Vietnam and the Antiwar Movement
The 1960s and early 1970s were tumultuous years, and the Vietnam War only added to the turmoil. The conflict in Vietnam actually began in 1946, shortly after World War II concluded. WWII had left many parts of Southeast Asia unstable, and over the next two decades, the United States quietly supported South Vietnam and its allies, who were fighting against Ho Chi Minh’s Communist forces in North Vietnam. The United States, deeply concerned about the spread of Communism, feared that losing Vietnam would trigger a “domino” effect across Southeast Asia, leading to increased involvement in the region. In 1964, President Johnson sought congressional support after a U.S. destroyer, engaged in a covert operation, was attacked by North Vietnamese forces off the coast of North Vietnam, and another destroyer was allegedly attacked. (It was later revealed that the second destroyer had not been attacked.) Johnson, who assured Congress that the destroyers were on routine, overt missions, persuaded Congress to pass the Tonkin Gulf Resolution, effectively granting him unlimited authority to escalate the conflict in Vietnam. At this time, most Americans were unaware of these events.

By 1965, with fifty thousand new U.S. ground troops added to the twenty-three thousand already stationed in Vietnam as military “advisors,” the American public became more informed, much to the government’s dismay. As James S. Olsen and Randy Roberts noted in their 1996 book, Where the Domino Fell: America and Vietnam, 1945–1995, “The decision to Americanize and militarize the conflict in Vietnam jump-started the antiwar movement in the United States.” They observed that in 1965 alone, “more than thirty other antiwar organizations sprouted,” joining the existing groups. Much of the resentment stemmed from the large numbers of American troops required to sustain the war effort. As J. M. Roberts states in his Twentieth Century: The History of the World, 1901 to 2000, “In 1968 there were over half a million American servicemen in Vietnam.”

To meet these numbers, the U.S. government relied on the Selective Service System to draft young American men into the war. In That Was Then, This Is Now, Bryon highlights the impact of draft notices on many Americans when he returns Charlie’s car to him after the dance and tries to talk to him: “He didn’t seem too interested, but he was having his own troubles. He’d got his draft notice.” Although Charlie is ultimately exempt from being drafted due to his police record, many others were not as fortunate and expressed their opposition to the war by burning their draft notices, staging public demonstrations, or fleeing the country, often to Canada. By the time the U.S. government admitted defeat and began withdrawing its forces in 1973, the war had claimed the lives of fifty-eight thousand American men.

Hippies and Drugs
During the war, as the number of casualties increased, those participating in the antiwar counterculture movement responded in various ways, some peaceful and others violent. One of the most enduring symbols from that time is the "hippie," a term derived from "hip," meaning someone who is fashionable. Unlike some of the more aggressive antiwar groups, hippies embraced ideals of freedom, peace, and love, often symbolized through nature imagery like flowers. A well-known example of this "flower power," as David Steigerwald references in his book The Sixties and the End of Modern America, occurred during the 1967 march on the Pentagon: “Protesters sang to the troops, urged them to ‘join us!,’ and placed flowers into gun barrels.” Steigerwald notes that hippies organized their protests using nonviolent methods, such as forming human chains by “locking arms and sitting down.” However, their adversaries did not always respond peacefully. The same Pentagon demonstration illustrates this contrast: “The marshalls... made a serious assault, dragging protesters out of their lines and beating them with billy clubs.” In That Was Then, This Is Now, Bryon, a "greaser" who enjoys fighting, reflects on his reaction after he and Mark attack their first hippie: “I hadn’t realized those guys refuse to fight back, and what happened to the one we got hold of, it made me sick... after that we left them alone.”

Besides their nonviolent stance, hippies, like the character M&M in the story, were also recognized by their long hair and intentionally shabby clothing, symbolizing their rejection of the establishment and embrace of freedom. One significant way hippies pursued these goals was through the use of recreational drugs. Terry H. Anderson notes in his book The Movement and the Sixties that “freaks,” another term for hippies, frequently used marijuana and hallucinogens like LSD to “expand sensory perception and ‘blow the mind.’” However, Anderson also points out that experienced hippies avoided drugs that could cause a “bad trip.” In Hinton’s story, M&M is nicknamed “Baby Freak” because he is much younger than the other hippies. When M&M takes LSD, the dealer informs Bryon and Cathy that he is “on a bad trip.” Like M&M, whose brain is permanently damaged from LSD, historian Martin Gilbert observed that the “‘drug culture,’” which emerged in the early 1960s, harmed “the minds of millions of people.”

The Civil Rights Movement and Racial Tension
During the 1960s, the Civil Rights Movement was at its peak. Influential leaders like Reverend Martin Luther King, Jr. and Malcolm X motivated African Americans to challenge the discrimination and segregation they faced in the United States. Similar to the approach taken by the hippies, some African Americans organized peaceful protests. However, by the late 1960s, escalating tensions between whites and blacks led to racially charged riots in major cities including Los Angeles, New York, Chicago, and Detroit.

The story is set in a rough, low-income neighborhood on the east side of Tulsa, Oklahoma, during the mid-1960s, a time marked by anti-war protests and anti-establishment sentiments. In this area, the street-smart Mark and Bryon, the two protagonists, hustle pool at Charlie's Bar, drink, fight, and pick up girls. The toughs often see the counterculture hippies as easy targets for mugging, as the hippies typically do not fight back when attacked. Hinton creates a vivid sense of place more through frequent references to locations and people than through detailed descriptions. The Ribbon is a cruising strip where kids can buy hot dogs or marijuana. The high school parking lot and the local bowling alley serve as teenage hangouts where violence frequently breaks out. The hippie commune is a vibrant yet unkempt place where residents discuss love and use drugs. The setting of the novel enhances the realism and impact of Hinton's work, even though the challenges her characters face could occur anywhere.

The narrative style and writing techniques in That Was Then, This Is Now by S.E. Hinton are pivotal in shaping the reader's experience. Through the use of foreshadowing, a first-person narrative, and period-specific language, Hinton crafts a compelling story that explores themes of change, loyalty, and the complexities of growing up. Each element works in harmony to create a foreboding atmosphere that underscores the novel's emotional depth.

Foreshadowing and Narrative Tension

In That Was Then, This Is Now, the protagonist, Bryon, recounts events from a year prior, allowing author S.E. Hinton to skillfully employ foreshadowing. This technique offers readers subtle hints of future developments, enhancing the novel's suspenseful tone. An example is found at the end of the second chapter, where Mark's vehement statement, "Man, if anybody ever hurt me like that I'd hate them for the rest of my life," serves as a chilling indication of the deep-seated resentments that will unfold. As Bryon reflects on Mark’s words, he notes, "I didn't think much about that statement then. But later I would—I still do. I think about it and think about it until I think I'm going crazy." This passage not only sets up the tension between the characters but also prepares the reader for the emotional crescendo that follows.

This sense of foreboding is further augmented in the third chapter when Bryon momentarily experiences an intense dislike for Mark upon suspecting that Cathy may have feelings for him. This fleeting animosity foreshadows the more profound betrayal and enduring hatred that will later come to define their relationship. Thus, foreshadowing not only heightens the dramatic tension but also provides insight into Bryon's internal struggle, suggesting a deeper emotional turmoil than he openly acknowledges.

Mood and Themes

The combination of foreshadowing and the pervasive presence of violence in the novel establishes a mood of suspense and unease. The characters live in a world where violence is an omnipresent threat, amplifying the narrative's tension and creating a somber atmosphere. This setting serves as a backdrop to the emotional and psychological conflicts faced by Bryon and Mark, as they navigate the challenges of loyalty and identity against a backdrop of societal unrest.

Hinton's portrayal of violence is not gratuitous but rather integral to the story's exploration of personal and societal conflicts. The novel's tone is imbued with a sense of impending doom, a feeling that something irrevocable is about to occur. This contributes to a profound and lasting sense of despair that lingers with the reader, resonating with the existential questions faced by the characters.

Dialogue and Language

In crafting realistic dialogue, Hinton strikes a balance between authenticity and accessibility. Although the language may not fully mirror the vernacular of the time, it remains true to the characters' voices without resorting to excessive vulgarity. This choice reflects the author's sensitivity to her audience while still conveying the gritty realism of Bryon's world.

Some language choices, such as the use of terms like "Negro" and "chick," reflect the 1960s setting. While these terms are now outdated, they were indicative of the era and contribute to the novel's historical context. Additional 1960s jargon, including "flower-child," "free love," and expressions like "Peace!" and "Cat," further immerse the reader in the cultural milieu of the hippie era. These linguistic choices help to anchor the narrative in its time, providing a rich tapestry of period-specific details that enhance the story's authenticity.

Emotional Complexity and Character Development

The intricate interplay of style and technique in That Was Then, This Is Now allows S.E. Hinton to explore the complexities of her characters' emotional landscapes. Bryon’s role as the narrator provides an intimate glimpse into his inner world, capturing the nuances of his evolving relationships and moral dilemmas. His reflections, infused with foreshadowed insights, reveal the gradual erosion of innocence and the painful reality of change.

Through Bryon’s eyes, the reader witnesses the transformation of friendships and the inevitable drift that accompanies maturity. The novel examines the fragile nature of loyalty and the painful choices that must sometimes be made, leaving an indelible mark on both the characters and the audience. This nuanced portrayal of character development is anchored by Hinton's adept use of literary techniques, ensuring that the emotional impact of the story remains with readers long after the final page is turned.

That Was Then, This Is Now delves more into themes of personal morality and ethics than into societal issues. However, social problems do make an appearance. One troubling aspect of the boys' characters is their racism. When a bored Mark spots a black man standing alone, he asks Bryon if they should attack the stranger. M&M steps in and highlights the hypocrisy in their actions: they saved M&M from being attacked because he was different, a hippie, yet now they want to assault someone based on race. Bryon feels guilty when he realizes the truth in M&M's words, but this does not redeem him in most readers' eyes. Parents or educators might want to discuss the issue of racist attitudes in the book, possibly in connection with Mike's story and the reactions of Bryon and Mark to that incident.

Two additional sensitive topics in the book are drug abuse and teenage violence. Many students who casually read Hinton's depiction of a bad acid trip may need reminders about the dangerous consequences of hallucinogenic drugs. Bryon and Mark also drink heavily, though they do not recognize this as substance abuse.

Perhaps the most troubling issue, largely due to environmental influences, is the high level of violence the boys are accustomed to. For Bryon and Mark, fighting is a form of entertainment. Hinton addresses the issue of violence by recounting several disturbing events—such as M&M's mugging, Mike's beating, and later, Bryon's encounter with the Shepards—and then illustrating various characters' responses to this violence.

1960s–1970s: The United States dramatically increases its military presence in Vietnam, leading the government to "draft" young men into service and sparking the antiwar movement. Many young Americans enroll in college—the only legal way to avoid the draft—organize protests, burn their draft cards, and even flee to other countries to escape fighting in the war.

Today: Following an unexpected attack on the Pentagon in Washington and the World Trade Center in New York City, the United States launches a comprehensive international war on terrorism. The American public rallies behind this decision, and the military sees a surge in enlistments as patriotic young men and women join the effort.

1960s–1970s: Many hippies and members of the counterculture movement—often in their twenties or younger—experiment with "recreational" drugs to expand their consciousness and rebel against societal norms. For some, these drug experiments backfire, leading to permanent brain damage or other side effects that hinder their ability to function in society.

Today: Public service organizations in America combat the war on drugs with impactful advertisements portraying drugs as obstacles to success. These ads primarily target young children and teenagers, who are the main focus of many drug dealers.

1960s–1970s: The peace symbol, tie-dyed shirts, and other bold fashion trends become iconic among hippies, who use their unconventional clothing to express their rebellion against the establishment. Today: Many teens aiming to be fashionable wear "retro" clothes and jewelry from the 1960s and 1970s, though they do not necessarily embrace the hippie lifestyle. Additionally, these clothes are often made by large corporations that are part of the establishment the hippies opposed.

Readers familiar with Hinton's debut novel, The Outsiders, will recognize characters like Ponyboy Curtis and the Shepards when they reappear in That Was Then, This Is Now. The events in The Outsiders occur several years prior to those in That Was Then, This Is Now, and some of these earlier events are referenced in the latter book. Another novel, Rumble Fish, is also set in the same neighborhood. Common themes such as fighting, violent retribution, substance abuse, poverty, and social stigmatization link these books, along with their shared setting and, to a lesser extent, their characters.

That Was Then, This Is Now was adapted into a feature film in 1985 and is available on videotape. Directed by Christopher Cain and starring Emilio Estevez, the film diverges from Hinton's book in several ways. Set in the 1980s, M&M is no longer a hippie but is instead depicted as a surly, oversensitive youth, lacking trust and innocence. The neighborhood appears more middle-class, and the boys' financial struggles are less evident. The novel's racial themes are omitted; characters like Charlie and Terry are black, and Mike's story is entirely excluded.

The film provides a more balanced focus on both Bryon and Mark, avoiding the inherent bias of first-person narration. Mark is shown in a more sympathetic light, with greater emphasis on his loneliness and jealousy. The ending is also altered. While the movie still explores themes of betrayal and maturation, its plot is thinner and less realistic compared to the novel. Additionally, the movie's language is extremely graphic, making it unsuitable for most school settings.

Other films based on Hinton's novels include The Outsiders (1983) and Rumble Fish (1983), both directed by Francis Ford Coppola and featuring Matt Dillon. Tex was adapted into a 1982 film directed by Tim Hunter, starring Matt Dillon, Jim Metzler, and Meg Tilly.

That Was Then, This Is Now was turned into a movie in 1985, directed by Christopher Cain. The screenplay was written by Emilio Estevez, who also starred as Mark. The film featured Craig Sheffer as Bryon, Kim Delaney as Cathy, and Morgan Freeman as Charlie. Hinton contributed to the film's production, and it is available on video from Paramount Home Video.

Commire, Anne, ed. Something about the Author. Vol. 19. Detroit: Gale Research, 1980. This volume offers a significant amount of autobiographical details along with some critical analysis of Hinton's works.

De Montreville, Doris, and Elizabeth D. Crawford, eds. Fourth Book of Junior Authors. New York: H. W. Wilson, 1978. A superb source for autobiographical information. It includes an analysis of Hinton's career up to 1978 and lists the awards she has received.

Hinton, S. E. "Face to Face with a Teenage Novelist." Seventeen (October 1967): 133. Hinton discusses her life and writing. Portions of this article are reprinted in Commire.

"TeenAgers Are for Real." New York Times Book Review (August 27, 1967): 26-29. Features more insights from Hinton about herself and young adult literature.

Kirkpatrick, D. L. ed. Twentieth-Century Children's Writers. New York: St. Martin's, 1978. Provides an overview of Hinton's writing career up to 1978, including an analysis of her themes and characters.

Locher, Frances Carol, ed. Contemporary Authors. Vols. 81-84. Detroit: Gale Research, 1979. Offers a concise overview of Hinton's work.

Robin, Lisa. "The Young and the Restless." Media and Methods (May/June 1982): 28, 45. Focuses on Tex. Includes a teacher's guide to The Outsiders, That Was Then, This Is Now, Rumble Fish, and Tex with numerous useful discussion questions.

Senick, Gerard J., ed. Children's Literature Review. Vol. 3. Detroit: Gale Research, 1978. Features commentary by Hinton and excerpts from various critical pieces on her works.

Stine, Jean C., and Daniel G. Marowski, eds. Contemporary Literary Criticism. Vol. 30. Detroit: Gale Research, 1984. Provides excerpts from critiques of Hinton's works.

Sources
Anderson, Terry H., “Hippies and Drugs,” in The 1960s, edited by William Dudley, Greenhaven Press, Inc., 2000, pp. 200–01, originally published in The Movement and the Sixties, Oxford University Press, 1995, pp. 259–60.

Andrews, Sheryl B., Review of That Was Then, This Is Now, in Horn Book Magazine, Vol. XLVII, No. 4, August 1971, pp. 388–89.

Cart, Michael, Review of That Was Then, This Is Now, in New York Times Book Review, August 8, 1971, p. 8. Daly, Jay, Presenting S. E. Hinton, Twayne Publishers, 1987, pp. 41–43, 46–47.

Gilbert, Martin, A History of the Twentieth Century, Vol. 3, 1952–1999, Perennial, 2000, p. 307.

Hinton, S. E., “S. E. Hinton,” in Speaking for Ourselves: Autobiographical Sketches by Notable Authors of Books for Young Adults, edited by Donald R. Gallo, 1990, p. 95.

–, That Was Then, This Is Now, Laurel Leaf Books, 1985.

Lyons, Gene, “On Tulsa’s Mean Streets,” in Newsweek, Vol. 100, No. 15, October 11, 1982, pp. 105–06.

Malone, Michael, “Tough Puppies,” in Nation, Vol. 242, No. 9, March 8, 1986, pp. 276–78, 290.

McMurtry, Larry, The Last Picture Show, Dial Press, 1966.

Olson, James S., and Randy Roberts, “Johnson’s Escalation and the Antiwar Movement,” in The 1960s, edited by William Dudley, Greenhaven Press, Inc., 2000, pp. 110–11, originally published in Where the Domino Fell: America and Vietnam, 1945–1995, St. Martin’s Press, 1996.

Review of That Was Then, This Is Now, in Times Literary Supplement, No. 3634, October 22, 1971, p. 1318.

Roberts, J. M., Twentieth Century: The History of the World, 1901 to 2000, Penguin Books, 1999, p. 673.

Steigerwald, David, “The Antiwar Movement,” in The Sixties and the End of Modern America, St. Martin’s Press, 1995, originally published in The 1960s, edited by William Dudley, Greenhaven Press, Inc., 2000, pp. 138–39.

Further Reading
Baum, Dan, Smoke and Mirrors: The War on Drugs and the Politics of Failure, Little, Brown & Company, 1997. This retrospective on the United States’ war on drugs diverges from other works in the field, which often use anecdotes to portray the government as complicit in drug proliferation. Instead, Baum, a journalist, offers a balanced critique, substantiating his claims with factual evidence to explain the war on drugs' shortcomings.

Burkett, B. G., Stolen Valor: How the Vietnam Generation Was Robbed of Its Heroes and Its History, Verity Press, 1998. Burkett, a Vietnam veteran and journalist, was featured on the newsmagazine show 20/20 for this candid examination of how Vietnam veterans have been misrepresented, partly due to the actions of some who have tarnished the generation's image. Meticulously researched, this book aims to correct the historical record about a deeply painful era in American history.

Marshall, Joseph E., and Lonnie Wheeler, Street Soldier: One Man’s Struggle to Save a Generation, One Life at a Time, VisionLines Publishing, 2000. Around the time Hinton was penning The Outsiders, Marshall was beginning his teaching career in a disadvantaged area of San Francisco. Young people there frequently encountered the same challenges Hinton described. Two decades later, with the rise of guns and drugs like crack in schools, the situation deteriorated further, prompting Marshall to take action. This book narrates the inspiring journey of how he founded the Omega Boys Club and started reaching out to troubled black teens from the ghetto, helping many of them to get back on track and pursue college education.

Miller, Timothy, The Hippies and American Values, University of Tennessee Press, 1991. Miller's information-rich book significantly clarifies the core beliefs held by hippies and the counterculture, showcasing the profound influence they have had on American culture since the 1960s. The book includes a bibliography of famous and lesser-known underground newspapers, trivia such as the date of the first Earth Day, and images of rock bands and posters.