem>Vietnam\u003c/em>, make it this one.\u003c/p>\n\u003cp>Elsewhere in the series, we hear from Scott Camil, a Marine who dehumanized and brutalized the Vietnamese people only to return home and become a vocal anti-Vietnam spokesperson. Then there’s Melvin Pender, a respected officer who was forced to leave his post to compete in the 1968 Olympics. (He took home the gold in the 400-meter relay.) There’s also word from John Bagwell, a DJ who operated in Vietnam very much like Robin Williams’ character in \u003cem>Good Morning Vietnam\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13970839']Enhancing all of these stories is a wealth of on-the-ground footage featuring many of the interviewees as they were, young and in action. There are emotional reunions between old brothers in arms who haven’t seen each other in decades. There is also a roiling soundtrack that helps transport viewers back to the era via The Doors, Beatles, Rolling Stones and more.\u003c/p>\n\u003cp>\u003cem>Vietnam\u003c/em> is certainly educational, but as a series, its impact is outsized because it resolutely refuses to pick a single side to explain the war from. Most important of all is its decision to tell the story one person at a time. That brings the conflict viscerally to life, making it more relatable for viewers who didn’t live through the era themselves. It’s evident from the frank testimonies just how many unhealed wounds this war left behind. All six episodes of \u003cem>Vietnam: The War That Changed America\u003c/em> will leave a mark on you too.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://tv.apple.com/us/show/vietnam-the-war-that-changed-america/umc.cmc.5louo8zb5eb7zs0dgk06tnk22\">Vietnam: The War That Changed America\u003c/a>’ begins streaming on Apple TV+ on Jan. 31, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a formula all too often applied to documentaries about wars. Officious voiceovers recount political machinations, decisions of military leaders, strategic movements on the battlefield and loss of life conveyed in numbers. Maps flash on screen. Explosions sound. But the new Apple TV+ series \u003cem>Vietnam: The War That Changed America\u003c/em> takes an altogether more personal approach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the six-part series provides a clear and informative overview of key moments in the war (Ethan Hawke narrates), it never once takes its eye off the humanity caught at the center of the conflict. This is a story primarily told by American veterans, Viet Cong fighters, civilians, journalists and far-away family members who all found themselves navigating the chaos. It is their willingness to speak bravely of both the worst things they’ve ever done and their deepest vulnerabilities that makes \u003cem>Vietnam\u003c/em> so consistently compelling.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SBoNrZ3JXy8'\n title='//www.youtube.com/embed/SBoNrZ3JXy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As much as America already knows about the Vietnam War, many of the first-person accounts in \u003cem>Vietnam\u003c/em> prove to be genuinely revelatory. In first episode “Boots on the Ground,” two proud veterans speak of their closeness on the battlefield with surprising tenderness. C.W. Bowman and Gary Heeter were “tunnel rats” — men tasked with entering and clearing the underground network of passageways and bunkers utilized by the Viet Cong. Theirs was one of the most claustrophobic and dangerous tasks of the war, but they embraced it.\u003c/p>\n\u003cp>Because of the brutal conditions of their work, Bowman and Heeter developed a unique love and trust for one another that has endured ever since. (“We’re still the best of friends,” Heeter says at one point. “I hope it never ends.”) Their vulnerability while talking about one another is incredibly moving. At one point, they relay the day that Heeter stepped on a mine, lost a leg and had to be evacuated home. Bowman describes the devastation of his friend leaving his side as if it happened yesterday. “I’d never felt so alone in my life,” he says, recalling collapsing in the jungle in uncontrollable tears. “Nothing mattered anymore. Nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13970226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13970226 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman.png\" alt=\"A senior man wearing a black polo shirt and baseball cap decorated with veteran logos.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/CW-Bowman-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Veteran C.W. Bowman, who operated as a so-called ‘Tunnel Rat’ during the Vietnam war. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mutiny,” the fourth episode in the series, is full of stunning stories of rebellion. Notably, the kind faced by Bill Broyles, an inexperienced lieutenant assigned to lead a platoon that, in the words of one of the soldiers in it, was “leaderless” and “like \u003cem>Lord of the Flies\u003c/em>.” Broyles spent his first weeks more afraid of death at the hands of his own platoon than of any official enemy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the same episode, we hear from a Brooklyn nurse named Joan Furey who believed in the war so much she volunteered to go. She admits to being so transformed by witnessing a deluge of daily horrors that she began filling out evacuation requests for patients that in no way filled the criteria. Her goal quickly became to get as many men out of Vietnam as she could.\u003c/p>\n\u003cp>But there was a different kind of rebellion brewing elsewhere. We hear from Nguyễn Thành Trung, the son of a Viet Cong soldier killed in battle, who infiltrated the South Vietnamese air force. After years in an elite position, he bombed Saigon government headquarters, the Independence Palace, to avenge his father. “It was like shedding a weight I had carried for years,” Trung admits.\u003c/p>\n\u003cfigure id=\"attachment_13970223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13970223 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung.png\" alt=\"A pilot wearing an army green jumpsuit and white helmet is lifted off the ground in celebration by a group of men in green military uniforms.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Trung-1920x1271.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nguyễn Thành Trung welcomed home as a hero by communist forces after bombing the Independence Palace in Saigon from a South Vietnamese jet. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Vietnam\u003c/i> contains many descriptions of violence and acts of brutality, but the stories that will probably stay with viewers the longest are the ones in which people ignored orders to do the right thing. The final episode, “The Endgame,” closes with the story of a jaw-dropping effort by one U.S. Navy commander to save a single South Vietnamese family. This tale is such a testament to human spirits triumphing over tragic circumstances, I am genuinely surprised no one has turned it into a movie yet. I’ll not spoil it, but if you only watch one episode of \u003cem>Vietnam\u003c/em>, make it this one.\u003c/p>\n\u003cp>Elsewhere in the series, we hear from Scott Camil, a Marine who dehumanized and brutalized the Vietnamese people only to return home and become a vocal anti-Vietnam spokesperson. Then there’s Melvin Pender, a respected officer who was forced to leave his post to compete in the 1968 Olympics. (He took home the gold in the 400-meter relay.) There’s also word from John Bagwell, a DJ who operated in Vietnam very much like Robin Williams’ character in \u003cem>Good Morning Vietnam\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Enhancing all of these stories is a wealth of on-the-ground footage featuring many of the interviewees as they were, young and in action. There are emotional reunions between old brothers in arms who haven’t seen each other in decades. There is also a roiling soundtrack that helps transport viewers back to the era via The Doors, Beatles, Rolling Stones and more.\u003c/p>\n\u003cp>\u003cem>Vietnam\u003c/em> is certainly educational, but as a series, its impact is outsized because it resolutely refuses to pick a single side to explain the war from. Most important of all is its decision to tell the story one person at a time. That brings the conflict viscerally to life, making it more relatable for viewers who didn’t live through the era themselves. It’s evident from the frank testimonies just how many unhealed wounds this war left behind. All six episodes of \u003cem>Vietnam: The War That Changed America\u003c/em> will leave a mark on you too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13962626\" class=\"wp-caption aligncenter\" style=\"max-width: 844px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962626\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-13-at-12.15.37%E2%80%AFPM.png\" alt=\"A book cover featuring a black and white photo of soldiers lined up on a university campus, facing large crowds of students.\" width=\"844\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-13-at-12.15.37 PM.png 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-13-at-12.15.37 PM-800x1151.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-13-at-12.15.37 PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-13-at-12.15.37 PM-768x1105.png 768w\" sizes=\"auto, (max-width: 844px) 100vw, 844px\">\u003cfigcaption class=\"wp-caption-text\">‘Kent State: An American Tragedy,’ by Brian VanDeMark. \u003ccite>(W. W. Norton & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a half century has passed since Ohio National Guard members opened fire on college students during a war protest at Kent State University, killing four students and injuring nine others.\u003c/p>\n\u003cp>The description of the nation, then split over the Vietnam War, leading up to the 1970 tragedy echo today’s politics and divisions in many ways. In \u003cem>Kent State: An American Tragedy\u003c/em>, historian Brian VanDeMark recounts a country that had split into two warring camps that would not and could not understand each other.\u003c/p>\n\u003cp>[aside postid='arts_13962615']“It was a tense, suspicious, and combustible atmosphere that required only a spark to ignite a tragedy,” VanDeMark writes.\u003c/p>\n\u003cp>VanDeMark succeeds at helping readers understand that atmosphere, creating a chilling narrative of the spark and ensuing tragedy at Kent State. Within less than 13 seconds, 30 guardsmen fired 67 shots at protesters in an event where “the Vietnam War came home and the Sixties came to an end,” he writes.\u003c/p>\n\u003cp>With a straightforward writing style, VanDeMark provides both a micro and macro look at the events leading up to the massacre — examining the growing dissent against the U.S. involvement in Vietnam and how it rippled across Kent State’s campus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>VanDeMark relies on a host of new material, including interviews with some of the guardsmen, to reconstruct the protests on campus and the shooting. He also recounts the investigations and legal fights that ensued following the shooting.\u003c/p>\n\u003cp>\u003cem>Kent State\u003c/em> portrays a campus that grappled for years with its legacy, with no official memorial to the slain students erected on campus until two decades later, in 1990. A new visitors center devoted to the shooting that opened in 2012 suggested an emerging consensus about the tragedy, writes VanDeMark, whose work may contribute to that consensus as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kent State: An American Tragedy’ by Brian VanDeMark is released on Aug. 13, 2024 via W. W. Norton & Company.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry",
"title": "Thien Pham's Graphic Novel Is an Immigration Story Told Through Food",
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"headTitle": "Thien Pham’s Graphic Novel Is an Immigration Story Told Through Food | KQED",
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"content": "\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”[/pullquote]\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905153,arts_13904835,arts_13926136']\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.”[/pullquote]\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Pham is currently also doing a \u003ca href=\"https://www.eventbrite.com/e/cartoonists836m-exhibition-opening-tickets-612684324307\">four-month artist’s residency\u003c/a> and exhibition at 836M Gallery (836 Montgomery St., San Francisco), with a focus on the history of San Francisco’s neighborhoods.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. \u003c/p>\u003c/div>",
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"content": "“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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