JAC: A Journal of Composition Theory, Volume 24, Number 2, 2004 Page: 288
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shrapnel, who had lost his wife and daughter in the missile strike. What are the
pictures we are not seeing?
38. Elizabeth Abel has suggested that the scars on Kim Phuc's back evoke
the display of scarred backs of whipped slaves. She speculated that the display
of riddled skin might produce an unconscious echo in the mind of the viewer
(personal communication, 30 January, 2003). In literature, Toni Morrison in
Beloved reads the scarred back as the traces of a kind of national memory; and
in The Woman Warrior Maxine Hong Kingston fictionalizes the scars on the
apprentice woman warrior's back as a text of revolt and protest. On reading "the
literal signifiers ofpain and violence that make an immediate appeal to the bodily
memory of the viewer," see Bennett.
39. 1 wish to thank Catherine Gallagher for her critical comments on an
earlier draft ofthis essay; she led me to rethink the relation between the Kim Phuc
photos and testimony and the wall's testimonial function in American national
life. I'd also like to thank Jay Prosser for sharing his expertise in photography
with me-and for his help in tracking the British connection to this material. And
Margaretta Jolly for hers.
40. As James Tatum observes in his moving essay, "Memorials of the
America War in Vietnam," interpreting the effects of monuments to war through
the lens of The Iliad, "the Vietnam Veterans Memorial in Washington soon
became famous for inspiring diverse responses to the same monument in the
same space" (636-37).
American Photo. Photos of the Century. Vol. 10. No. 6 (Nov./Dec. 1999).
Bennett, Jill. "Art, Affect, and the 'Bad Death': Strategies for Communicating
the Sense Memory of Loss." Signs: Journal of Women in Culture and
Society. 28, 1 (2002): 333-51 (spec. Issue "Gender and Cultural Memory."
Ed. Marianne Hirsch and Valerie Smith).
Berger, John. "Fear Eats the Soul." Nation. 12 May (2003): 33-35.
--. "Horror Pictures." New Society 21 (27 July 1972):194-95.
--. Photographs of Agony." About Looking. New York: Pantheon: 1980.
Butterfield, Fox. "South Vietnamese Drop Napalm on Own Troops." New York
Times 9 June 1972.
Chicago, Judy. The Holocaust Project: From Darkness into Light. New York:
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Association of Teachers of Advanced Composition (U.S.). JAC: A Journal of Composition Theory, Volume 24, Number 2, 2004, periodical, 2004; (digital.library.unt.edu/ark:/67531/metadc28644/m1/34/: accessed July 24, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .