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    Vietnam Photographs from North Carolina Veterans: The Memories They Brought Home
    Vietnam Photographs from North Carolina Veterans: The Memories They Brought Home
    Vietnam Photographs from North Carolina Veterans: The Memories They Brought Home
    Ebook143 pages44 minutes

    Vietnam Photographs from North Carolina Veterans: The Memories They Brought Home

    By Martin Tucker

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    About this ebook

    When American soldiers returned home from Vietnam, most put their memories away. Decades later, North Carolina veterans contributed thousands of dusty and faded personal photographs to what started as a class project at the Sawtooth School for Visual Art in Winston-Salem. It evolved into a national traveling exhibition and then a permanent collection of the North Carolina Museum of History called "A Thousand Words: Photographs by Vietnam Veterans." For many of these men and women, this was their first opportunity to show what they couldn't say. Photographer and Vietnam-era vet Martin Tucker presents selected glimpses of those unforgettable experiences.
    LanguageEnglish
    PublisherThe History Press
    Release dateAug 12, 2019
    ISBN9781439667651
    Vietnam Photographs from North Carolina Veterans: The Memories They Brought Home
    Author

    Martin Tucker

    Martin Tucker is an award-winning photojournalist, documentary filmmaker and speaker. His work has been published via the Associated Press and in the Los Angeles Times, the Washington Post, the New York Post, Charlotte magazine, Our State: The Magazine of North Carolina, Humanities magazine, Vietnam Veterans of America magazine, US Weekly and People magazine. Martin currently teaches photography and digital media at Summit School in Winston-Salem, North Carolina. He served in the U.S. Navy from 1967 to 1969 and is a lifetime member of the Navy UDT-SEAL Museum Association.

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      Book preview

      Vietnam Photographs from North Carolina Veterans - Martin Tucker

      AUTHOR

      SILENT MEMORIES

      PHOTOGRAPHS OF VIETNAM

      THE IMPORTANT THING TO REMEMBER about looking at photographs is that they always have the power to evoke memories, especially memories of times once forgotten, of faces from long ago and of places once visited. For Vietnam veterans, the memories of their war experiences are sometimes accompanied by fear and anguish, and they have buried those thoughts so deep that no one can penetrate the depth of their wounds. Silence becomes not only their language of choice but also a bond between brothers who fought side by side and vowed to never mention the horrors they witnessed. Photographs are profound images that can spark the most intimate details of survival for soldiers. They become words when the scenes are indescribable and for those of us who were not there in Vietnam. The photographs become the beginning of stories never told. Photographs help veterans break their silences and travel back to that place that turned boys into men.

      Perhaps photographs are all we need to complete the story of Vietnam, for without them we only have scattered memories that desperately need to attach themselves to something that once made us whole. For Vietnam veterans, who perhaps never possessed the voice to speak about the time in Vietnam, these photos have the power to speak for them.

      —SHARON RAYNOR, PHD

      Professor of English

      Project Director, The Silence of War and Breaking the Silence: The Unspoken Brotherhood of Vietnam Veterans

      MY PAST

      MOST WOULD AGREE that to have a happy life we must minimize our regrets, focus on the future, but never completely forget the past. The opening of the touring exhibit of A Thousand Words: Photographs by Vietnam Veterans at the North Carolina Museum of History in Raleigh will put my past in front of me once again. I first experienced these powerful images at a one-time exhibit at the Sawtooth Center in Winston-Salem in 2003. This past for me was my Vietnam experience, where straight out of high school (1967) I enlisted in the Navy. By January 1968, I was in-country heading for a little hamlet south of Saigon called Mey Tuo.

      I was joining a group of extraordinary young men. The unit was a Navy special warfare small boat unit not seen in action since the Civil War. Union river runners, the earlier prototype, had proved very successful, and now the Navy had once again opted for riverine warfare. The scope of our mission was to search the many junks, sampans and water taxis plying the Mekong Delta. We were looking for arms and supplies that the Viet Cong desperately needed. Most of the locals were going about their lives as usual and accepted the Americans’ daily intrusion as part of life. Looking back, it was these day patrols—with the children smiling, the peasant women with their teeth blackened by betel nuts and the old men tending their nets—that offered a true glimpse into life along the Mekong Delta. I came to appreciate the people of Vietnam. I also became vigilant to ambush during night operations in tiny jungle-encroaching canals and to intercede the movement of the Viet Cong. These canals were Charlie’s home, and pursuing him would often have dire consequences, putting us in harm’s way, where night could erupt with tracers and flying metal. And it would be years before I ever heard the words, Welcome home brother, which of course represent a sort of acceptance.

      The pictures I took represent both sides of Vietnam, but all represent a past that transcends the miles, years, hurt and pain of Vietnam. I would like to think that these photos are a rare opportunity to experience that past and to honor the living and the dead.

      —DAVID M. PREVETTE

      U.S. Navy, 1968

      MY CAMERA

      AS A TEAM LEADER WITH G COMPANY RANGERS, I was issued a camera to photograph objects with potential for intelligence use. The camera was an Olympus Pen EES-2 35mm half-frame and was fairly compact by late ’60s and early ’70s standards, but it was certainly not a tiny, elaborate, James Bond–style device. I was issued black-and-white film with thirty-six-picture capability, and being a half-frame camera, it would yield seventy-two exposures. We took pictures of any object or place that had intelligence value, like structures, improved trails, points of regular river crossings and any other objects that were of interest. I would submit the film

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