Tracing a history of ideological assertions embedded in travel discourse, Laderman analyzes the use of tourism in the Republic of Vietnam as a form of Cold War cultural diplomacy by a fledgling state that, according to one pamphlet published by the Vietnamese tourism authorities, was joining the “family of free nations.” He chronicles the evolution of the Defense Department pocket guides to Vietnam, the first of which, published in 1963, promoted military service in Southeast Asia by touting the exciting opportunities offered by Vietnam to sightsee, swim, hunt, and water-ski. Laderman points out that, despite historians’ ongoing and well-documented uncertainty about the facts of the 1968 “Hue Massacre” during the National Liberation Front’s occupation of the former imperial capital, the incident often appears in English-language guidebooks as a settled narrative of revolutionary Vietnamese atrocity. And turning to the War Remnants Museum in Ho Chi Minh City, he notes that, while most contemporary accounts concede that the United States perpetrated gruesome acts of violence in Vietnam, many tourists and travel writers still dismiss the museum’s display of that record as little more than “propaganda.”
Following the most solemn moments in recent American history, comedians have tested the limits of how soon is “too soon” to joke about tragedy. Comics confront the horrifying events and shocking moments that capture national attention and probe the acceptable, or “sayable,” boundaries of expression that shape our cultural memory. In Tragedy Plus Time, Philip Scepanski examines the role of humor, particularly televised comedy, in constructing and policing group identity and memory in the wake of large-scale events.
Tragedy Plus Time is the first comprehensive work to investigate tragedy-driven comedy in the aftermaths of such traumas as the JFK assassination and 9/11, as well as during the administration of Donald Trump. Focusing on the mass publicization of television comedy, Scepanski considers issues of censorship and memory construction in the ways comedians negotiate emotions, politics, war, race, and Islamophobia. Amid the media frenzy and conflicting expressions of grief following a public tragedy, comedians provoke or risk controversy to grapple publicly with national traumas that all Americans are trying to understand for themselves.
Colombian-born Santiago Martinez starts his adult life as a young gay writer living in Spain. Years later, as a university professor in New York City, Santiago is called back to his native Colombia upon the suicide of his sister. There he learns some shocking secrets about his childhood and adolescence and comes to the realization that cherished memories of the past are only illusion.
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