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Government Issue and the Face of War: the Representation Of GOVERNMENT ISSUE AND THE FACE OF WAR: THE REPRESENTATION OF SERVICEMEN IN AMERICAN LITERARY AND VISUAL CULTURE OF THE SECOND WORLD WAR by Kristin Nicole Riley APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Dr. R. Clay Reynolds, Chair ___________________________________________ Dr. Zsuzsanna Ozsváth ___________________________________________ Dr. Nils Roemer ___________________________________________ Dr. Theresa M. Towner Copyright 2016 Kristin Nicole Riley All Rights Reserved To My Family GOVERNMENT ISSUE AND THE FACE OF WAR: THE REPRESENTATION OF SERVICEMEN IN AMERICAN LITERARY AND VISUAL CULTURE OF THE SECOND WORLD WAR by KRISTIN NICOLE RILEY, BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Many people have made the completion of this dissertation possible. First, I would like to thank The University of Texas at Dallas for the Graduate Student Scholarship, which gave me the opportunity to pursue the study of literature, history, and culture in the School of Arts and Humanities. This project would not have been feasible without the steady guidance of Professor Clay Reynolds. Since my first semester in the doctoral program, Dr. Reynolds has been committed to helping me improve in my writing and has consistently challenged me to think critically about literature. Also significant has been the encouragement of Dr. Zsuzsanna Ozsváth, Dr. Nils Roemer, and Dr. Theresa M. Towner. Thank you for your enthusiasm for this material and your willingness to serve on my committee. I would also like to thank the many combat veterans who have been my students over the past several years. It has been an honor to work with you. Learning about the war experiences of service members from my own generation provided a profound context for my work. Most importantly, I would like to thank my mother, Ginger, brother, Jonathan, and sister-in-law, April, for their unwavering love and support. I would not have made it through without you! As we approach the 75th anniversary of the end of World War II, the event that defined the twentieth century, may we never forget the sacrifices made by so many. September 2016 v GOVERNMENT ISSUE AND THE FACE OF WAR: THE REPRESENTATION OF SERVICEMEN IN AMERICAN LITERARY AND VISUAL CULTURE OF THE SECOND WORLD WAR Publication No. ___________________ Kristin Nicole Riley, PhD The University of Texas at Dallas, 2016 ABSTRACT Supervising Professor: R. Clay Reynolds, PhD Throughout the Second World War, a gulf existed between the experience of American civilians and that of the American combat soldier. Official propaganda posters sanctioned by the Office of War Information argued that the war was being fought in accordance to higher principles. Yet, for a large number of servicemen overseas, the war was a never-ending, unpleasant job far removed from the comforts of home. Many men were eager for their service to end and did not know precisely what the war was about. The decades following World War II mark a significant transition for American war literature as soldiers, sailors, airmen, and marines returned home to write about how the war affected individuals—not tools of war, but people at times trapped between their own personal identities and the military’s construction of their obscurity. In ten important American novels, published between 1942 and 1969, the authors draw upon their own war experience to counteract the iconic status of the WWII victory within cultural memory. Like the photographs taken by embedded reporters, these novels focus on the human face as the most revealing detail of war. In doing so, they deal with questions of availability and accessibility. vi They navigate between myth and reality, between combat serviceman and civilian, and between individuals and themselves. Within the literary, visual, and memorial culture of the Second World War, the face exhibits authentic truths about war and becomes a hub through which a myriad of issues like division, absurdity, and sensual onslaught, are revealed. In the twenty-first century, when war continues to define global perspective, war studies have become integral to an inter-disciplinary approach to Humanities. The representations of individual servicemen thus refute the concept of “Government Issue” and instead stand like monuments to the true price of war. vii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………………...v ABSTRACT………………………………………………………………………..…………….vi LIST OF ILLUSTRATIONS.……………………….………………………………….…...……ix CHAPTER 1 INTRODUCTION.………………………………………………....……………..1 CHAPTER 2 VISUALIZING WAR: A CONTEXT OF WAR FACES.…....………..………..27 CHAPTER 3 DIVERSITY AND DIVISION IN NORMAN MAILER’S THE NAKED AND THE DEAD.……………………………...…...……………..68 CHAPTER 4 IRWIN SHAW AND JAMES JONES: OBSERVING FACES IN A WORLD OF VIOLENCE.…………………………………..…..112 CHAPTER 5 THE DISORIENTING LANDSCAPES OF JAMES MICHENER, JOSEPH HELLER, AND KURT VONNEGUT JR…………...…...…………..154 CHAPTER 6 MEMORIALIZATION…………………………………………………………193 AFTERWORD THE LEGACY OF WAR………………….……………………...…………..228 BIBLIOGRAPHY………………………………………………………………………………273 BIOGRAPHICAL SKETCH…………………………………………………………...………284 CURRICULUM VITAE viii LIST OF ILLUSTRATIONS 1 US MARINE AT ENIWETOK…………………………………….…………..………234 2 1942 US MARINES RECRUITMENT POSTER………………………………….…..235 3 NORMAN ROCKWELL, FOUR FREEDOMS…………………………..……………235 4 AL PARKER, MOTHER-DAUGHTER CANNING POSTER…………………….….236 5 1943 US WAR BONDS POSTER……………………………………………….……..236 6 1943 OWI PROPAGANDA POSTER……………………………………………...….237 7 AL PARKER, 1945 MOTHER-DAUGHTER POSTER……………………..………..237 8 “A HARVEST OF DEATH”………………………………………………………..….238 9 “FIELD WHERE GENERAL REYNOLDS FELL”..………………………………….238 10 “WHEAT-FIELD IN WHICH GENERAL REYNOLDS WAS SHOT”..…………..…239 11 “ONE OF EWELL’S CORPS”……………………………………………….…...……239 12 “DEAD CONFEDERATE SOLDIER”………………………………………..……….240 13 “DEAD CONFEDERATE SOLDIER WITH GUN”…………………………………..240 14 “HOME OF A REBEL SHARPSHOOTER”…..………………………..……………..241 15 “A SHARPSHOOTER’S LAST SLEEP”………………………………….…………..241 16 PAGE FROM DR. BONTECOU’S TEACHING ALBUM……………………………242 17.a-17.b WILLIAM SPRECKLEY…………………………………………………………....242 17.c-17.d WILLIAM SPRECKLEY……………………………………………………………243 18 FRENCH SOLDIER WITH FACE MASK……………………………………….……243 19 “SKIN GRAFT”……………………………………………………………………..….244 20 “WAR FACE”………………………………………………………………………….244 ix 21 1940 NESTLE CHOCOLATE ADVERTISEMENT………………….……………….245 22 1944 SIXTH WAR LOAN CAMPAIGN POSTER……………………………..……..245 23 1942 US ARMY CORPS OF ENGINEERS RECRUITMENT POSTER……………..246 24 US MARINE CORPS RECRUITMENT POSTER………………..……...……………246 25 1943 OWI PROPAGANDA POSTER…………………………………………………247 26 1943 US ARMY RECRUITMENT POSTER……………………………….…………247 27 FREE SPEECH POSTER………………………………………………………………248 28 1943 US ARMY PROPAGANDA POSTER………………………..…………………248 29 1942 OWI PROPAGANDA POSTER……………………………………………...….249 30 1944 PRICE ADMINISTRATION PROPAGANDA POSTER……………………….249 31 1942 US ARMY PROPAGANDA POSTER…………………………………………..250 32.a WAR PRODUCTION BOARD PROPAGANDA POSTER……………………..……250 32.b-32.j WAR PRODUCTION BOARD PROPAGANDA POSTER…………..…………….251 32.k-32.l WAR PRODUCTION BOARD PROPAGANDA POSTER……………….………..252 33 UP FRONT FRONTISPIECE………………………………………………..…………252 34 WILLIE AND JOE CARTOON………………………………………….…………….253 35 WILLIE AND JOE CARTOON……………………………………………………..…253 36 WILLIE AND JOE CARTOON………………………………………………………..254 37 WILLIE AND JOE CARTOON………………………………………………………..254 38.a US ARMY ENGINEER………………………………………………………………..255 38.b SERGEANT JAMES M. ABBOTT……………………………………...…………….255 39.a UNKNOWN MARINE IN GUADALCANAL……………………………...…………256 x 39.b UNKNOWN MARINE IN GUADALCANAL………………………………………...256 40 “DEAD AMERICANS AT BUNA BEACH”…………………………………...……..257 41 BATTLE AT ENIWETOK…………………………………………..…………………258 42 BATTLE AT ENIWETOK…………………………………………..…………………258 43 US ARMY SERGEANT ANGELO KLONIS……………………………………..…..259 44 US ARMY SERGEANT ANGELO KLONIS……………………………………..…..259 45 GOING IN………………………………………………………………………………260 46 THAT 2000 YARD STARE…………………………………………………….………..260 47 THE PRICE…………………………………………………………....………………..261 48 THE WORLD WAR II MEMORIAL……………………………………...…………..262 49 THE WORLD WAR II MEMORIAL PLANS…………………………………..……..263 50 THE VIETNAM VETERANS MEMORIAL………………………………..…………264 51 THE WORLD WAR II MEMORIAL ENTRY PLAQUE…………………..…………265 52 THE WORLD WAR II MEMORIAL ENTRANCE RAMP………………..………….265 53 THE WORLD WAR II MEMORIAL GRANITE PLAZA……………………...……..266 54 THE WALL OF FREEDOM…………………………………………..……………….266 55 THE US MARINE CORPS MEMORIAL………………………………….………….267 56 THE USS ARIZONA MEMORIAL AT PEARL HARBOR………………...………….267 57 “THE THREE SERVICEMEN”………………………………………………………..268 58 “MARKED”……………………………………………………………………...……..269 59 “MARLBORO MARINE”…………………………………………...…………………269 60 “SHELL-SHOCKED MARINE”……………………………….………………………270 xi 61 VETERAN’S VISION PROJECT………………………………..…………………….271 62 LANCE CORPORAL JOSHUA M. BERNARD……………………………...……….272 xii CHAPTER 1 INTRODUCTION In February of 1944, an American military photographer took a picture [Figure 1] of the face of a marine returning from combat in the Pacific Theater.1 This anonymous photograph, shot with a close-cropped composition, which magnifies the details of one man’s head, reveals a face that appears shocked.2 Indeed, the eyes of the marine seem transfixed, locked in a terror-induced stupor known as the “thousand-yard stare.”3 The original caption accompanying the photograph gives some indication as to
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