In revealing himself as an active narrator at the same time that he describes the people and events occurring around him, Herr takes his place with other writers of New Journalism, writers such as Norman Mailer, Tom Wolfe, and Hunter S. Thompson. These writers work, as a critic of the genre notes, “not by merely reporting facts . . . but by combining the unique credibility of journalism with the self-reflexive patternmaking of fabulist fiction.” In Dispatches that combination of modes is crucial. As Herr himself says, “conventional journalism could no more reveal this war than conventional firepower could win it.” Herr thus goes beyond Pyle and Hemingway in that his self-reflexivity reveals a “secret history,” one which attempts to discover a self in relation to the lives, and deaths, of the many American soldiers with whom he comes in contact in Vietnam. Admittedly incomplete, Herr’s effort to understand these experiences becomes a reflection of his effort to understand his own experience.
The complexity of the experiences, however, eludes a facile understanding. In the final chapter Herr admits that, upon his return home, he was troubled by memories during the day and nightmares during his sleep. Indeed, although it is suspected in 1979 that he is writing a novel that will become a “love story,” his two subsequent major works—narration for the films Apocalypse Now (1979) and Full Metal Jacket...
(The entire section is 492 words.)