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The Things They Left Behind: How the U.S. Laid Waste to Southeast Asia

April 1, 2023 by www.nytimes.com Leave a Comment

THE LONG RECKONING: A Story of War, Peace, and Redemption in Vietnam, by George Black


The lore of American military logistics celebrates triumphs of sustainment. Take the Civil War “Cracker Line,” a network of wagon roads and pontoon bridges opened in October 1863, which supplied the besieged federal forces at Chattanooga, Tenn.; the Red Ball Express, a truck convoy system established in France in 1944, which moved approximately 12,000 tons of matériel a day for 82 days to supply the Allied advance during World War II; or the monumental staging of the 1991 gulf war, which the general in charge deemed “ the largest logistical move in history .”

Such stories typically end with the heroic relief of a starving garrison or the just-in-time resupply of fuel and munitions to keep an army rolling along. But what of the tragic coda: the hazardous mess an army leaves behind to be incinerated — in the toxic burn pits of Iraq and Afghanistan, for example — exploded or salvaged by the local population?

This is one of the questions addressed in George Black’s new book about the legacy of American involvement in Southeast Asia. In “The Long Reckoning,” Black, a British journalist living in New York and the author of several books on foreign policy, unites his areas of expertise in international affairs and the environment to explore a landscape littered with the detritus of war: scrap metal, unexploded ordnance, soil and water contaminated by herbicides Americans sprayed, spilled and dumped over swaths of Vietnam, Laos and Cambodia.

Black focuses his attention largely on Vietnam’s Quang Tri and Thua Thien provinces along the Laotian border, home to a vital stretch of the Ho Chi Minh Trail — from the DMZ south into the A Shau Valley. “All the worst legacies of the war were concentrated here,” he writes, “an area smaller than the state of Connecticut.” The United States sprayed 750,000 gallons of chemicals (so-called rainbow herbicides, of which Agent Orange is the most notorious) on Quang Tri and more than 500,000 on the A Shau, in Thua Thien. The nation also unleashed more bombs on Quang Tri alone than had been dropped on Germany during World War II.

A massive defoliation campaign to reduce cover for Vietnamese ambushes, known as Operation Ranch Hand, began in 1961. Soon, the U.S. government began to authorize crop destruction as well. Black describes Ranch Hand as “without precedent in history, using all the tools of science, technology and air power to lay waste to a country’s natural environment.” By contrast, when the destruction of Japan’s rice crop had been proposed in 1944, Adm. William Leahy, President Franklin D. Roosevelt’s chief of staff, “vetoed the idea, saying it ‘would violate every Christian ethic I have ever heard of and all known laws of war.’”

Black offers various measures of the resulting devastation to the Vietnam-Laos borderlands. Perhaps none is more suggestive of the magnitude than this statistic: “Between 1964 and 1973, U.S. aircraft flew 580,344 sorties over Laos, which averaged out to one every eight minutes, 24 hours a day, for nine years.” It was a contest of technological wizardry against grim guerrilla determination and the intractability of weather and topography.

“The Long Reckoning” comprises three parts: “War,” “Peace” and “Redemption.” In the first section Black presents an efficient military and political history. Readers well versed in the ample scholarship on the war years might find much of this material familiar, but Black’s immersion in a particular human geography — his attunement to aspects of terrain, climate, flora and fauna, as well as to the people’s intimate relationship to the land — brings home the enormity of the destruction anew.

This section sets the stage for postwar stories involving individual and communal suffering, diplomatic maneuvering and geopolitical complexity. At the core of the narrative is a small group of figures working to repair their countries and sometimes themselves: veterans like Chuck Searcy and Manus Campbell, both of whom find redemption in humanitarian projects in Vietnam; Adelaide (known as Lady) Borton, Jacqui Chagnon and Roger Rumpf, peace activists with the Quaker American Friends Service Committee; Vietnamese, Canadian and American doctors and scientists; and Charles Bailey of the Ford Foundation. All of them reckon with the challenges of unexploded ordnance, dioxin contamination and rural poverty and dislocation.

Black periodically shifts the scene to the United States to explore “two of the most bitter legacies of the war”: the fate of P.O.W./M.I.A.s and Agent Orange, each “a surrogate for emotions about the war itself.” Regarding the contentious politics of the latter, Black reminds us that for years American officials were prohibited from even speaking “the words ‘Agent Orange’ in public, with their insinuation of war crimes, reparations and corporate liability.” Efforts to secure compensation for Americans were also complicated by the scientific challenge of proving causation. The Agent Orange Act, which made ailing veterans eligible to apply for benefits by presuming the link between chemical exposure in theater and subsequent illnesses, was passed in 1991.

It took longer for the United States to acknowledge potential damage done to the health of the Vietnamese, who were “expected to meet an impossible burden of proof that had not been asked of American veterans.” Among the most riveting of the book’s interconnected narratives is a forensic detective story in which scientists, with the help of activists — especially the fearless Lady Borton, equally effective at softening political intransigence behind the scenes and facilitating research in the field — try to figure out how and where the contamination of soil and water occurred in Vietnam and Laos and assess the likelihood of its causing large clusters of birth defects.

Spurred by the findings of researchers, the consciences of politicians such as Senator Patrick Leahy and Vietnam’s emergence as a valuable strategic partner, the United States has undertaken the cleanup of some former bases. Yet, as Black acidly observes, the ribbon-cutting ceremony that launched the remediation project at Bien Hoa in 2019 “made for a simple, stripped-down moral parable. America had done wrong; America had made it right; the story had a happy ending.” Black resists neat endings. Even as he chronicles the meaningful, if unfinished, progress made over the last half-century, he never palliates the horrors of the war.

In his fascinating description of life on the perilous Ho Chi Minh Trail, Black includes a vignette about a North Vietnamese porter. The unnamed man fortified his spirit against hunger, brutal labor, poison clouds of defoliant sprayed from C-123s, napalm and bombs by reciting poems from a volume of Walt Whitman he carried in his rucksack. When his unit captured an American soldier, the porter eagerly sought out the prisoner’s thoughts on “Song of Myself.”

The episode is reminiscent of an ancient story about the survivors of Athens’ catastrophic expedition to Sicily (415-13 B.C.). Starving and dying in stone quarries, the invaders were in some cases offered their freedom in exchange for reciting the verses of Euripides for their Sicilian captors, who were great admirers of the Athenian tragedian. But there’s a twist to Black’s story. The Vietnamese porter seeks the G.I.’s opinion in vain: “The man had never heard of Whitman.” It seems an apt emblem for a war that alienated Americans from their country and themselves.


Elizabeth D. Samet’s most recent book is “Looking for the Good War: American Amnesia and the Violent Pursuit of Happiness.”


THE LONG RECKONING: A Story of War, Peace, and Redemption in Vietnam | By George Black | Illustrated | 478 pp. | Alfred A. Knopf | $35

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Gamergate’s Silver Lining

October 16, 2014 by www.thecut.com Leave a Comment

Photo: Shutterstock

Gamergate has not been a happy episode for anyone. The controversy encapsulated in the #Gamergate hashtag, which some of its proponents are claiming is about corruption in gaming journalism but that is really primarily about misogyny and harassment (Gawker’s rundown helps explain , as does Jennifer Vineyard’s piece in Vulture ), has featured vile rhetoric, frequent doxxing of women involved in the gaming world, and death threats that have led to some of those same women being driven from their home and canceling speaking engagements.

But hiding somewhere under this seething pile of awfulness and misrepresentation, there really is a silver lining. And to see it, it’s necessary to understand a little — just a little, I promise! — about some recent developments and debates in the gaming world.

A lot of this comes back to the question over what constitutes a game, or what “deserves” that designation. Recent years have seen the rise of a type of game called “notgames” by some people. These are video games that omit or significantly modify certain important aspects of “traditional” gameplay. Oftentimes, you can’t really win or lose in a notgame. In Proteus, for example (which I wrote about as part of a broader discussion of notgames here ), you simply wander around a gorgeous, randomly generated island. In other notgames, whatever choices are offered to you as a player are in fact an illusion, and the game is really leading you by the hand exactly where it wants you to go.

A fascinating notgame specimen is dys4ia, by a developer named Anna Anthropy. You should play it here — it only takes five or ten minutes to get through the whole thing. It’s a game in the sense that it abides by certain classic game mechanics, but it’s really a story about dealing with gender dysphoria and hormone replacement therapy. Another wonderful example that’s a bit more “traditional,” but still arguably a notgame, is Gone Home. In that one, you play a young woman who has just returned from Europe to your parents’ new home in the Pacific Northwest. No one’s around, and as you explore the house while a thunderstorm rages outside, you uncover, through letters and mixtapes and other items scattered everywhere, all sorts of salacious, unexpected, and poignant things about your parents and younger sister. Gone Home ends up being about adolescence, homosexuality, marriage, and a bunch of other stuff most people would tend to associate more with Serious Literature than with a video game.

It’s not an accident that these sorts of games — games that deal with complicated, nuanced, or difficult themes — tend to stray from the orthodox game structures that have been in place ever since gaming started to go mainstream in the 1980s. If you’re a developer trying to encourage players to empathize or reflect or ponder, asking them to chase high scores and dodge the constant threat of “losing” while doing so might not be your best bet. (If either Gone Home or dys4i had what developers call “lose states,” it would seriously sap their considerable narrative and emotional punch.) There are thoughtful games that stick mostly to traditional game mechanics, of course, but it’s not a coincidence that the most interesting “games-as-art” releases tend not to.

This world of nontraditional games has flourished in recent years, partly because it’s easier than ever before to make a game, and partly because the fact that a greater proportion of kids plays games every generation means that a greater proportion of young adults makes games every generation. Plus, there’s been real progress on the gender front: More and more women are playing and making games, and, terrible instances of harassment notwithstanding, female interest in games and game-making is no longer considered “weird” by most people.

Not everyone is happy with all these changes, though. Somewhat lost in the recent chaos has been the fact that gamers who prefer a certain, classic style of video games — namely, ones which don’t get “bogged down” in “issues” — had already been complaining about the growing prevalence of the dys4ias and Gone Homes of the world. More than a year before the hashtag, Anita Sarkeesian had already dealt with death threats and false accusations of Kickstarter fraud for the crime of producing a well-done web series highlighting misogyny in traditional games (these threats have, of course, only escalated in recent months).

And long before a subset of the internet developed a seriously creepy interest in her sex life, Zoe Quinn, the central figure in Gamergate, was harassed for releasing her best-known title, Depression Quest, because it wasn’t gamey enough and dealt with a serious, adult theme. As Simon Parkin explained in The New Yorker :

The hate mail began to arrive on “pretty much the same day” as the game’s release, Quinn told me. The harassment increased when, earlier this summer, the game launched on Steam, a global digital store for PC games. Many Steam users argued that a game with such a gloomy subject had no place being distributed on the marketplace. Incredulous and angry user reviews filled up Depression Quest’s listing page. “I can’t really call it a game since I don’t think the point is to entertain you,” says one. “I’m not even sure what to say about this thing. It’s just boring and is entirely all reading,” says another.

In other words, a lot of the kindling of gamerbro ire had been laid down long before Quinn’s ex-boyfriend Eron Gjoni set everything ablaze with a long, unhinged blog post.

If you check the comments on any online discussion about dys4ia or Gone Home, you’ll find complaints similar to the ones mentioned by Parkin. Some of them are expressly misogynistic, but some of them aren’t. Misogyny is a constant, pulsing undertone to so many of the Gamergate complaints — it’s not an accident hardcore Gamergaters are obsessed with Quinn and Sarkeesian, two figures extremely far removed from the multi-million-dollar titles and studios you’d think would be the subject of any activism on the corruption-in-game-journalism-front — but it’s part of an even broader cultural panic. It’s clear, in short, that some gamers are simply upset that there are now many games that deal with themes that aren’t entirely escapist, that in certain senses the worlds of literature and art and activism are colliding with gaming — gaming being their world, one they’ve seen as belonging to them and only them for a long time.

This is a strange reaction, to be sure. In just the same way the production of Donnie Darko didn’t preclude Hollywood from producing approximately 6,000 X-Men movies in the years that followed, neither dys4ia, Gone Home, nor the countless other interesting indie games produced in the last few years is likely to reduce by one penny the budget of the next Medal of Honor game. That’s the beauty of a big, thriving, creative market that ranges from the Neanderthal lowbrow to the truly abstract and artistic highbrow: Everyone gets what they want.

But while the complainers are wrong in thinking they’re somehow under attack, that their beloved hack ‘n slash and shoot-’em-up games are going anywhere (I use these terms with love, since there are nights — particularly, say, in mid-February — when all you want to do is blow up hordes of zombies), they have correctly identified an inflection point: We are never going back to a time when there aren’t developers making games about nuanced, mature themes, some of which may be of little interest to some stereotypical “traditional” white male gamers. That’s why Kyle Wagner’s comparison of hardcore Gamergaters to tea partiers is so accurate: Like members of the tea party, some Gamergaters are seeing big, real changes and wrongly predicting that said changes will bring them personal hardship or persecution. Hence the outrage, and hence the “deep sense of entitlement coming out of a section of the male gaming community,” as Sarkeesian described it to me .

It’s easy for a male observer of all this to wax hopeful about the “silver lining” of the vibrant, endlessly fascinating indie game scene, of course — I’m not the one who has been driven from my home because of harassment, and I’ve never known the feeling of having to cancel an event because of the threat of a mass shooting. But at some point this paroxysm of misogynistic, revanchist rage will die down. When it does, fascinating, quirky indie games will still be there, and the creative forces behind them will only be growing in power and visibility.

In the long run, dys4ia will help those who play it to understand and empathize with folks grappling with gender dysphoria . Gone Home will help sexually confused teens feel like they’re not alone. The Stanley Parable, a brilliantly unhinged exercise in postmodern narrative tomfoolery, may just spark the next great gonzo novel. If, as many people think, encountering the right book or film at the right time can save — or at least greatly improve — a life, then certainly the same is true of games that poke and prod at the question of what it means to be human. In short, these titles really are going to make the world a better, more tolerant, interesting place. We just need to get past the terrible adolescent tantrum some gamers are currently throwing.

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Royal expert lifts lid on Camilla’s secret to her ‘healthy relationship’ with King Charles

April 1, 2023 by www.express.co.uk Leave a Comment

King Charles and Camilla wave to crowds from balcony in Hamburg

A royal expert has lifted the lid on the secret to King Charles and Queen Camilla’s “healthy relationship”, and it involves them actually spending some time apart. Grant Harrold, who previously worked for Charles and Camilla, explained that by keeping her own home and having some family time away from the royals the Queen Consort has been able to “settle in” to her new role by her husband’s side.

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In an interview with Slingo , Mr Harrold said Camilla had managed to maintain a royal life and a private life, as she has her own children Tom Parker-Bowles and Laura Lopes from her previous marriage and is able to enjoy time with her grandchildren outside of the Firm.

He explained: “She’s also got her own house, Ray Mill, which she’s maintained as her own residence.

“It’s her own space so when she’s not doing royal duties she’s still got her own space for her and her family from her first marriage and I think it’s nice that she’s got that.

“She spends a lot of time with the King, of course they share the same homes and everything but she’s got that little bolthole, somewhere she can go and have her own space especially if he’s away and doing things overseas on his own.

King Charles And Queen Consort Visit Germany

Charles and Camilla have recently spent time in Germany on their first state visit as monarchs (Image: Getty)

Prince Charles and Camilla Wedding Group Pictures

The King and Queen Consort on their wedding day in 2005 (Image: Getty)

10 hilarious moments from Prince Harry’s parody memoir, including his ‘oversensitive d**k’

Prince Harry’s memoir has been savagely mocked in a parody version of the book, titled: ‘Spare Us! A Harrody.’

Harry’s frost-bitten penis is turned into a taunt about being an “oversensitive d**k”, while his drug and alcohol use and relationship with the press are frequently mocked.

Here Express.co.uk takes a look at the 10 most shocking moments of the parody.

“I think that’s the secret to a healthy relationship, having your own space as well is vital and that’s maybe what they’ve worked out was the mistakes from previous years. So that works really well.”

Camilla has owned Ray Mill House, her £850,000 home in Wiltshire, since her divorce from Andrew Parker-Bowles in 1994, and lived there until 2003.

The property features stables, an outdoor swimming pool and large grounds with a river running through and was the location of Camilla’s daughter Laura’s wedding reception in 2006.

While on their state visit to Germany Camilla revealed to some schoolchildren in Hamburg that her favourite hobbies are gardening, reading and swimming in the sea, with Ray Mill providing the perfect place for her to rest and indulge in her favourite activities.

READ MORE: Prince Harry ‘might live to regret’ attack on royals, expert says

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Camilla interacting with German schoolchildren in Hamburg (Image: Getty)

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The Queen Consort made a decent attempt at drawing the beloved character The Gruffalo (Image: Getty)

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Talking about her hobbies, Camilla said: “I used to have horses I rode but sadly I don’t ride any longer.

“I think I’m too old, but I have race horses. Last night I watched on my screen one of the foals being born, which was very exciting.”

The Queen Consort visited the children with illustrator Axel Scheffler, who is well-known for drawing the iconic children’s character the Gruffalo.

Camilla even made a decent attempt at drawing the creature as she read extracts from the book to the class.

Don’t miss… Camilla wows fans with her artistic skills as she draws The Gruffalo [LATEST] Royal Family forced to pivot after being ‘badly burnt’ – expert [COMMENT] Queen Mother ‘really indulged’ Charles’s artistic side [REVEAL]

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Camilla and Axel Scheffler, who hails from Hamburg, meet the children (Image: Getty)

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The Queen Consort is known for her love of literature and reading and has often highlighted the importance of literacy through her patronage of the National Literacy Trust.

Mr Scheffler said: “It is extremely important for children to read and draw as one in five children in the UK do not have a single book.

“Some children cannot even read or write and it is a big problem.

“The Queen Consort is very much involved in changing that.”

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