A Thousand Daggers by Frank C. Seitz

By Frank C. Seitz

Greater than 350,000 americans suffered and died in Vietnam. Wounds made within the jungles and rice paddies of Vietnam, Laos and Cambodia came across their as far back as the us, carried there by means of the our bodies, minds, and hearts of our troops. it is a novel approximately six of them—aging wrestle veterans—seeking remedy in a V.A. psychiatric ward in Montana. Veterans nonetheless bleeding from “A Thousand Daggers.” Their tales are fictional; their reviews will not be.

Lieutenant Leonard “Lumpy” Lundeen crashes into the Emergency Room of the Montana VA clinic, psychotic as hell. Or is it psychotic in Hell? He can’t inform the adaptation. That’s only one of the demanding situations of this 70 year-old veteran who continues that he’s three-years-old and precocious. remedy starts instantly: drugs and staff remedy, the latter together with a Butte Italian muscle builder with PTSD, a depressed professor educating Medieval Literature in a rural university, a suicidal rancher with no farm animals, an girl Iraq vet with tense mind harm, and a lecherous division administrator who desires them “gone” from his sanatorium. Traumas from the previous weave into the issues of the current, making a myriad of messes that require a “crazy man” to solve.

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Y. Mudimbe (as a novelist, not as a theorist), Femi Osofisan, Olive Senior, Ninotchka Rosca, Nayantara Sahgal, Albert Wendt, to pluck some names almost at random from my own bookshelves. Let me pause for a moment here to clarify what I mean. There are, of course, quite substantial critical literatures on at least some of the authors from each of the two lists I have just presented – dedicated books and many articles (perhaps even hundreds), for instance, on each of Brutus, Lispector, Ezekiel, Mistral, and Sahgal.

Several younger writers’, Brennan writes, ‘have entered a genre of third world metropolitan fiction whose conventions have given their novels the unfortunate feel of ready-mades’ (At Home, p. 10 Let me illustrate the general point I am trying to make here through reference to a 1992 book, Interviews with Writers of the Postcolonial World, co-edited by Feroza Jussawalla and Reed Way Dasenbrock. This is a fine book in many ways, certainly one of the more engaging collections of interviews in the postcolonial studies field to have been published to date, noteworthy for its range and theoretical sophistication.

12 24 The politics of postcolonial modernism Such a standpoint has something to commend it, at least. Jussawalla’s and Dasenbrock’s commitment to ‘multiculturalism’ serves as a credible platform from which to engage urbane and cosmopolitan writers like Ihimaera or Farah or Anaya in conversation. Unsurprisingly, therefore, these are among the most successful interviews in the volume. Certain of the other writers interviewed, however, do not share the editors’ cultural or intellectual commitments.

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