In this episode of Dearest Suzie, Popi writes on June 7, 1965, with a heart heavy from homesickness. He had called home that morning, only to be met with the sweet but painful plea from his son Brian: “Please come home.” It hit him hard. But there’s no time to dwell—orders came in suddenly: pack up, move out. By tomorrow he’d be heading to Da Nang for a 30-day assignment, his platoon already on the move. Once again, the realities of war cut short any rest, any time for family calls or small plans. Even R&R plans to Nha Trang are scuttled—rules and logistics make it more complicated than expected. So instead, Popi focuses on the promise of a week in Daytona Beach when he gets home, trading one stretch of waiting for another.
This episode also begins the narrative of “Shooting an Elephant in Vietnam,” a piece of creative (non)fiction that explores the unsettling overlap between combat operations and cultural destruction. Drawing inspiration from George Orwell’s famous essay, the story uses a real-life Stars and Stripes article to dig deeper into what it means to be a soldier ordered to kill an elephant suspected of aiding the Viet Cong. In a place where everything felt out of place—from Martha Ray’s USO show to the sight of elephants in a clearing—Popi’s service intersected with moments that blurred the lines between duty and humanity. The piece invites listeners to confront the surreal moments of the Vietnam War that never made the headlines but stayed in the memories of those who lived them.
What’s Covered:
- Popi’s June 7 letter about calling home, homesickness, and a sudden move to Da Nang
- Reflections on the complexities of R&R and the bureaucratic tangles that shape soldiers’ lives
- The second part of “Shooting an Elephant in Vietnam,” blending fact, fiction, and lived experience
- The story of an elephant shot by American soldiers, and what it reveals about war’s moral costs
- A meditation on what it means to bear witness, to remember, and to keep telling these stories
📷 Featured Photo: An elephant in a zoo—perhaps in Saigon, perhaps in Bangkok—stands with an expression that looks almost like a smile.
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