The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era

Acknowledgments

aCknoWledgments In the course of writing The Warrior Image I benefited from the accessibility, kindness, and support of several mentors. First and foremost, I was fortunate to have James Patterson as my thesis adviser at Brown University. From the beginning, Jim was the model of a superior teacher, scholar, and friend. His careful editing, probing questions, and moral support have made this book immeasurably better, and I thank him as well for his continuing guidance and generosity. Howard Chudaco=, Karl Jacoby, and Elliott Gorn were all extraordinarily gracious and encouraging readers, and this book was much improved by their unique contributions. Tom Gleason was also extremely supportive and helpful in myriad ways. And I cannot overstate the influence of the late Jack Thomas, who not only read the manuscript and improved it with his insights, but was also a dear friend throughout my years in graduate school. Had Jack lived to see this book come out, I’m sure it would have joined the works by his former students that he proudly stacked up in his living room. I am deeply grateful to John Bodnar and Marilyn Young for their perceptive critiques of the manuscript in its draft stages—both of them were especially helpful in challenging me to clarify the book’s aims and arguments. For similarly helping to sharpen my thinking I am indebted to John Baky, William Chafe, Edward M. Co=man, Zac Coile, Nancy Huebner, Mike Majoros , Kurt Piehler, Woody Register, Rob Riser, Jim Sparrow, Travis and Kristin Stolz, and Josh Zeitz. Several colleagues, friends, and relatives read some or all of the chapters: Jan Brunson, Robert Fleegler, William Gillis, Morgan Grefe, Jim Huebner, John Huebner, Wendy Huebner, Brendan Schriber, and Paul White. As the project took shape Robert, Morgan, and Jan o=ered me constant encouragement, curiosity, and intellectual energy, and later in the process Paul was similarly generous with his time and ideas. At unc Press Chuck Grench, Paul Betz, Katy O’Brien, and Liz Gray have been genial and supportive throughout the publishing process. I could not have completed the research for this book without the help of sta= members at the John F. Kennedy Library in Boston, the National Archives in Maryland and Washington, the Wisconsin Historical Society in Madison, the Museum of Modern Art Archives in New York, the La Salle University Library in Philadelphia, and the John Hay Library in Providence. x | acknowledgments For help tracking down and securing permissions for poems, I owe a debt of gratitude to Jan Barry, W. D. Ehrhart, Robert Hedin, Larry Rottmann, William Childress, Rolando Hinojosa, Stan Platke, Earl E. Martin, Charles Purcell, Margaret Nemerov, Maureen Sylak, and Ruth Wantling. Merrily Harris and Jessica Lacher-Feldman generously provided much-needed assistance with acquiring image permissions. At the University of Alabama, the William G. Anderson Endowed Support Fund helped o=set the costs of those permissions. Two graduate students in Tuscaloosa, John Mitcham and Charles Roberts, graciously aided me in the process of proofreading. And I thank David Douglas Duncan for speaking with me about the project and granting permission to reproduce his haunting photographs. Looking further back into my own past, it is evident that I never would have become a professional historian without the early encouragement of Jim Huebner, Lee Huebner, and Mike Naylor. And for all their love and support , my deepest thanks go to the best people I know—Mom, Dad, and my brother Min. the฀ WarrIor฀ Image This page intentionally left blank ...