By James John Magner
A Haunting Beauty is the tale of Jim Magner, artist and wrestle platoon chief. the 2 conflicting identities need to coexist in a global of lurking hazards, marvelous characters and unique attractiveness. by no means sooner than has there been a primary individual account of strive against in the course of the eyes of an artist. The wrestle event hasn't ever been so vividly portrayed via distinctive identities. Nam is the place the motion is—the final attempt for the younger lieutenant. For the painter, battle is destruction and ache, the antithesis of paintings, yet he involves take into account that he'll need to lower throughout the jungles, wade the rivers, and face demise to get past floor appearances. Jim Magner attracts the reader deep into his own global of conflicts and conquests with crisp writing and a glance at strive against that fascinates, elates, and from time to time, stuns. The platoon chief needs to confront the stark realities of survival whereas the artist sees either the gorgeous and the terrible via colour and contrasts, and because the composition of a piece of artwork. He discovers the quiet dignity of the warriors, nurses, and pink go “Donut Dollies” in addition to their inevitable conflicts and dependencies whereas they fight to outlive in a primitive position. Set in 1966, it is a riveting, hugely inventive memoir that's eventually no longer approximately conflict, or perhaps Vietnam. It’s a narrative of ways good looks and artwork outline what it truly is to be human—how we engage, suppose, or even struggle. It’s approximately how conflict brings out the easiest and worst, captured throughout the eyes of the artist-soldier. It’s a narrative of human feelings: pleasure, worry, anger, unhappiness, and love. And it’s strangely humorous. you'll come away with a brand new appreciation of the way artwork and sweetness are necessary to either the human spirit and the environment—especially in a wrestle quarter.
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Additional info for A Haunting Beauty: Vietnam Through the Eyes of an Artist
E. Siberry (Oxford, 1997), pp. 58, 32. 48 Caffaro, ‘De liberatione civitatum orientis’, ed. T. Belgrano, Annali genovesi, 1 (Genoa, 1890), pp. 100, 101. Caffaro was, in fact, an eyewitness to the First Crusade, but did not compose his account until the 1150s. D. Face, ‘Secular History in Twelfth-Century Italy: Caffaro of Genoa’, Journal of Medieval History, 6 (1980), p. 172. 53 What is apposite, however, is to refer to three episodes of particular relevance in the development of ideas of penitential warfare in the generation immediately before the proclamation of the First Crusade.
166–71. 127 Leclercq, Spirituality of the Middle Ages, p. 132, wrote that ‘To go on the Crusade was a way of answering the call of Christ, of taking up one’s cross and following him; it was an opportunity to imitate Jesus in his sufferings and death’. 128 For a contemporary discussion of the idea that one form of religious life might be regarded as melior than another, see ‘Un document sur les débuts des Templiers’, pp. 88–9. See also G. Constable, ‘The Interpretation of Mary and Martha’, Three Studies, pp.
The centrality of this spirituality can perhaps be summarised best by the words of the Benedictine monk known as Gilo of Paris, who, at some point before the year 1120, wrote a brief exposition on why the pursuit of imitatio Christi equated to a search for Christian perfection: OV 3, pp. 266–7. ‘Sigeberti continuatio Praemonstratensis’, MGH SS 6, p. 448. 113 Otto of Freising, Chronica sive historia de duabus civitatibus, ed. A. Hofmeister, MGH SSRG 45 (Hanover and Leipzig, 1912), p. 369. 114 Constable, Reformation, pp.