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Exploring the Process of Loss Interpreted

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Exploring the Process of Loss Interpreted OBJECTS AT THE WALL: CONTINUING BONDS AND THE VIETNAM WAR MEMORIAL Paul Fitzpatrick submitted in accordance with the requirements for the degree of DOCTOR OF PHILOSOPY UNIVERSITY OF WALES INSTITUTE CARDIFF JULY 2011 Dedicated to Gaynor, Christine and the Chien Si Vo Danh My Guides ABSTRACT This thesis explores the phenomenon of objects being left at the Vietnam War Memorial, Washington D.C. Since its inception in 1982, one hundred and fifty thousand objects have been left by veterans, wives and families, as well as people not necessarily related to those named on the Wall. These objects are argued to be representative of a complex expression of loss and bereavement, both by individuals and by American society as a whole. This exploration utilises various understandings of grief and bereavement, theoretical approaches to understanding objects as gifts, and expressions of deeply set emotion through written and physical forms. It suggests that the use of these objects represents a continuous process of redefining individual relationships and that this is especially acute in relation to the Vietnam War. The work concludes by proposing one possible interpretation of the gifting of the objects; that of continuing bonds and, in turn, will aim to contribute to a broader understanding of grief that encompasses psychological, social, cultural and political landscapes. CONTENTS INTRODUCTION Chapter One: The Wall, Grief and Gifting (1-26) Chapter Two: The Thesis (27-44) Chapter Three: Conceptual Frameworks (45-83) COUPLET ONE: WIDOWS Chapter Four: Widows at the Wall (87-109) Chapter Five: A Widow’s Story: Laurent (110-144) COUPLET TWO: VETERANS Chapter Six: Veterans at the Wall (147-179) Chapter Seven: A Veteran’s Story: Luttrell (180-217) COUPLET THREE: POLITICS Chapter Eight: Cultural and Political Users at the Wall (225-254) Chapter Nine: A Political Story: Coppin (255-281) IMPLICATIONS Chapter Ten: Summary (283-322) Chapter Eleven: Conclusions (323-329) BIBLIOGRAPHY ILLUSTRATIONS COVER The Wall at Dawn (Daniel Arant: Vietnam Veterans Memorial) INTRODUCTION (84-86) 1. The Wall in Summer (Vietnam Veterans Memorial) 2. Officer’s Shattered Sword. MARS Collection (Claudio Vazquez: Turner Publishing) 3. Native American Deer Sculpture. MARS Collection (US National Park Service) 4. NVA Diary. MARS Collection (US National Park Service) 5. ‘Meeting’ (Danny Day: Vietnam Veterans Memorial) COUPLET ONE (145-146) 6. ‘The Wall’ (Vietnam Veterans Memorial) 7. The Wall with Counsellors in the Background 8. Narrative Objects left at the Wall 9. Mothers and Wives Day COUPLET TWO (218-224) 10. Letter with Sock Doll. MARS Collection (Turner Publishing) 11. Letter in Situ 12. Marine Combat Items. MARS Collection ( Turner Publishing) 13. Combat Webbing. MARS Collection ( Turner Publishing) 14. The Wall in Autumn (showing signs of the large visitor numbers) 15. Battlefield Memorial (Vietnam Veterans Memorial) 16. Marine Remembrance Service in Vietnam & ‘Tiger Cage’ (Allen) 17. Boots (Vietnam Veterans Memorial) 18. Veteran at the Wall (Vietnam Veterans Memorial) 19. Vietnam War Memorial Stamp and Plate (Vietnam Veterans Memorial) 20. 9th ‘Aircav’ Hat. MARS Collection (Turner Publishing) 21. 7th Air Cavalry Veterans 22. Luttrell’s Photograph (U.S. National Park Service) COUPLET THREE (282) 23. Aids Quilt (AIDS Memorial Quilt Foundation) 24. Tricon Protest Flag. MARS Collection (Turner Publishing) 25. MIA-POW Bracelets. MARS Collection (Turner Publishing) Photographs and illustrations used with permission 1 CHAPTER ONE The Wall, Grief and Gifting The Vietnam War Memorial in Washington DC is a chevron Wall of polished black reflective stone. It contains inscriptions of the names of every soldier and nurse who died in Vietnam, which currently stands at 58,271.1 For many Americans, it has become a place of healing and hallowed ground.2 The memorial, known as the ‘Wall,’ draws four million visitors a year.3 Sixty per cent of the people visiting the Wall (Appy, 2008) were not alive at the time of the Vietnam conflict. These visitors have left over 150,000 objects (gifts), which have now been catalogued and stored by the Smithsonian and the Federal Museum and Archaeological Repository (MARS).4 The emotional and historical dynamics of what the Wall represents are best summed up in the following: ‘The irony was that...a parade of death out of Southeast Asia was leading another generation into a life of tearful memories. How long it goes on. 1942, 1972, 1992. The scars of violence are difficult to erase. But they are more tender when sustained unnecessarily. Vietnam – a tiny country barely larger than Florida and Georgia combined – somehow stole our national innocence. From 1959 to 1975 American solider boys were 1 Murphy (2007: 28). The Panels of the VWM are frequently removed to add additional names. The last update took place in May 2011. 2 Scruggs & Swerdlow (1992: 159); Hass (1998: 57); Murphy (2007: 23, 146); Lin (2000: 14); Savage (2009). 3 Exchange of emails between U.S. National Park Service and the author, 28th Oct 2009. 4 Confirmed by Duery Felton, curator at MARS, February 2010, on research trip (confirming e-mail held by author). 2 dribbled across the Pacific Ocean to fight and die in jungles and swamps while at home waves of their baby boomer brothers and sisters protested. An entire world watched. A generation’s sensibility – of rebellion, cynicism, anger, loss of innocence, loss of confidence – was shaped by the sixteen year old conflict waged in the mud of Southeast Asia. It was less the last humiliating defeat that caused this psychic breakdown than it was the length and vividness of the bloodletting, the gradual freezing up of the national will and conscience. Vietnam – the body bags over there and the billyclubs over here – remains for many Americans the air breathed in during three decades of national trauma and tragedy. Everything from the assassinations of Bobby Kennedy and Martin Luther King to the political scandals of Watergate and Iran-Contra seem tainted by the original sins of My Lai and Cambodia. We can almost date the route of national pride to the Tet offensive in January 1968 or the Pentagon papers of 1971. We can trace our current civil wars to the rebellions at Kent State, Berkeley, even Watts. Guns and drugs seem as much the legacy of Vietnam as is Post Traumatic Stress Disorder. “The horror, the horror” moaned Marlon Brando at the end of Frank Coppola’s Apocalypse Now, summing up not just the war but also the national panic over the sudden loss of our way. A national PTSD. No more manifest destiny, perhaps no more destiny at all’ (Meyer, 1993: 9). The role played by the Wall, in this context, is summed up in the following: ‘They walk on hallowed ground. They touch the stone, they speak with the dead. They come to mourn and remember, memory mixing with grief, making an old ritual new, creating in this time another timeless moment. Seeing this, coming upon it at dawn or in the melancholy drizzle of a winter solstice, it is hard to remember that no one is buried there, that 3 long chevron of black granite is a memorial, not a sprawling cairn on a common grave. It is a sad place – there is no denying that – especially sad for the volunteers and luckless conscripts who survived the war, men like me, trying to make sense of the senseless, trying to find a way to remember that will not mock the meaning of the dead. Some men who cross the years and struggle home say they need no memorial to keep alive the memory of those cut down beside them. This is true, and yet I am pleased to see it there, stretched out under the sky a stone’s throw from the Potomac River, there where Lincoln talks of the dead to us, “the living”. The memorial is a way back and a way forward. A pass through Constitution Gardens and a walk along the ‘Wall’ makes us think of the future in the language of the past and whatever message one draws from this, it seems unlikely that anyone who makes that walk will be able to think of war and the men who fight it in quite the same way again’ (Lopes, 1987: 15). How this is expressed through an individual’s personal acts is summed up here: ‘A mother travels from Baltimore to Washington D.C. She is alone. She lost her only son in the Tet offensive; she can only afford to come to the Wall twice a year. She travels up around Christmas and repeatedly at about the time (September) that her son died. She brings her loss and her pride, she still brings her questions about why (and indeed how) he died and she brings her anger, still bright and burning. She also brings gifts. 4 She brings an old ‘teddy,’ which she knows will be preserved and stored and places it at the base of the Wall. She brings Christmas cards or a small decoration for the Christmas tree that is always present at the Wall at that time of the year. She has already left her son’s medals. She always brings letters, lots of letters, which are all sealed so that no one will ever open them and, every time, she brings her tears’.5 I will argue that the gifting at The Wall represents a complex process of loss and the bereavement suffered by individuals and, by extension, American society in general after the Vietnam conflict. This research will propose one possible interpretation of the ‘gifting’ of these objects, that is, as a means of maintaining ‘continuing bonds’ with dead loved ones and, in turn, will aim to contribute to a broader understanding of grief that encompasses psychological, social, cultural and political dimensions.
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