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Daily Deviation
Daily Deviation
May 28, 2013
~PeppermintPictures captures the aftereffects of the Vietnam War in the slam piece Grandfather.
Featured by neurotype-on-discord
Suggested by sincebecomeswhy
Literature Text
Lancaster Pennsylvania.
July 3rd, 1978.
Five pm.
Eighty-two degrees outside.
Driving sixty eight mph down Millersville road
past miles of cornfields
And everything is silent.
Except the faint scream of wind escaping through the cracked driver side window
and the dull thud of tire treading on the newly paved road.
He is
trying to understand,
while trying not to think,
while thinking too much,
while being silent.
And suddenly its
March of 1968
And Calley is calling
“kill them all dead”.
And he sees his daughter,
her Agent Orange colored curls
clinging to her face like napalm sticks to melting bodies;
her eyes burning brighter than Hanoi and Haiphong on December 18th, 1972.
He begins to cry
because its still
July 3rd, 1978,
Five pm, and
eighty-two degrees outside.
But in his mind it will always be March of 1968
or December of 1972,
because for him the war is still being fought;
monks and Morrison still burning;
Saigon is still screaming
like it was on April 30, 1975,
but everyone else just hears silence.
My grandfather has every day of the Vietnam War
tattooed on his body
so whenever somebody asks the question:
“What’s wrong?”
he can simply lift up his calloused hands
to their face
and remain silent.
Because the silent majority doesn’t really want to hear
a tour of duties worth of realities.
So instead he drives down Millersville road,
some morphine in his blood stream,
trying to forget thirty years,
ten thousand nine hundred and fifty days.
Everyday another bombing,
another hundred dead.
Just another everyday.
Something people don’t remember,
but my grandfather can’t forget.
Mother Teresa once said
“God is a friend of silence”,
but my grandfather found no
angels in his unspoken words,
just another thousand truths
that the bible never spoke of.
No God, no glory, just guts and guns.
Jean-Jacques Rousseau equated silence to the “image of death”.
The image so many little Vietnamese boys and girls saw instead of soldiers.
The image of the soldier my grandfather saw in the mirror.
The image of death.
The embodiment of death.
The bodies of boys in burning black pajamas.
The reason my grandfather can’t sleep at night.
The reason thousands of others can’t sleep at night.
The reason I mourn for
every single silence that has been hung over something remarkable.
See my grandfather is anything but death.
He is remarkable.
He is suffering.
He is the smell of summer strawberries,
and the memory of a young boy
born on a farm in Lancaster Pennsylvania,
on July 14th, 1943,
to a Mennonite mother
and an alcoholic father.
I could describe his life with thousands verisimilitudes,
just like every other tin soldier forced to fight in 1968.
Just like every other soldier who was everything besides a fighter.
I have inherited his stories
and I could tell them all
to anybody who would listen.
Maybe then,
I could finally break the silence.
July 3rd, 1978.
Five pm.
Eighty-two degrees outside.
Driving sixty eight mph down Millersville road
past miles of cornfields
And everything is silent.
Except the faint scream of wind escaping through the cracked driver side window
and the dull thud of tire treading on the newly paved road.
He is
trying to understand,
while trying not to think,
while thinking too much,
while being silent.
And suddenly its
March of 1968
And Calley is calling
“kill them all dead”.
And he sees his daughter,
her Agent Orange colored curls
clinging to her face like napalm sticks to melting bodies;
her eyes burning brighter than Hanoi and Haiphong on December 18th, 1972.
He begins to cry
because its still
July 3rd, 1978,
Five pm, and
eighty-two degrees outside.
But in his mind it will always be March of 1968
or December of 1972,
because for him the war is still being fought;
monks and Morrison still burning;
Saigon is still screaming
like it was on April 30, 1975,
but everyone else just hears silence.
My grandfather has every day of the Vietnam War
tattooed on his body
so whenever somebody asks the question:
“What’s wrong?”
he can simply lift up his calloused hands
to their face
and remain silent.
Because the silent majority doesn’t really want to hear
a tour of duties worth of realities.
So instead he drives down Millersville road,
some morphine in his blood stream,
trying to forget thirty years,
ten thousand nine hundred and fifty days.
Everyday another bombing,
another hundred dead.
Just another everyday.
Something people don’t remember,
but my grandfather can’t forget.
Mother Teresa once said
“God is a friend of silence”,
but my grandfather found no
angels in his unspoken words,
just another thousand truths
that the bible never spoke of.
No God, no glory, just guts and guns.
Jean-Jacques Rousseau equated silence to the “image of death”.
The image so many little Vietnamese boys and girls saw instead of soldiers.
The image of the soldier my grandfather saw in the mirror.
The image of death.
The embodiment of death.
The bodies of boys in burning black pajamas.
The reason my grandfather can’t sleep at night.
The reason thousands of others can’t sleep at night.
The reason I mourn for
every single silence that has been hung over something remarkable.
See my grandfather is anything but death.
He is remarkable.
He is suffering.
He is the smell of summer strawberries,
and the memory of a young boy
born on a farm in Lancaster Pennsylvania,
on July 14th, 1943,
to a Mennonite mother
and an alcoholic father.
I could describe his life with thousands verisimilitudes,
just like every other tin soldier forced to fight in 1968.
Just like every other soldier who was everything besides a fighter.
I have inherited his stories
and I could tell them all
to anybody who would listen.
Maybe then,
I could finally break the silence.
Literature
dear mia,
the other night
i caught you with fingers so far
down your throat
they choked you from the inside
out.
your closed fists
formed snail shell spirals
at your sides
and the tears in your eyes
told the story you wouldn’t tell
and i already knew.
“i’m fine,”
you said,
not trusting me enough
to say the truth.
baby girl,
you’re beautiful,
but sometimes
you tear me apart.
Literature
Soldier
cigarette between his lips,
tar-induced lungs struggling to inflate –
a soldier
(a man)
struggling to make sense
of a war
where men are only equal
when they're dead.
Literature
Flowers and Rain
A city full of flowers. A city full of rain.
I watch over it through the gap in the crumbling brickwork. There's a little girl wandering in the street below. God knows how she got there. I can't see properly through the scope of my rifle, but it looks like she's crying.
When I see her face I remember something I haven't remembered for years. I was her age when the evacuations happened. At least they started as evacuations. The word implies that everyone was following a plan, but it was just mass panic within a few hours. Still, we call those days the evacuations, because that was the word they gave us. That's the word my parents used.
I re
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I just now wrote this piece as a component of a project for AP US History/AP English.
(The title "Driving Miss Emma" is a slang term for injecting morphine, a drug often abused by Vietnam war veterans.) Here's the reflection that goes with it: Reflection on Vietnam War Spoken Word Poem
I wanted this poem to capture a lot of things that characterized the aftermath of the Vietnam War like drug abuse, PTSD, the treatment of soldiers returning from war, etc., but most importantly I wanted to focus on silence and story telling.
I wanted to use juxtaposition between the silence described in the poem and the fact that it is a spoken word piece, I wanted to use that contrast to help further the listeners understanding. I also wanted to reflect Norman Bowkers silence with my grandfathers.
I used elements of O’Brien’s (The Things They Carried) story truth and happening truth, because I wrote this based very loosely on my grandfather even though he is the main focus of the piece. He wasn’t at My Lai or Saigon and he didn’t abuse drugs or things like that, but in a way, he did all those things without doing them; he suffered the aftermath of the war just like others, but differently. I also wanted to comment on the fact that you don’t have to be a soldier actively participating in something to feel the guilt or the shame of it (i.e. sharing the guilt).
I wanted it to be a story; my grandfather’s story without really being his story because it doesn’t matter what the date or the temperature was, it can be made up and still mean something. I tried to embed a lot of facts, dates, times, temperatures, etc., because I wanted them to be overbearing in the piece to comment on how many days there were in the war that some people don’t think about at all and others remember every detail of. It’s all about perspective. I wanted to add so many details, or verisimilitude, to make it feel powerful, because I can’t imagine living as a veteran after the war, and this is the closest way I could come to making it feel real.
(One judge at the slam competition last night gave me a 9.8/10 for this poem and it made me feel really great)
(The title "Driving Miss Emma" is a slang term for injecting morphine, a drug often abused by Vietnam war veterans.) Here's the reflection that goes with it: Reflection on Vietnam War Spoken Word Poem
I wanted this poem to capture a lot of things that characterized the aftermath of the Vietnam War like drug abuse, PTSD, the treatment of soldiers returning from war, etc., but most importantly I wanted to focus on silence and story telling.
I wanted to use juxtaposition between the silence described in the poem and the fact that it is a spoken word piece, I wanted to use that contrast to help further the listeners understanding. I also wanted to reflect Norman Bowkers silence with my grandfathers.
I used elements of O’Brien’s (The Things They Carried) story truth and happening truth, because I wrote this based very loosely on my grandfather even though he is the main focus of the piece. He wasn’t at My Lai or Saigon and he didn’t abuse drugs or things like that, but in a way, he did all those things without doing them; he suffered the aftermath of the war just like others, but differently. I also wanted to comment on the fact that you don’t have to be a soldier actively participating in something to feel the guilt or the shame of it (i.e. sharing the guilt).
I wanted it to be a story; my grandfather’s story without really being his story because it doesn’t matter what the date or the temperature was, it can be made up and still mean something. I tried to embed a lot of facts, dates, times, temperatures, etc., because I wanted them to be overbearing in the piece to comment on how many days there were in the war that some people don’t think about at all and others remember every detail of. It’s all about perspective. I wanted to add so many details, or verisimilitude, to make it feel powerful, because I can’t imagine living as a veteran after the war, and this is the closest way I could come to making it feel real.
(One judge at the slam competition last night gave me a 9.8/10 for this poem and it made me feel really great)
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very deep words