By Harold Constance, Randall Fuerst
"Fractions of a moment in time. What striking violence could be meted out within the blink of an eye."
In the mid-nineteen sixties, Harry Constance made a life-altering trip that led him out of Texas and into the jungles of Vietnam. As a tender naval officer, he went from UDT education to the U.S. Navy's newly shaped SEAL crew , after which immediately into livid motion. by way of 1970, he used to be already the veteran of 3 hundred strive against missions and the recipient of thirty-two army citations, together with 3 Bronze Stars and a pink Heart.
Good to head is Constance's robust, firsthand account of his 3 excursions of responsibility as a member of America's so much elite, razor-sharp stealth combating strength. it's a breathtaking memoir of harrowing missions and covert special-ops—from the floodplains of the Mekong Delta to the seashores of the South China Sea—that locations the reader within the middle of bloody ambushes and devastating firefights. yet his amazing experience is going even farther—beyond 'Nam—as we accompany Constance and the SEALs on wonderful missions to a few of the world's most threatening hot-spots . . . and adventure close-up the braveness, commitment, and unprecedented ability that made the U.S. army SEALs mythical.
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Extra resources for Good to Go: The Life And Times Of A Decorated Member Of The U.S. Navy's Elite Seal Team Two
In chapter 7, I consider June Jordan’s contribution to bridging African American struggle and war resistance, emerging out of the Black Arts and feminist movements of the 1970s. I analyze Jordan’s stance of “righteous certainty”—a performative pose she adopts in order to claim her own authority to talk back to power. Righteous certainty emerges from Jordan’s struggle against personal and social violence, and thus enables a revaluation of the Yeatsian lyric’s self-oppositionality. In addition to focusing on her involvement in war resistance—through her column in the Progressive, her course “Poetry for the People,” and her readings against the war—I read Jordan’s “The Bombing of Baghdad” as a powerful chant poem that harnesses the lyric as an oppositional and documentary form and invites a transnational progressive audience to identify their own struggles with the struggles of Iraqis.
Even so, Peck— along with most of the others—gradually warmed to this abstract, shabby ‘man of God’; he may not have been their kind of protesting pacifist, but he was manifestly not a fraud” (93). In contrast, Peck acknowledges that though one might think that COs might be united by common goals, “the individualistic COs at Danbury found it almost impossible to agree on any common action to support their cause” (38). Yet, Lowell’s declining to participate in the strike against segregation, and his concomitant silence about it in his “Memories,” are a stark reminder about the epistemological limits—and potential dangers—of “getting the news” from canonized texts.
First, the resisters’ reasons for refusing to serve emerge from different circumstances: Lowell’s Just War principles, Naeve’s anarchism, and Peck’s anti-imperialism. Second, Naeve’s and Peck’s depictions of West Street Jail and Danbury Prison, where all three served the tenure of their sentences, corroborate the physical details of Lowell’s poem; Lowell’s documentary style, however, offers the ruse of realism. Third, all three accounts describe the shocked submission that accompanied the early phase of internment; if Lowell’s seems to linger in its numbed gaze, we must remember that the poem itself sets out only to consider West Street.