Gold9472
06-18-2005, 08:02 PM
Born on the Fourth of July: The Long Journey Home
http://www.alternet.org/waroniraq/22181/
(Gold9472: You remember the movie by the same name... Tom Cruise played him.)
By Ron Kovic, AlterNet. Posted June 13, 2005.
The author shares the inspiration behind his classic antiwar memoir: 'I wanted people to know what it really meant to be in a war--to be shot and wounded, to be fighting for my life on the intensive care ward--not the myth we had grown up believing.'
Editor's Note: Ron Kovic served two tours of duty during the Vietnam War. He was paralyzed from the chest down in combat in 1968 and has been in a wheelchair ever since. Along with Oliver Stone, Kovic was the co-screenwriter of the 1989 Academy Award-winning film based on his book, Born on the Fourth of July (Akashic Books). The following is the introduction to the new edition of the book.
It was exactly forty years ago this past September that I left my house in Massapequa, New York to join the United States Marine Corps and begin an extraordinary journey that was to lead me into a disastrous war which would change my life, and others of my generation, profoundly and forever. There are times in the lives of both individuals and nations when we cross certain thresholds where there is no going back, no return to the innocence we once knew; the change is utter and irreconcilable. We often sense these moments. I know I did that day.
I can still remember leaving my house that morning, saying goodbye to my mother, my father driving me down to the Long Island Railroad station with only a few words being said between us--Dad was always that way--and then that long and contemplative ride into the city, being sworn in at Whitehall Street, holding my right hand up proudly with all the other young men, taking the oath of enlistment, and swearing our allegiance to the Constitution of the United States.
The fall of 1964, September 2, a lifetime ago. That last bright and beautiful morning when everything was to change forever, that last moment of lighthearted innocence and youth, of Massapequa and the backyard before the shock, the chaos, and the deluge. I had just turned eighteen that summer, and there are some old black-and-white photographs of me from those days. It's amazing that I still have them, considering I have misplaced them many times over the years, thinking them lost forever, only to later find them in some unexpected place, like a deeply disturbing dream that I have been trying to repress.
I remember seeing those photos on several occasions after I came home from Vietnam and each time having terrible nightmares that shook me badly. I couldn't look at them, could not face that young man I had been before the war and my injury. I would always promise myself to never look at them again. My trauma was still very deep, and that beautiful boy, that body, had been destroyed, defiled, and savaged. My wounding in Vietnam both physically and emotionally haunted me, pursued me, and threatened to overwhelm me.
I wrote Born on the Fourth of July in the fall of 1974 in one month, three weeks, and two days, on a $42 manual typewriter I had bought at Sears & Roebuck in Santa Monica, California. It was like an explosion, a dam bursting, everything flowed beautifully, just kept pouring out, almost effortlessly, passionately, desperately. I worked with an intensity and fury as if it was my last will and testament, and in many ways I felt it was. I continued to suffer from nightmares, constant anxiety attacks, severe heart palpitations, and a powerful, almost obsessive feeling that I would not live past my thirtieth birthday. I was living each day as if it were my last, as if everything had been compressed together by the war, and now every second counted.
I wrote all night long, seven days a week, single space, no paragraphs, front and back of the pages, pounding the keys so hard the tips of my fingers would hurt. I couldn't stop writing, and I remember feeling more alive than I had ever felt. Convinced that I was destined to die young, I struggled to leave something of meaning behind, to rise above the darkness and despair.
I wanted people to understand. I wanted to share with them as nakedly and openly and intimately as possible what I had gone through, what I had endured. I wanted them to know what it really meant to be in a war--to be shot and wounded, to be fighting for my life on the intensive care ward--not the myth we had grown up believing. I wanted people to know about the hospitals and the enema room, about why I had become opposed to the war, why I had grown more and more committed to peace and nonviolence.
I had been beaten by the police and arrested twelve times for protesting the war, and I had spent many nights in jail in my wheelchair. I had been called a Communist and a traitor, simply for trying to tell the truth about what had happened in that war, but I refused to be intimidated. I loved the night and I would write for hours as if no time had passed at all. I was exhausted and my back ached, but none of that seemed to matter. I felt wonderful inside, tired but completely consumed by my writing.
I would drink a couple cups of coffee and then with a new surge of energy work for another hour or so as the bright lights of the morning began to fill the room. I'd neatly stack all the pages next to the typewriter after holding them proudly in my hands, then go to my bedroom and transfer out of my wheelchair onto a mattress on the floor. I remember thinking to myself one morning that if I died in my sleep, someone would come into the apartment and find those pages next to the typewriter and know that I was not a victim, but someone who had been trying to move beyond his terrible tragedy and the terrible injustice of that war.
With the exception of that initial burst of writing and rare moment of stability in Santa Monica in the fall of 1974, I continued to be extremely restless back then, frantically moving from one place to the next, living on the edge, racing in cabs to the airport, flying from city to city on my monthly compensation check, suddenly showing up at friends' houses in the middle of the night and sleeping on their couches--always carrying the manuscript with me and always frightened, desperately needing to escape the demons that were closing in on me.
Over the next year and a half I wrote several additional chapters of Born on the Fourth of July. Some of the stories were ones I had told my mother when I first came home from the hospital and would lay on our couch in the living room when I couldn't sleep, which was often back then. Night after night I would repeat the story of how I was wounded that day in Vietnam, describing every single detail. My dear mother would sit patiently in her chair, listening to her son who had come home paralyzed from the war, trying her best to understand.
I attempted to write at my friends Skip and Ginny's place on Mohegan Lake, in their laundry room, but couldn't seem to get started. I wrote most of the chapter about my childhood at a little hotel not far from Sproul Plaza in Berkeley, and the ambush chapter, the most painful but one of the best, at Connie's apartment in L.A. I wrote the Memorial Day chapter one afternoon in San Francisco at the Sam Wong Hotel on Broadway, just down the street from Enricos Café in North Beach. I can still remember the open window of my hotel room and the noise of passing cars and trucks in the street below, the fumes, the honking horns, but that became a very beautiful chapter and I still enjoy reading it to this day.
I dictated the very first page of the first chapter to my friend Roger at the Chateau Marmont Hotel in Hollywood, and the remainder of the chapter up in Mendocino where he and Mary were living at the time. I had driven all the way up in a used car I had just bought in L.A. and later abandoned in their driveway. It was deep in the woods, quiet and peaceful, so very different from the war and the hospitals and all that I had been through. The air was fresh and there was a pond behind their cottage where I dictated to Roger, and I remember feeling exhausted as he held me in his arms and I began to cry in the midst of all that stillness. It was a painful but beautiful birth.
I am extremely grateful to Akashic Books and its publisher, Johnny Temple, for bringing out this new edition of Born on the Fourth of July at such a crucial moment in our nation's history. For the past two years we have been involved in a tragic and senseless war in Iraq. As of this writing, over 1,500 Americans have died and more than 11,000 have been wounded, while tens of thousands of innocent Iraqi civilians, many of them women and children, have been killed.
I have watched in horror the mirror image of another Vietnam unfolding. So many similarities, so many things said that remind me of that war thirty years ago which left me paralyzed for the rest of my life. Refusing to learn from our experiences in Vietnam, our government continues to pursue a policy of deception, distortion, manipulation, and denial, doing everything it can to hide from the American people their true intentions and agenda in Iraq. The flag-draped caskets of our dead begin their long and sorrowful journeys home hidden from public view, while the Iraqi casualties are not even considered worth counting--some estimate as many as 100,000 have been killed so far.
End Part I
http://www.alternet.org/waroniraq/22181/
(Gold9472: You remember the movie by the same name... Tom Cruise played him.)
By Ron Kovic, AlterNet. Posted June 13, 2005.
The author shares the inspiration behind his classic antiwar memoir: 'I wanted people to know what it really meant to be in a war--to be shot and wounded, to be fighting for my life on the intensive care ward--not the myth we had grown up believing.'
Editor's Note: Ron Kovic served two tours of duty during the Vietnam War. He was paralyzed from the chest down in combat in 1968 and has been in a wheelchair ever since. Along with Oliver Stone, Kovic was the co-screenwriter of the 1989 Academy Award-winning film based on his book, Born on the Fourth of July (Akashic Books). The following is the introduction to the new edition of the book.
It was exactly forty years ago this past September that I left my house in Massapequa, New York to join the United States Marine Corps and begin an extraordinary journey that was to lead me into a disastrous war which would change my life, and others of my generation, profoundly and forever. There are times in the lives of both individuals and nations when we cross certain thresholds where there is no going back, no return to the innocence we once knew; the change is utter and irreconcilable. We often sense these moments. I know I did that day.
I can still remember leaving my house that morning, saying goodbye to my mother, my father driving me down to the Long Island Railroad station with only a few words being said between us--Dad was always that way--and then that long and contemplative ride into the city, being sworn in at Whitehall Street, holding my right hand up proudly with all the other young men, taking the oath of enlistment, and swearing our allegiance to the Constitution of the United States.
The fall of 1964, September 2, a lifetime ago. That last bright and beautiful morning when everything was to change forever, that last moment of lighthearted innocence and youth, of Massapequa and the backyard before the shock, the chaos, and the deluge. I had just turned eighteen that summer, and there are some old black-and-white photographs of me from those days. It's amazing that I still have them, considering I have misplaced them many times over the years, thinking them lost forever, only to later find them in some unexpected place, like a deeply disturbing dream that I have been trying to repress.
I remember seeing those photos on several occasions after I came home from Vietnam and each time having terrible nightmares that shook me badly. I couldn't look at them, could not face that young man I had been before the war and my injury. I would always promise myself to never look at them again. My trauma was still very deep, and that beautiful boy, that body, had been destroyed, defiled, and savaged. My wounding in Vietnam both physically and emotionally haunted me, pursued me, and threatened to overwhelm me.
I wrote Born on the Fourth of July in the fall of 1974 in one month, three weeks, and two days, on a $42 manual typewriter I had bought at Sears & Roebuck in Santa Monica, California. It was like an explosion, a dam bursting, everything flowed beautifully, just kept pouring out, almost effortlessly, passionately, desperately. I worked with an intensity and fury as if it was my last will and testament, and in many ways I felt it was. I continued to suffer from nightmares, constant anxiety attacks, severe heart palpitations, and a powerful, almost obsessive feeling that I would not live past my thirtieth birthday. I was living each day as if it were my last, as if everything had been compressed together by the war, and now every second counted.
I wrote all night long, seven days a week, single space, no paragraphs, front and back of the pages, pounding the keys so hard the tips of my fingers would hurt. I couldn't stop writing, and I remember feeling more alive than I had ever felt. Convinced that I was destined to die young, I struggled to leave something of meaning behind, to rise above the darkness and despair.
I wanted people to understand. I wanted to share with them as nakedly and openly and intimately as possible what I had gone through, what I had endured. I wanted them to know what it really meant to be in a war--to be shot and wounded, to be fighting for my life on the intensive care ward--not the myth we had grown up believing. I wanted people to know about the hospitals and the enema room, about why I had become opposed to the war, why I had grown more and more committed to peace and nonviolence.
I had been beaten by the police and arrested twelve times for protesting the war, and I had spent many nights in jail in my wheelchair. I had been called a Communist and a traitor, simply for trying to tell the truth about what had happened in that war, but I refused to be intimidated. I loved the night and I would write for hours as if no time had passed at all. I was exhausted and my back ached, but none of that seemed to matter. I felt wonderful inside, tired but completely consumed by my writing.
I would drink a couple cups of coffee and then with a new surge of energy work for another hour or so as the bright lights of the morning began to fill the room. I'd neatly stack all the pages next to the typewriter after holding them proudly in my hands, then go to my bedroom and transfer out of my wheelchair onto a mattress on the floor. I remember thinking to myself one morning that if I died in my sleep, someone would come into the apartment and find those pages next to the typewriter and know that I was not a victim, but someone who had been trying to move beyond his terrible tragedy and the terrible injustice of that war.
With the exception of that initial burst of writing and rare moment of stability in Santa Monica in the fall of 1974, I continued to be extremely restless back then, frantically moving from one place to the next, living on the edge, racing in cabs to the airport, flying from city to city on my monthly compensation check, suddenly showing up at friends' houses in the middle of the night and sleeping on their couches--always carrying the manuscript with me and always frightened, desperately needing to escape the demons that were closing in on me.
Over the next year and a half I wrote several additional chapters of Born on the Fourth of July. Some of the stories were ones I had told my mother when I first came home from the hospital and would lay on our couch in the living room when I couldn't sleep, which was often back then. Night after night I would repeat the story of how I was wounded that day in Vietnam, describing every single detail. My dear mother would sit patiently in her chair, listening to her son who had come home paralyzed from the war, trying her best to understand.
I attempted to write at my friends Skip and Ginny's place on Mohegan Lake, in their laundry room, but couldn't seem to get started. I wrote most of the chapter about my childhood at a little hotel not far from Sproul Plaza in Berkeley, and the ambush chapter, the most painful but one of the best, at Connie's apartment in L.A. I wrote the Memorial Day chapter one afternoon in San Francisco at the Sam Wong Hotel on Broadway, just down the street from Enricos Café in North Beach. I can still remember the open window of my hotel room and the noise of passing cars and trucks in the street below, the fumes, the honking horns, but that became a very beautiful chapter and I still enjoy reading it to this day.
I dictated the very first page of the first chapter to my friend Roger at the Chateau Marmont Hotel in Hollywood, and the remainder of the chapter up in Mendocino where he and Mary were living at the time. I had driven all the way up in a used car I had just bought in L.A. and later abandoned in their driveway. It was deep in the woods, quiet and peaceful, so very different from the war and the hospitals and all that I had been through. The air was fresh and there was a pond behind their cottage where I dictated to Roger, and I remember feeling exhausted as he held me in his arms and I began to cry in the midst of all that stillness. It was a painful but beautiful birth.
I am extremely grateful to Akashic Books and its publisher, Johnny Temple, for bringing out this new edition of Born on the Fourth of July at such a crucial moment in our nation's history. For the past two years we have been involved in a tragic and senseless war in Iraq. As of this writing, over 1,500 Americans have died and more than 11,000 have been wounded, while tens of thousands of innocent Iraqi civilians, many of them women and children, have been killed.
I have watched in horror the mirror image of another Vietnam unfolding. So many similarities, so many things said that remind me of that war thirty years ago which left me paralyzed for the rest of my life. Refusing to learn from our experiences in Vietnam, our government continues to pursue a policy of deception, distortion, manipulation, and denial, doing everything it can to hide from the American people their true intentions and agenda in Iraq. The flag-draped caskets of our dead begin their long and sorrowful journeys home hidden from public view, while the Iraqi casualties are not even considered worth counting--some estimate as many as 100,000 have been killed so far.
End Part I