LITMIR.BIZ

FIGURE 19 “Does He Destroy Your Way of Life?” Thomas W. Benson Political Protest Collection, Historical Collections and Labor Archives, Eberly Family Special Collections Library, University Libraries, The Pennsylvania State University.

The danger to the Vietnamese implied by figures 18 and 19 is more directly asserted in plate 4, “Vietnamization,” which shows a photograph of a bloodied mother and infant, apparently collateral damage from a US attack. These depictions of victims of war’s violence are a counterpart to a common theme of war posters, in which images of victims or potential victims are offered as justification for war (compare plate 4 to fig. 11, “Don’t Let That Shadow Touch Them”). The “Vietnamization” poster also uses the trope of irony by juxtaposing a verbal quotation with the actuality that it implies—a trope also at work in “And Babies.” Such comparisons appear frequently in the posters, sometimes by using contrasts within the imagery, sometimes in contrasts between the image and the words. Juxtaposition is a key rhetorical structure in generating meaning. Ironic juxtaposition motivates plate 5, “It Became Necessary to Destroy the Town to Save It”—the title draws on a quotation from an on-camera interview between a US Army major and AP reporter Peter Arnett. The poster features a photograph by Paul Avery of a terrified, elderly Vietnamese couple.⁷¹

      Other posters showing Vietnamese or Southeast Asian settings are “Nature Is Beautiful (So Is Human Nature) Conserve It” (plate 2), one of several posters gesturing toward the developing environmental movement, and in this case suggesting a link between the environmental movement and the peace movement from which it seemed in danger of diverging; and “Free Asia—U.S. Get Out Now” (plate 6); “Asia for Asians!!” (plate 7); “Her Suffering for Our Comfort? STRIKE” (plate 8); “Vietnam: Spilled Blood Split the Country” (plate 30), again an image of a Vietnamese mother, this time with a dead or injured baby—the country split is the United States; and “Unity in Our Love of Man” (plate 33). “Did You Vote for This? Who Did?” (plate 13) is based on a 1968 AP photograph of the bodies of US Marines on Hill 689 in Khe Sanh, South Vietnam.⁷² The image of a woman carrying a child in plate 30 is apparently based on a news photograph of a Vietnamese woman carrying a horribly burned baby “after an accidental napalm raid twenty-six miles southwest of Saigon.”⁷³

      “Did You Vote for This? Who Did?” is an indirect invocation of the political order in the United States, and, for those who remember, a reminder that both Lyndon Johnson (in 1964) and Richard Nixon (in 1968) won the presidency with promises of peace—which were then contradicted by their actions—and that the evident futility of the war drove Lyndon Johnson from the presidency in 1968. The “Who Did?” is a rhetorical question, implying that because both winning candidates—and in 1968 both Hubert Humphrey and Richard Nixon—promised peace, in effect no one voted for “this.” Similarly, “Vietnam: Spilled Blood Split the Country” refers to the double collateral damage of the war—to innocent civilians in Vietnam and to the civic peace of the United States. Implicitly, such appeals are not a rejection of the political order in the United States but a lament for its weakening by the war. plate 26, “War Is Unhealthy for America,” similarly implies that the war is damaging the people and America itself, including its civic life.⁷⁴