Black Virgin Mountain: A Return to Vietnam Review

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Black Virgin Mountain: A Return to Vietnam ReviewAlthough it did not garner national attention or give rise to any widespread outpourings of remembrance, this past April marked the thirtieth anniversary of the fall of Saigon. The most lasting impression we have - aside from that gleaming granite commemorative engraved with 58,000 plus names on the Washington Mall - seems to be the quintessential "bug-out" photo of a chopper on the roof of the American embassy, a too-long tether of people desperate to clamber aboard.
As is often the case, the years have been kind to Vietnam annealing some of its sharpness, if not in the memories of the generation that served there, then at least in terms of the original stigma attached to it. Perhaps as a country we have mellowed enough to see that it had some unpleasant but necessary lessons to pass along. All wars do, though it is the young who must purchase that knowledge for us. But even with that, there remains the lasting stench of defeat, along with the awkward doling out and acceptance of blame by aging politicians, whenever the word 'Vietnam' is uttered.
According to the record books, American soldiers were long gone by the time those frantic Vietnamese began queuing up for the last chopper out. But when it comes to war in general and Vietnam specifically, the records aren't always on mark. Which is why three decades later books like Heinemann's Black Virgin Mountain are still being written and read. We simply cannot get enough of the subject to affix it with a permanent, acceptable label and then hang it away like an out-of-fashion coat.
The mountain of the title was the focal point of Heinemann's year in hell. He had already returned to the country a number of times in the 1990s, often in conjunction with writers' conferences, when he and another writer, Larry Rottmann, took the trip to what is known in Vietnam as Nui Ba Den.
The text crackles with an anger that, by Heinemann's own admission, remains unabated despite the passing of thirty-seven years since his tour in `Nam. Having lost two brothers to those residual emotional conflicts that simmer long after the actual combat is over, he is brutally frank about his experiences ("Every human vitality is taken from you as if you'd been skinned; yanked out like you pull nails with a claw hammer; boiled off, the same as you would render a carcass at hog-killing") and his opinions concerning the conduct of the war. It is difficult to decide which leader bears the greater brunt of his scathing commentary - LBJ or William Westmoreland.
Happily, the entire book does not focus solely on the author's lingering revulsion for the war. There are large travelogue segments, life slices of rich imagery showing how the Vietnamese have moved along with far less lingering acrimony than have we since the end of what they call the "American War." Included is a wonderful description of the French colonial era bureaucrat's home-turned-guest-house at which they stayed in Hanoi. Its exotic past (koi pond, louvered windows with a dozen coats of paint) resonates like something straight out of 1940s cinema - "Casablanca" on a different continent. Heinemann includes engaging snippets of a portion of one trip involving the Vietnam Railway and its sometimes idiosyncratic train station employees. Something we don`t expect after all those plane loads of bombs and Agent Orange, is the spectacular scenery. Perhaps most revealing of some kind of personal transformation is a statement he makes after watching the Southeast Asian panorama from the train`s window, "And there it was, the country at peace, the thing I had come to see."
In contrast to the many positive things Heinemann has to say about that nation, in the latter part of the book there is the unnerving visit to the tunnels at Cu Chi. Juxtapositioned next to his own middle-aged physical discomfort at "duckwalking" through a small section of the enlarged-for-tourists-maze, Heinemann gives us a palpably frightening description of what it was like for an outfit's smallest soldier to be pressed into service as a tunnel rat. Fear, claustrophobia, the myriad things to remember to listen for, to smell, to see in order to scope out a tunnel and stay alive - if after reading it you don't come away with the distinct itch of something crawling on your skin, the feel of dirt sticking to the sweat on your bare back, then you may already be dead.
Language rampages back and forth between politely literate and gritty street talk, oftentimes within the same sentence. Normally this would be where a caution against putting it into the hands of middle school children doing history papers would be placed. But there is little early teens have not already heard. For obvious reasons anything related to that period of time is best displayed in the lingo of the day. Heinemann's choice of words may have been his way of showing us that he can walk both sides of the line, i.e., that he is an accomplished writer with a well-developed, post-tour vocabulary, but whose awareness is forever etched with the earthy, peppery talk of men at war. He may also be enjoying his ability to keep the non-military reader a little off-balance: the seriously out-of-kilter, day-after-day world of the average soldier. And whoever predicted the pending demise of the semicolon, hasn't read Larry Heinemann.
But to the rest of those doing research on the embattled 60s and 70s, this is a seminal book, one that stands outside all the political posturing and sociological conjecture. It is an invaluable look into the dehumanizing influences of combat by someone who lived it.
So, once again to war and its lessons. Our unglamorous departure from Saigon over thirty years past remains a thorn in the side of many, though for an assortment of differing reasons. It is a picture we need to keep close to us as we devise our exit strategy for Iraq after destroying their corrupt, sadistic, but functioning political infrastructure. It would be lamentable if history were to look back on our crucial departure from Baghdad only to have it described by some future Heinemann as "an agony, and an orgy of unambiguous betrayal ... right to the end and still, a bungled tangle..."
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