Michael Lund served in the U. S. Army as a correspondent in Vietnam, 1970-71. He is the author of a memoir, Route 66 to Vietnam: A Draftee’s Story, and a book of short stories, How Not to Tell a War Stor y. Lund’s latest book is Eating With Veterans ( BeachHouse Books, 268 pp., $16.95, paper; $3.99, Kindle), a book of twenty ser ious short stories.
Lundh, a life member of Vietnam Veterans of America, holds a PhD in literature from Emory University, so I expected his stories to be literate and well-written. I was not disappointed.
Most of the characters in these fine stories are aging veterans, mostly of the Vietnam War. Often these veterans and their companions are eating, drinking, and talking. Occasionally a story will seem like a deliberate homage to Raymond Carver, for instance “The Soy Bean Field.” I intend this as the highest of compliments.
Most of the stories communicate an atmosphere of social unease. Many take place, at least in part, in South Vietnam, and give us insights into the lives of soldiers who served there in communications. Some of the titles are: “The Rules of Engagement, ” “Drugs Away, ” “Blood Drive, ” “The Death of Short-timer Sam, ” and “Counterinsurgency. “
Some of the stories that have non-military sounding titles are the ones that contain the most overt military scenes, for instance Lund’s Tet Offensive story, “Magician.” We get a reference in that story to the school at Fort Benjamin Harrison, where the correspondent was trained—and where I was trained as a stenographer. I am always pleased when I read a book that deals with what the 80 to 90 percent of us did in Vietnam: not take part in combat. This is one of the best books yet that deals seriously with that aspect of our war.
Lund uses the phrase “rear echelon troops, ” and the derogatory term “REMF” does not appear. It’s a term, by the way, that I never heard in Vietnam, but trip over endlessly in Vietnam War combat books, both novels and memoirs.
Lund does deal with some war-horse items such as Agent Orange, and he does have a story that mentions the oft-related tale of returning soldiers being spat upon and called baby killers. But he also includes “Hadrian’s Wall, ” a rare story dealing with the Coast Guard’s role in the Vietnam War. Jimi Hendrix, one of my favorite Vietnam War era veterans, gets more than a mention—he gets an entire story, “Look Alike.”
In “Camp Hoover” Lund captures an elusive feeling that I have tried to put into words, but failed to do so: how the past and the present can get intertwined and confused. It’s a great story and the saddest one in the book—perhaps one of the saddest stories I’ve ever read.
I highly recommend the stories in this book to all those drawn to serious writing about the Vietnam War and to seekers after the whole story—not just a narrow story told over and over again.