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Michael HerrA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Herr, the narrator, begins by describing a map in his apartment in Saigon that he inherits from the previous tenant. The map is a relic of the past, showing Vietnam “divided into its older territories of Tonkin, Annam and Cochin China, and to the west past Laos and Cambodge sat Siam, a kingdom” (3). The narrator then explains that this country hasn’t existed for years. Herr describes information as being flexible, that “different pieces of ground told different stories to different people” (3).
At the end of his first week as a war correspondent in Vietnam, Herr meets an information officer whose job it is to tell journalists, celebrities, politicians, and other influential people about how they had destroyed the Ho Bo Woods, “denying the enemy valuable resources and cover” (4). The narrator imagines that even the letters the information officer sends to his wife are “full of it […] And if in the months following that operation incidences of enemy activity had increased ‘significantly,’ and American losses had doubled and then doubled again, none of it was happening in any damn Ho Bo Woods, you’d better believe it […]” (4).
The narrator discusses the role that drugs play during the war. Dexadrine is a stimulant that the medics give the soldiers before they patrol at night. Herr doesn’t see a need for the drug because, “a little contact or anything that even sounded like contact would give me more speed than I could bear” (4). He finds the night patrols so terrifying he decides to not join the Lurps, the “long-range recon patrollers, who did it night after night for weeks and months, creeping up on the VC base camps or around moving columns of North Vietnamese” (5).
Herr meets a 4th Division Lurp who takes handfuls of pills at a time. He keeps downers in his left pocket and uppers in the right, “one to cut the trail for him and the other to send him down it” (5). This is the Lurp’s third tour. In 1965, the Lurp had been part of the Calvary Division when he becomes the sole survivor of his platoon after it heads into the Ia Drang Valley. In 1966, he returns to Vietnam with Special Forces, and after being ambushed, he hides underneath the corpses of his fellow soldiers while the Viet Cong walk among the dead bodies, looking for survivors. When he gets sent back home, he is unable to “hack it back in the World” (5). He upsets his parents by pointing his rifle out of the window and training it on people and cars, his finger on the trigger. Back in Vietnam, his teammates are just as wary of him, with no one wanting to make eye contact.
That summer, Herr travels around the country with photojournalists Tim Page and Sean Flynn, the son of movie stars Lili Dimita and Errol Flynn. When they fail to salute a commanding officer, the officer asks, “Don’t you men salute officers?” (7), and Page responds that “We’re not men. We’re correspondents” (7). When the commander finds out that they are journalists he wants to throw an impromptu operation for their benefit. The correspondents have to take the next helicopter out to avoid the commander getting his men killed “for a little ink” (7).
Later, Herr recounts a chopper ride full of corpses. He doesn’t want to get on, but the pilot has gone out of his way to pick him up. The Marines have run out of body bags, along with almost everything else, and the bodies are wrapped in ponchos, fastened with plastic straps. Herr is wedged into a small space between the door gunner and one of the bodies. When the helicopter ascends, the poncho covering the corpse next to Herr blows back, exposing the dead man’s face and open eyes. The gunner starts yelling, “Fix it! Fix it!” (17). After a couple of aborted attempts, Herr lifts the head of the corpse and tucks the poncho in place.
Herr compares his reaction to seeing the death and destruction in the Vietnam War to what he felt as a child when he would look at photographs of war in Life Magazine:“It may have legitimized my fascination, letting me look for as long as I wanted; I didn’t have a language for it then, but I remember now the shame I felt, like looking at first porn, all the porn in the world” (18). Marines always want to know what Herr is doing in Vietnam. When one of the Marines says that they are there to kill, Herr knows that that is not true of him; Herr “was there to watch” (20).
When Herr first arrives in Vietnam, a gunner on a Chinook throws him a helmet with “TIME IS ON MY SIDE” written across it and “No lie, GI” written underneath. He is happy to have the helmet until he realizes where it came from: “The sweatband inside was seasoned up black and greasy, it was more alive now than the man who’d worn it” (21). He ditches the helmet, hoping that no one sees him. A sergeant refers to him as “Freshmeat” and tells him to find “some other outfit to get [himself] killed with” (22). When Herr nervously laughs in response, the sergeant says, “This ain’t the fucking movies over here, you know” (22). Herr says that he knows, but they both know that this is not true.
After the troops see action, they sit around in groups waiting to be picked up by the helicopters. Herr listens to their stories. One Marine recounts how he had this lieutenant that they all called “Lieutenant Gladly ‘cause he was always going like, ‘Men…Men, I won’t ever ask you to do nothing I wouldn’t do myself gladly” (26). When he asks the Marine to run up to the ridge and report to him, the Marine replies, “Never happen, Sir” (26). The lieutenant goes himself, promising the soldier that they were going to have a talk when he gets back. But, the Marine says, “damned if the fucker didn’t get zapped” (26).
One afternoon, the narrator is walking with a group of Marines when a mortar round detonates thirty yards away. When they hit the ground, the young Marine in front of him accidentally kicks Herr in the face. Herr thinks he has been shot in the head, and he lets out “a shrill blubbering pitched to carry more terror than I’d ever known existed” (32). At first the young soldier is apologetic, but quickly loses pity, and starts laughing at the narrator.
Herr grapples with his role as a correspondent in the war. He doesn’t carry a gun, a fact that causes the Lurp to consider Herr freakish. Herr wonders if the act of traveling to Vietnam to intentionally witness the violence makes him more than an uninvolved bystander:
I went there behind the crude but serious belief that you had to be able to look at anything, serious because I acted on it and went, crude because I didn’t know, it took the war to teach it, that you were as responsible for everything you saw as you were for everything you did (20).
The effect that being so close to death has on the Marines changes them profoundly. Describing one young man, Herr remembers that “He had one of those faces, I saw that face at least a thousand times at a hundred bases and camps, all the youth sucked out of the eyes, the color drawn from the skin […] Life had made him old, he’d live it out old” (16).
Herr also explores what it means to be a man. When Page says, “We’re not men. We’re correspondents” (7), it sounds like he’s kidding, but there is some truth to the idea that killing and fearlessness are wrapped up with the identity of these Marines. After seeing action, one Marine confronts another by saying, “don’t tell me you weren’t scared man, don’t you fucking dare, ‘cause I was right fucking there man, and I was scared shit! I was scared every fucking minute, and I’m no different from anybody else!” (27). The other Marine responds, “Well big deal, candy ass” (27).