From the award-winning historian and filmmakers of The Civil War, Baseball, The War, The Roosevelts, and others: a vivid, uniquely powerful history of the conflict that tore America apartthe companion volume to the major, multipart PBS film to be aired in September 2017.
More than forty years after it ended, the Vietnam War continues to haunt our country. We still argue over why we were there, whether we could have won, and who was right and wrong in their response to the conflict. When the war divided the country, it created deep political fault lines that continue to divide us today. Now, continuing in the tradition of their critically acclaimed collaborations, the authors draw on dozens and dozens of interviews in America and Vietnam to give us the perspectives of people involved at all levels of the war: U.S. and Vietnamese soldiers and their families, high-level officials in America and Vietnam, antiwar protestors, POWs, and many more. The book plunges us into the chaos and intensity of combat, even as it explains the rationale that got us into Vietnam and kept us there for so many years. Rather than taking sides, the book seeks to understand why the war happened the way it did, and to clarify its complicated legacy. Beautifully written and richly illustrated, this is a tour de force that is certain to launch a new national conversation.
GEOFFREY C. WARD, historian and screenwriter, is the author of nineteen books, including A First-Class Temperament: The Emergence of Franklin Roosevelt, which won the National Book Critics Circle Award, the Francis Parkman Prize, and was a finalist for the Pulitzer Prize. He has written or cowritten many documentary films, including The War, The Civil War, Baseball, The West, Mark Twain, Not for Ourselves Alone, and Jazz.
KEN BURNS, the producer and director of numerous film series, including Vietnam, The Roosevelts, and The War, founded his own documentary film company, Florentine Films, in 1976. His landmark film The Civil War was the highest-rated series in the history of American public television, and his work has won numerous prizes, including the Emmy and Peabody Awards, and two Academy Award nominations. He lives in Walpole, New Hampshire.
LYNN NOVICK's previous directing credits include Prohibition, a three part series on the rise, rule, and fall of the 18th Amendment; Frank Lloyd Wright, a two part biography of the architect; and The Tenth Inning, a four hour sequel to Burns's Baseball, which Novick produced. She also produced his 20 hour series, Jazz. She has received Peabody and Emmy awards.
On April 23, 1975, President Gerald R. Ford was scheduled to give the keynote address at the Tulane University convocation in New Orleans. As the president took the stage, more than 100,000 North Vietnamese troops were massing on the outskirts of Saigon, having overrun almost all of South Vietnam in just three months. Thirty years after the United States first became involved in Southeast Asia, ten years after the Marines had landed in Danang, the ill-fated country for which more than 58,000 Americans had died was on the verge of defeat. “We, of course, are saddened indeed by the [tragic] events in Indochina,” the president said. He reminded the subdued crowd that 160 years earlier America had recovered from another conflict in which she had suffered “humiliation and a measure of defeat”—the War of 1812—and promised that the nation would once again “regain the sense of pride that existed before Vietnam.” But, he continued to thunderous applause, “it cannot be achieved by refighting a war that is finished as far as America is concerned.” The time had come, the president said, “to unify, to bind up the nation’s wounds . . . and begin a great national reconciliation.” Just seven days later, North Vietnamese soldiers stormed the gates of the Presidential Palace in Saigon and raised the communist flag. The Vietnam War was over.
It’s been more than forty years now, and despite President Ford’s optimism, we have been unable to put that war behind us. The deep wounds it inflicted on our nation, our communities, our families, and our politics have festered. As Army veteran Phil Gioia said in an interview for our documentary series, “The Vietnam War drove a stake right into the heart of America. It polarized the country as it had probably never been polarized since before the Civil War, and we’ve never recovered.”
Nearly ten years ago, as we were completing post-production on a seven-part series about the American experience in the World War II, we resolved to turn our attention to the painful, bitter, confounding, and much misunderstood tragedy that is the war in Vietnam. It has been our privilege throughout this undertaking to collaborate with the writer, Geoffrey C. Ward, and our producer, Sarah Botstein, along with our team of editors, researchers, and coproducers. We were also ably assisted by an invaluable board of advisers, historical consultants and veterans of the war who saved us from innumerable mistakes, but, more importantly, pointed us to the critical moments and astonishing contradictions that haunt any serious study of the Vietnam War.
From the start, we vowed to each other that we would avoid the limits of a binary political perspective and the shortcuts of conventional wisdom and superficial history. This was a war of many perspectives, a Rashomon of equally plausible “stories,” of secrets, lies, and distortions at every turn. We wished to try to contain and faithfully reflect those seemingly irreconcilable outlooks.
We were interested in trying to understand the colonial experience of the French—and the way it eerily prefigured what would befall the United States in subsequent years. We wanted to find out what actually happened in the halls of power in Washington, Saigon, and Hanoi, and to get to know the leaders who made the decisions that determined the fates of millions. Through the availability of recently declassified records, ongoing scholarship, and revelatory, sometimes shocking, audio recordings, the actions and motives of Harry Truman, Dwight Eisenhower, John Kennedy, Lyndon Johnson, and Richard Nixon are laid bare, as are the complicated power struggles going on in South Vietnam during the autocratic, ruthless regime of Ngo Dinh Diem and the succession of generals who followed him. Of particular focus for us were the fascinating political dynamics in Hanoi, where the familiar figure of Ho Chi Minh fought for supremacy with other less-well-known but more powerful figures.
Most important, we wanted to understand what the war was like on the battlefield and on the home front, and we wanted to find out why, as Marine veteran Karl Marlantes told us, Americans have been unable to have a civil conversation about one of the most consequential events in our history. “For years, we just did not talk about that war,” he said. “You would open your mouth and you’d ask, which side was this person on? Am I going to get into a fight here? It’s like living in a family with an alcoholic father . . . you know, shh, we don’t talk about that.”
Wars, all wars, create a kind of dissonance that obfuscates and deflects clear understanding. Vietnam is no different. To shed new light on such a complicated and unsettled time in our history, to struggle to comprehend the special dissonance that is the Vietnam War, we needed to look beyond the familiar stories Americans have told about the war and include as many different perspectives as our narrative could accommodate. Nearly one hundred “ordinary” people agreed to share their stories with us on camera: grunts and officers in the Army and Marines, prisoners of war, a fighter pilot and a helicopter crew chief, a Gold Star mother and the sister of a fallen soldier, a nurse, college students, reporters, protesters, military analysts, spies, and many others. To have been present as they bore witness to their experiences remains for us one of the enduring gifts of this project.
Throughout our long production, we were inspired by the architect Maya Lin, whose Vietnam Veterans Memorial was initially as controversial as the war itself, but which has become one of America’s sacred places. When she unveiled her design in 1981, Lin told the press that her memorial to the Americans who died in the war would be a journey “that would make you experience death, and where you’d have to be an observer, where you could never really fully be with the dead. . . . [It isn’t] something that was going to say, It’s all right, it’s all over. Because it’s not.” Nothing, certainly not our film or book, can make the tragedy of the Vietnam War all right. But we can, and we must, honor the courage, heroism, and sacrifice of those who served, those who died, and those who participated in the war against the war. As filmmakers, we have tried to do that the only way we know how; by listening to their stories. “It’s almost going to make me cry,” Army veteran Vincent Okamoto told us, remembering the infantry company he led in Vietnam in 1968. “Nineteen-, twenty-year-old high school dropouts that come from the lowest socioeconomic rung of American society . . . they didn’t have the escape routes that the elite and the wealthy and the privileged had . . . but to see these kids, who had the least to gain. . . they weren’t going be rewarded for their service in Vietnam. And yet, their infinite patience, their loyalty to each other, their courage under fire, was just phenomenal. And you would ask yourself: how does America produce young men like this?”
While Okamoto and hundreds of thousands of other Americans were fighting and dying in a brutal and bloody war overseas, hundreds of thousands of their fellow citizens were taking to the streets back home to protest against that war. As the antiwar activist Bill Zimmerman recalled for us, “People who supported the war were fond of saying ‘My country right or wrong . . . or better dead than red.’ Those sentiments seemed insane to us. We don’t want to live in a country that we’re going to support whether it’s right or wrong . . . so we began an era in which two groups of Americans, both thinking that they were acting patriotically, went to war with each other.” A chasm opened in American society, and on both sides of the divide things were said—and things were done—that could never be unsaid, could never be undone. “When I see the war protesters . . . intellectually I certainly understand their right to the freedom of speech,” Army adviser James Willbanks remembered, “but I will tell you that when I see them waving NLF flags, the enemy that I and my friends had to fight and some of my friends had to die fighting, that doesn’t sit very well with me.”
When Americans talk about the Vietnam War, the scholar and novelist Viet Thanh Nguyen wrote, too often we are just talking about ourselves. We were determined not to make that mistake. How could we hope to make sense of this turbulent time in our history, or to explore the humanity and the inhumanity of all sides, without hearing directly from our allies and our enemies—the Vietnamese soldiers and civilians we fought with, and against? Off and on for several years, we traveled to Texas, California, and Virginia to get to know many Vietnamese Americans who came to the United States as refugees, having suffered the unimaginable loss not just of their families, friends, and comrades, but of their country. They spoke honestly about the failings of their own government, and shared their doubts and fears about whether the Republic of South Vietnam under Nguyen Van Thieu and Nguyen Cao Ky had been worth fighting for. “Thieu [and] Ky, they were corrupt,” Saigon native Phan Quang Tue remembered. “They abused their position. And they received more from Vietnam than Vietnam received from them. We paid a very high price for having leaders like Ky and Thieu. And we continue to pay the price.”
To understand what the war was like for the winners, we traveled to Vietnam, traversing the length of the country, meeting and interviewing veterans and civilians. We were surprised to discover that the war remains as unsettled and painful for them as it is for us. For decades, they too have avoided speaking about what happened. The memory of the nearly incomprehensible price they paid in “blood and bone” has been too grievous. But now, as they near the end of their lives, they want their families, and the world, to know what they went through. “The war we fought,” General Lo Khac Tam told us on camera, “was so horribly brutal I don’t have words to describe it. I worry, how can we ever explain to the younger generation the price their parents and grandparents paid?” For Bao Ninh, a foot soldier in the North Vietnamese Army, who became a celebrated novelist after the war, the official public narrative celebrating their great, noble victory rings hollow: “People sing about victory, about liberation,” he told us. “They’re wrong. Who won and who lost is not a question. In war, no one wins or loses. There is only destruction. Only those who have never fought like to argue about who won and who lost.”
In the winter of 2015, as we were nearing the end of the editing phase of the project, we invited Nguyen Ngoc, an eighty-five- year-old veteran of the North Vietnamese Army (now a revered scholar and teacher of literature), to travel from Danang to Walpole, New Hampshire, where we screened the fine cut of the film and asked him to share his thoughts about the war with us. After reflecting on the stories he saw onscreen, he told us that the time had come for them to be told; the people of Vietnam, he said, “are starting to rethink the war, to ask the questions. Was the war necessary to achieve justice? Was it right? What is most important now is to find some meaning, some lessons in the war for our lives.”
There is no single truth in war, as this difficult story reminded us at every turn. Each of us can only see the world as we are; we are all prisoners of our own experience. We did not set out to answer every question embedded in this lamentable chapter in history. With open minds and open hearts we simply tried to listen to the brave and honest testimony of a remarkable group of men and women. If we have been able to find some meaning in this devastating calamity, it is in no small measure thanks to their generosity, humility, and humanity, for which we are profoundly grateful.
Ken Burns and Lynn Novick
Walpole, New Hampshire
Perhaps the most worthwhile contribution of The Vietnam War is its compilation of hundreds of astonishing photographs. Ward and Burns reproduce now-famous images like Eddie Adams's picture of a Vietcong prisoner being shot in the head at close range and Nick Ut's shot of a naked Vietnamese girl fleeing a napalm raid. But they also include powerful and less familiar scenes of rubble-strewn streets, desperate villagers, bewildered squadrons, and Americans and Vietnamese alike who are wounded, maimed, dying or freshly killed…The Vietnam War [is]…a vivid and often captivating volume…The New York Times Book Review - David Greenberg
This lavishly illustrated large-format book from frequent collaborators Ward and Burns (The Roosevelts) serves as the companion volume to the eponymous 18-hour, 10-part PBS documentary from Burns and Lynn Novick. The work follows the usual Ward and Burns formula of mixing solid historical narrative with personal stories of both the famous (in this case, mainly politicians and military leaders from all sides of the conflict) and the ordinary (troops, war journalists, and anti-war activists). Well-written and deeply researched, this history covers virtually every aspect of the French and American wars in Vietnam from 1945 to 1975, focusing mainly on military, diplomatic, and political issues. Individual tales of Army infantrymen, Marine grunts, and other combatants are woven throughout the larger narrative. There is virtually no new history here, however, and a number of the personal stories included here can be readily found in memoirs and other books, including those of Vietnam War veteran writers Philip Caputo, Tobias Wolff, Karl Marlantes, W.D. Ehrhart, Tim O’Brien, Joan Furey, and John Musgrave, and the Vietnamese novelist Bo Ninh, as well as the work of the former war correspondents Neil Sheehan, John Laurence, and Joe Galloway. Nevertheless, anyone looking for an expansive overview of the Vietnam War will find much to admire here. Maps & photos. (Sept.)
★ 09/01/2017Library Journal
In their latest collaboration (after The Civil War: An Illustrated History), Burns and Ward present the details of the Vietnam War (November 1, 1955-April 30, 1975). This companion volume to the ten-part film series airing on PBS this September will enlighten readers to the events that led up to the war, the combat itself, and its aftermath. The authors use archived material and interviews with soldiers and antiwar protestors to tell the story; brief essays by historians and Vietnamese fighters are also offered throughout. Further included are newly classified transcripts from American and Vietnamese politicians revealing the event from all sides, including perspectives of the North Vietnamese soldiers. The finest aspect of the volume may be the stunning yet devastating pictures of the time period. Unique details include artist Maya Lin's model for the Vietnam Memorial and the contact sheet of Eddie Adams's Pulitzer Prize-winning photograph of the death of a North Vietnamese man. VERDICT A powerful work that adds value and insight to any collection. Fans of Burns and Ward will be awed by their mastery in creating an accurate, thorough historical narrative.—Jason L. Steagall, Gateway Technical Coll. Lib., Elkhorn, WI
★ 2017-07-17Kirkus Reviews
A sweeping, richly illustrated narrative of a conflict fast retreating in memory, one that noted documentarian Burns calls a "lamentable chapter in history."As they have done in numerous collaborations (The Roosevelts: An Intimate History, 2014, etc.), Ward and Burns take a vast topic and personalize it. Regarding the Vietnam War, this involved tracking down veterans of the war and recounting their experiences to gain insight into how great events play out on the individual level—thus the "intimate" element of the subtitle. Of particular value is the inclusion of Vietnamese voices on both sides of the conflict, most of whom agree more than four decades later that the question of who won or lost is less important than the fact that no one really prevailed. Ward and Burns use several of these figures as returning characters in the narrative. One, for instance, is Vincent Okamoto, a Japanese-American soldier born in a relocation camp during World War II, who recalls a Southern soldier's advice for not being confused for one of the enemy: "Hey, no offense, partner; but if I was you I'd dye my hair blond and whistle ‘Dixie' when it gets dark." Other figures are relegated to revealing walk-on roles, such as a Vietnamese operative who, with the "pride of a revolutionary," coordinated the assassinations of hundreds of South Vietnamese and American soldiers and officials. The text is accompanied by more than 500 photographs, some of them immediately recognizable—the execution of a Viet Cong on the streets of Saigon, children running to greet a returning American prisoner of war—many others fresh. As ever, Ward and Burns aim for a middle-of-the-road, descriptive path, but the very nature of this enterprise courts controversy, as when they remind readers of Richard Nixon's secret negotiations with North Vietnam while he was a candidate for president, an act that Lyndon Johnson privately deemed treasonous. Accompanying the PBS series to be aired in September 2017, this is an outstanding, indispensable survey of the Vietnam War.
"The companion volume to Burns’ Vietnam War documentary series on PBS, the book stands alone as a powerful summary of the whole conflict. It tells the story of the war from every conceivable angle, including that of the young Vietnamese fighters. It’s extraordinarily well-reported and written, and filled with memorable photographs and illustrations—a reminder that the war was, perhaps for the first time, shaped as much by powerful images as written reports."
—Lancaster Online, Mark Bowden's "Ten Favorite Books on the Vietnam War"
"A vivid and often captivating volume…a valuable resource."
—David Greenberg, The New York Times Book Review
"Once again Geoffrey C. Ward and Ken Burns deliver the grand historical goods in this feast of a book. For those too young to remember the Vietnam War, this is the essential primer. For those old enough to have Vietnam flashbacks or battle scars, read it and weep. Highly recommended!!"
"A sweeping, richly illustrated narrative of a conflict fast retreating in memory... As they have done in numerous collaborations, Ward and Burns take a vast topic and personalize it... Of particular value is the inclusion of Vietnamese voices on both sides of the conflict, most of whom agree more than four decades later that the question of who won or lost is less important than the fact that no one really prevailed... The text is accompanied by more than 500 photographs, some of them immediately recognizable...many others fresh... Accompanying the PBS series to be aired in September 2017, this is an outstanding, indispensable survey of the Vietnam War."
—Kirkus, (starred review)
"Lucid, flowing, and dramatic… Robustly detailed writing… Eye-opening… Powerful in its own right… In their new ‘intimate’ yet capacious history, the award-winning, audience-enthralling duo of historian and screenwriter Ward and documentarian extraordinaire Burns investigate the complex, divisive, and tragic Vietnam War from a unique plurality of perspectives… This is a vivid, affecting, definitive, and essential illustrated history."
—Donna Seaman, Booklist (starred review)
"Lavishly illustrated…. Well-written and deeply researched, this history covers virtually every aspect of the French and American wars in Vietnam from 1945-1975, focusing mainly on military, diplomatic, and political issues…. Anyone looking for an expansive overview of the Vietnam War will find much to admire here."From the Publisher