By Leonard Unger;Jay Parini
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Additional resources for American Writers, Supplement XIX
The implicit assumption is that men unlike him, presumably the Vietnamese with their unfamiliar language, appearance, and culture, would perhaps be capable of such atrocities. What shakes Caputo is the idea that someone with whom he identifies and who represents the values and civilization of the 19 PHILIP CAPUTO Caputo found no easy answers, and his job of tallying the dead came to haunt him, giving him nightmares in which he commanded a platoon that included the dead men from his old company.
In the latter half of DelCorso’s Gallery, Caputo reveals what compels DelCorso’s need to bear witness to the brutality of war through photography. He is paying for a moment during his tour in Vietnam when he went into the village of Rach Giang with a company that ended up massacring the villagers. DelCorso’s crime was that he photographed the victims moments after their deaths, feeling “no remorse at that moment, only a cruel satisfaction in the bloodshed, and that cruelty was in the photographs” (p.
New York: Knopf, 1997. Reprint, New York: Vintage, 1998. ”) The Voyage. New York: Knopf, 1999. Reprint, New York: Vintage, 2000. ” War, Literature, and the Arts 12, no. 1:19–27 (spring/summer 2000). ) Ghosts of Tsavo: Stalking the Mystery Lions of East Africa. : National Geographic Adventure Press, 2002. In the Shadows of the Morning: Essays on Wild Lands, Wild Waters, and a Few Untamed People. : Lyons Press, 2002. Acts of Faith. New York: Knopf, 2005. Reprint, New York: Vintage, 2006. ) 10,000 Days of Thunder: A History of the Vietnam War.