Illumination Rounds&Amp;Okinawa: The Bloodiest Battle Of All

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Glowing discs of torch lights were hovering on the surface of the sea where the moonlight was as dim as if the torches lit the whole area. There, a young man was almost holding his last breath underwater until he managed to touch the bottom of a floating wooden boat. He peeped towards the wharf where he saw Japanese soldiers tracing with their torches and yelling in an unknown language. Fortunately, their torches did not reach the wooden boat. The young man was relieved as he saw the Japanese departing. “Leaving is the only way,” he said to himself, then mounted onto the wooden boat. By then, my grandfather began his journey to Hong Kong. When I was little, my grandfather used to tell his story during the Second Sino-Japanese War in the 1940’s. Yet, to me, it was just a story and I could never feel the intensity. Until I read the two essays, I was able to picture my grandfather’s experience. In Okinawa: The Bloodiest Battle of All, William Manchester insists on remembering the savagery of wars at Okinawa without exaltation and sentiment. In addition to the descriptive power of hatred, he also presents the essay in a sense of fear. On the other hand, in Michael Herr’s Illumination Rounds, he attempts to create a complete definition of Vietnam War through his discovery of its secretive history. He even presented his discovery by a series of brief and fragmentary episodes, basing on his experience. Throughout Herr’s work of presenting his discovery, he blends in several cinematic techniques on expressing his critical views of the Vietnam War. “We were all strapped into the seats of the Chinook, fifty of us, and something, someone was hitting it from the outside with an enormous hammer” (327).established a preface of an individual episode of Herr’s flashback. With the help of these cinematic shots, readers could vividly feel the intensity of Herr’s view of

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