August, 2008

Vietnam/1

This year there has been a lot of reflection and retrospection, 40 years after the pivotal 1968, which included the Tet Offensive, assassinations (King and Kennedy), student uprisings, and protest and police violence outside the Democratic Convention in Chicago.

A while back, I read a memoir by U.S. radical writer Michael Albert, Remembering Tomorrow. Albert’s political awakening came in the mid-1960s when he was a student at MIT in Cambridge, Massachusetts. Inspired and challenged by the civil rights movement, a new wave of feminism, and the antiwar movement, Albert reached the fork in the road: one path led to pursuing an upper-middle-class lifestyle and the other path to throwing his lot in with social change movements. He chose the latter, and has, since that time, embraced the need for revolution, meaning, a radical change in our society’s fundamental structures.

Recalling his youthful passionate opposition to the war, Albert writes candidly, “And I sure as hell hated Washington. And I sure as hell loved the spirit of the Vietnamese resistance. Vietnam was for me a parent, a brother, a sister, a life guide. Vietnam was and still is everything for me.”

I wished he had elaborated on the latter sentiment of his love for Vietnam. He says that the love and Vietnam’s meaning were not just then, 1967 and 1968, but it is still. I take this to mean, that, unlike many people who were active then in the antiwar movement, he has not forgotten Vietnam. But what, then?

I wonder: How exactly has Vietnam served for him a “life guide”? Who have been the most influential Vietnamese writers, intellectuals, activists, and artists for him? Did he ever learn Vietnamese? Did he become friends with Vietnamese refugees in the greater Boston area? Has he ever visited Vietnam since the 1975 unification? Has he been aware of the work of Buddhist teacher Thich Nhat Hanh, particularly his retreats for Vietnam Veterans? Does his Znet web site focus on contemporary issues and struggles in Vietnam? What does he think of the society the Vietnamese created after the horrific brutality and destruction inflicted by our own country? How has he been a brother to Vietnam, past and present? To younger generations of activists, how would he encourage solidarity with Vietnamese people, given their centrality in his own path of revolutionary activity?

I was seven at the time of the 1968 Tet Offensive. It wasn’t until 1982 when I began reading about the Catholic anti-war movement (Dorothy Day, Daniel Berrigan, Thomas Merton) that I began to learn about the event that was so life-changing for millions of Americans fifteen years earlier. While working at the Church of Epiphany in Louisville, my first direct contact with Vietnam was as a tutor to a Vietnamese family, the Huynh’s, who had been sponsored by our church in the late 1970s. My political awakening occurred in the 1980s via the church-based Central American solidarity movements. It was during that time that I was exposed to the teachings of Thich Nhat Hanh. For many years, I have assigned Cao Ngoc Phuong’s inspiring autobiography, Learning True Love, to my students at Saint Louis University. In recent years I have had Vietnamese-American students who teach me about their and my history.

I am curious about Michael Albert’s avowal, because I think there is tremendous work we have to do in reckoning still with our role in Vietnam. Not enough of us in the United States have faced what our government did in Indochina from the 1950s to the 1970s. Thinking of Vietnam, I remember something German theologian Johann Baptist Metz once stated, “We Christians can never go back behind Auschwitz; to go beyond Auschwitz is impossible for us by ourselves. It is possible only with the victims of Auschwitz.” If there is to be a future for Christianity, the German theologian contended, it could only be with the Jewish people.

Although Michael Albert isn’t religious, I think, given his comment on the centrality of Vietnam, he would adapt Metz in this way: “We Americans can never go back before the destruction we caused in Vietnam; to go beyond that destruction is impossible for us by ourselves. It is possible only with the Vietnamese who were our enemies and victims.”

Friends in the liberationist Brazilian Catholic Church told me about three essential themes of their ministry and activism: memory, resistance, and utopia.

So be it, for us, too.

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The Buddha Smiles in Hell

A Reflection on Claude Anshin Thomas, At Hell’s Gate: A Soldier’s Journey from War to Peace. Shambhala Publications, 2004.

In one of the most fascinating pieces I’ve read on the U.S. war in Iraq, the litany-esque, “What I Heard About Iraq,” Eliot Weinberger states, “I heard that seven percent of all American military deaths in Iraq were suicides, that ten percent of the soldiers evacuated to the Army hospital in Landstuhl, Germany, had been sent for ‘psychiatric or behavioral health issues,’ and that twenty percent of the military was expected to suffer from posttraumatic stress disorder.”

Let me presume that Weinberger’s statistics are accurate. An estimate this past July put US troop levels at 150,000. Here’s a math problem: What’s 20% of 150,000? But then think of how many more tens of thousands of US troops had already served time or will yet serve time. What’s 20% of, say, 300,000?

What is going to become of these men and women when they return to the United States-after the parades, the parties, and the reunions? Who is going to listen to that 20%? Who is going to be ready and willing to listen? Who is going to be able to stay with them, when they are in the throes of suffering here?

For anyone who has pondered these questions, I’d recommend reading Claude Thomas’s memoir/spiritual manual, At Hell’s Gate: A Soldier’s Journey from War to Peace. Thomas is both laceratingly blunt about the devastating impact of the violence on soldiers as well as hopeful that transformation and healing are possible.

In his youth, Thomas was conditioned to the normalcy of violence, both by his parents and later by the training he received in the Army. Family life was full of denial and repression. His father was emotionally withdrawn; he beat Claude as an act of “love.” In high school, he became a car thief for kicks, which was one way to escape from the pain of his often absent father. He was a jock in school and saw the military and war as just another game.

However, he had the proverbial rude awakening in his first months in the Army: A drill instructor urinated on him. His world was marked by hearing and using obscenities, drinking excessively, and being hustled by other soldiers. He learned to focus his increasingly growing rage on “the enemy.” He soon got his chance to cut loose in Vietnam. About his own time in Vietnam, Thomas wasn’t sustained at all by any motivation along the lines of traditional patriotism or hatred for Communism. He asserts, “My job in Vietnam was to kill people. By the time I was first injured in combat (two or three months into my tour), I had already been directly responsible for the deaths of several hundred people. And today, each day, I can still see many of their faces.”

After being immersed in hell on earth in Vietnam, Thomas comes back home, decked out in military uniform and there he is in an American airport being approached by a beautiful young woman, circa 1967. Thomas is intrigued, anxious, expectant, his mind racing with possibilities at this imminent encounter. Indoctrinated by too many Hollywood movies, Thomas expects that she is going to plant a kiss on him, so full of gratitude is she for what he has done and instead …she spits at him.

His reaction: “I was flooded with feelings and impulses, the strongest of which was to annihilate the enemy, since she had committed an act of violence against me, she was the enemy.” You still hear a lot about the spitting on the Vietnam vets that took place in the 60s and 70s. A while back while on a book tour, Jane Fonda was spat on by a Vietnam vet while she was signing books. All these decades later, this man still seethed with rage at this woman he deemed a traitor, given her befriending the North Vietnamese. For him, the Vietnam war is not over.

Thomas admits how messed up he was when he came home: Too much booze, too many drugs, and heartless, promiscuous sex. He couldn’t sleep, couldn’t work, and ended up living on the streets for awhile. “I never lived in one place for more than six months because I could not stand to have anyone get close to me, get to know me, because I thought if anyone really knew me, they would hate me. And the message was clear; it was given to me daily: because I was a soldier from Vietnam, I was not worth anything.”

In the early 1980s, Thomas stopped running and hiding and became sober. He went on a retreat with Vietnamese Zen Buddhist teacher Thich Nhat Hanh, the first of his most influential teachers. He began to learn the practices of mindfulness and compassion, such that he was able to begin to heal his fractured self. He came to see that “[e]very act in life can become an act of meditation and a pathway to compassion. To drink water, to speak with a friend, to look at a tree, to listen to the trucks passing by, to blow your nose, to cough, to go to the toilet-everything.”

Thomas eventually became a monk in the Soto Zen lineage, and continued his learning with teacher Bernie Glassman. Thomas used Buddhist practices to face his own suffering and work to relieve the suffering of others, whether in Vietnam, Bosnia, or on our urban streets. (He gives instructions on several practices in an appendix.) Thomas has sought to work for inner peace and bear witness, often by taking pilgrimages and living as a mendicant, which is a conscious practice of voluntary poverty and renunciation of materialism.

He also returned to Vietnam. Mindful of his earlier confusion, madness, and violence while there, he came to this aspiration that cuts through nationalism’s dualism of worthy and unworthy life: “For every American soldier who died, for every South Vietnamese soldier who died, for every civilian who died, for every Vietcong soldier who died-for ever person who’s ever died in that war or any war, I feel an intense responsibility, because they are in me.”

Thomas has lived out the Buddhist adage, “Go to the places that scare you.” He and his community have traveled in Europe to the sites of former concentration camps. They have gone to Israel-Palestine and Cambodia. He has worked in hospitals and mental institutions, on the street, and on war’s front lines, where he talks to soldiers and those suffering from war. Throughout these sometimes trying explorations, Thomas has practiced mindful breathing to stay rooted in the present moment.


On one peace pilgrimage across the United States, Thomas and his friends lived off of people’s donations and their willingness to offer them shelter at night. One day, the group came to an evangelical church, knocked at the door, solicited shelter, and was summarily turned away.

Echoing the famous teaching of “perfect joy” by St. Francis of Assisi in a similar circumstance, Thomas had this realization: “In this moment of rejection they provided me with a perfect opportunity to embody my practice. I would place my hands together and bow (in the traditional manner of my lineage, called gassho), thanking them for hearing our request, and then we would move on.”


Now, well over thirty years since he came home from Vietnam, Claude Thomas gives retreats on mindfulness and encourages others to learn to sit with their pain. Although some may find his Buddhist practice simplistic, for Thomas, this path is not complicated, though it is demanding. He acknowledges, “I didn’t know what to do for those I had killed in Vietnam until Thich Nhat Hanh taught me: ‘Just practice. Because when you walk, you walk for all those who have ever been abused, exploited, terrorized, crippled, maimed, or killed under any circumstance. When you walk, you walk for all veterans. When you sit [in meditation], you sit for all veterans. So you wake up, and as you heal, you heal them in you.”

“Support our troops”- the presumed time frame for this slogan is now, when the troops are in the field. Too often the slogan is blurted out by some to stifle discussion or to prevent any critical questioning of the war and occupation. To be critical of the war, it is alleged, is to not support the troops, is to somehow dishonor or endanger them.

And when the troops come home? We may each have some opportunities to support the troops when they return, some of them no doubt troubled by what they did, what they experienced in Iraq. For those of us nonveterans, Claude Thomas offers us a challenge: “When I talk with other veterans… I hear the same story. They say that they are not understood and that non-veterans avoid contact with them, resisting all but the must superficial connection. I believe that nonveterans don’t make the effort to understand us because to touch the reality of our experience would mean that they would have to touch the same sort of pain and suffering inside themselves and consequently recognize their responsibility.”

We can take heart from Thomas’ own example: Move closer, practice breathing, stay with the discomfort, notice the arising of our own self-righteousness, and learn how to listen: “As we listen, let’s just offer our openness and companionship. This is the beginning of the journey toward healing. Though we may think that we know how to listen, often when other people talk, we don’t manage to really listen. We tend to judge what’s being said, defend ourselves, react, offer advice, or seek to control the situation in some way. So a disciplined practice of listening will be helpful.”

See Claude Thomas’s project, the Zaltho Foundation, http://www.zaltho.org/

Also, see the documentary, The Ground Truth, http://www.thegroundtruth.net/

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Laura Weis on “Beautiful Resistance”

Laura Weis and I went to see “Beautiful Resistance” and I am pleased to share her reflection on that evening…

I saw a play on Saturday, July 12, 2008. It was called Beautiful Resistance, and the performance captivated me from start to finish. It prompted recollection of events and emotions in my own life, while at the same time shook me with its portrayal of a situation I’ve not experienced and can barely imagine. It educated and it exposed. It acknowledged and challenged assumptions; admitted and confronted fears; and agonized over and embraced not knowing all the answers. It was a multi-sensory experience, visual and voice, movement and music, and it both communicated to and invited response from the audience. It resonated.

The experience began the moment you walked in the door and joined a slow-moving line to wait to obtain your passport (ticket) and get past the checkpoint (into the theatre). Watched from above and intimidated along the way, we playgoers were not in control of our fates. How to react? I saw bewilderment, solemn recognition, a few giggles (promptly silenced), willing compliance, and a bit of attitude. Real or imagined, I couldn’t help but feel a creeping tension as people glanced over their shoulders, unsure of the rules, and whispered acknowledgement of shared uncertainty about what came next. It was effective. A mere glimpse of an unfathomable, unknown reality thousands of miles away.

Once settled in our seats (not without some forced, arbitrary reassigning by aggressive Israeli soldiers), members of the audience were invited to offer instances from their lives when they felt certain emotions – intense anger, absolute joy, total helplessness – to be interpreted through improvised movement and music by members of the cast. The technique, known as “playback theatre,” was woven into the beginning and ending of the performance, as a means to honor the experiences of the audience in tandem with the experiences of those portrayed in the play.

At this point, we met Magan, who stepped onstage to offer a time when she felt totally helpless. As she swirled away from life’s familiarities and comforts, mind racing, we were transported with her to the West Bank, where, upon arrival, her eyes were pulled open. It struck me that she did not minimize her fears or deny that she held certain assumptions before, and at times during, her travels. And she did not appear to manipulate her response to her new circumstances in light of what she’d read, been taught, or been told in preparation for the trip. As someone who has noticed a tendency in herself to sometimes stifle initial reactions to unfamiliar surroundings – intellectualizing, perhaps, or concentrating almost exclusively on what others have said they felt – rather than simply experiencing the full feeling, no matter what it is, I appreciated this candid portrayal. It gave audience members space, I think, to reflect on any preconceptions we too might have, while offering an honest depiction of one woman’s actual experiences and encounters that might confirm, confuse, or contradict our own ideas.

Throughout the play, we saw Magan as an observer, documenting with her camera; as a friend, laughing and conversing with Fayrouz in Balata refugee camp; as an activist, confronting Israeli soldiers at a checkpoint. We encountered creative coping and cautious optimism, and we saw the tragic impact on individuals of ongoing violence and humiliation. We met a moonwalking Hamas soldier, who, we learned, was later killed, but left behind a poignant message of hope for the future of Palestine. We witnessed a birthday celebration and girl talk interrupted by the sounds of gunfire and a momentary admission, “I hate this life.” And near the end of the play, we watched as Magan and her companions worked with a young girl traumatized by memories of Israeli soldiers forcing their way into her house at night. They tried, valiantly, to act out a different ending, a better ending, to her real life nightmare. Then we in the audience had a chance to suggest alternate endings. A two-state solution? Predictable. What if the soldiers never come? A happy thought…

It was easy to feel discouraged after the performance, with its unanswered questions and uncertain ending. It’s unlikely all parties involved will be happy or satisfied. Some people will say they have everyone’s best interests at heart, and that their plan, their solution, is best. Others will know better, but may not be listened to or even asked. And maybe most of this audience was familiar with the particulars of the U.S. government’s unwavering financial and military support for Israel’s policies of economic marginalization and violent suppression, its complicity in relegating Palestinians to live as prisoners in their own land. But what about the great majority of the U.S. public? How to even begin to generate enough awareness and outcry to bring any meaningful pressure to bear on policymakers for a new direction in such entrenched U.S. foreign policy?

So what is to be done? How will this story end? For the people of Palestine and Israel? For the audience? For me? As the use of playback theatre so wonderfully illustrated, we all have experiences to draw upon and a role to play in figuring it out.

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Love, Community, and Solidarity

Monday 21 July 2008

Professor Chmiel,

Hi, my name is Jason Sengheiser. I graduated from SLU undergrad in 2000. I never took one of your classes, but a lot of my friends did and they always raved about you.

You may not recall this, but I was seated at the same table as you at Cab Gutting’s wedding.

Anyway, I am writing because recently another former student of yours, Katie O’Brien, gave me The Book of Mev to read. I just finished it, and I just felt like I had to write to express how much I appreciated the book.

On a basic level, I thought it was a beautiful love story between two extraordinary human beings and also their community. However, in addition it brought into focus so many questions about acting morally and living solidarity with the poor and persecuted. I suspect I will be reflecting on this book for years to come.

There are numerous points in that book to be contemplated, but the one that is currently resonating with me appears near the end. I think someone tells you “you never get over things, you just get through them.” There is wonderful wisdom to that statement.

I just want to thank you for writing the book and for sharing the story with the world.

Jason Sengheiser

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