By Sandy MacGregor, Jimmy Thomson
The exciting tale of the younger Australian military engineers of three box Troop who have been the 1st allied squaddies to hazard their lives within the darkness of the Vietcong tunnels of South Vietnam. Staring dying squarely within the face on a daily basis, these young Australian military engineers not merely their enemy down into those unknown underground labyrinths, yet matched the Vietcong's jungle struggle talents and defused hundreds of thousands in their smart booby traps.
Off accountability, it used to be a distinct tale. The undesirable boys of three box Troop have been a boozing, brawling, bonking bunch of larrikins, who lower a swathe throughout the bars and brothels of Saigon, fought American army Police to a standstill, outfitted a mystery on line casino and booby-trapped their very own HQ to coach their officials a lesson. exciting, inspiring and motion packed, this can be the real tale of the unsung heroes of Australia's conflict in Vietnam. dwelling as much as their motto of "We Make and We Break," they created the legend of the Tunnel Rats.
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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.