In his new book Tribe, celebrated war correspondent Sebastian Junger argues that the primary source of our vets’ postwar difficulties is not trauma from the wars that we have asked them to fight, misguided as they may be. The vets’ biggest problem is American society. Free download software crack.

▪ June 10, 2016 A member of Iraq Veterans Against the War joins a march in downtown New York City, 2007 (Joseph O. Holmes / Flickr) Seventy years ago, Americans celebrated their first peacetime summer since Pearl Harbor by heading to the beaches and mountains in record numbers. With gas (just 21 cents a gallon) no longer rationed, families could again take car trips. But for returning GIs, 1946 was filled with apprehension. The competition for good jobs was fierce, and finding affordable housing, even with access to a low-interest GI loan, was tough going. That year, no film captured the uncertainties vets faced more graphically than William Wyler’s Academy Award-winning The Best Years of Our Lives.

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How much has changed? According to Sebastian Junger’s Tribe: On Homecoming and Belonging, a new book gaining widespread attention, not much. Junger is preoccupied with explaining why becoming a civilian is so unsettling for so many vets, and like Wyler, he refuses to accept what he sees as the easy answer—the vets are victims of the trauma of war. For Junger, a much-admired war correspondent and the director of Restrepo and Korengal, two haunting films about American troops in Afghanistan, the primary source of our vets’ postwar difficulties is not the wars in Afghanistan and Iraq that we have asked them to fight, misguided as the wars may be.

The vets’ biggest problem, in his eyes, is American society. Junger does not romance war in Tribe, but on the basis of what he has seen, he believes the stress of combat draws men together rather than divides them. Junger’s thinking—radical, but not ideological, in its critique of American life—dovetails with that shows for soldiers who have had multiple combat assignments, the suicide rate drops when they are deployed but rises when they return home. Our vets come back from battlefields in which they have put aside differences in race, politics, and religion, in order to deal with a common enemy, and what they discover, Junger writes, is a country that “regularly tears itself apart along every possible ethnic and demographic boundary.” “Today’s veterans often come home to find that, although they’re willing to die for their country, they’re not sure how to live for it,” Junger maintains. A similar view lies at the heart of The Best Years of Our Lives and its depiction of a home front that is far more destructive of the vets’ sense of themselves than the Second World War ever was. At the core of The Best Years of Our Lives is the belief that during the Second World War, American GIs acquired values that made them more caring and more introspective than they were prior to the war.

It was, the film implicitly argued, up to American society to live up to the GIs’ newfound expectations, not the other way around. The Best Years of Our Lives follows three vets, Homer Parrish, a seaman, Al Stephenson, an Army sergeant, and Fred Derry, an Air Force bombardier, as they struggle with a peacetime America that in big and small ways lets them down. We first meet the three men as they fly back to their home town, the fictional Boone City. Homer Parrish (played by Harold Russell, an actual vet, not a professional actor) is the GI with the most to overcome. He has lost both his hands in an explosion, and he must use metal hooks instead of his fingers. Homer fears that Wilma, the girl he is engaged to marry, will be repelled by his hooks.

Their most intimate moment in the film comes when Homer explains to Wilma that when he goes to bed and removes his hooks, he is utterly helpless. Wilma never turns away from Homer, but their future remains clouded. Homer rejects the advice of Wilma’s father that he go into the insurance business in order to take advantage of the sympathy vets like him arouse, but his alternative—rely on the disability pay the government provides him—leaves him in a position in which he is going to have to live with his or Wilma’s parents for the foreseeable future. Al Stephenson (Frederic March), the oldest of the vets, is also the best off. He has left behind a bank job, a wife, and two children, and he returns to a stable situation. At the bank Al is put in charge of GI loans, but when he makes a loan to a vet whose character he admires but who has little credit, he is admonished not to do it again.