AI breathes life into Theodore Roosevelt at new Library

A Savory Tort Photo Essay

The new Theodore Roosevelt Presidential Library opened on July 4, in Medora, North Dakota, and I visited last week.

(All photos RJ Peltz-Steele CC BY-NC-SA 4.0.)

I'm a Theodore Roosevelt ("TR") fan, politically, socially, and otherwise, and this summer, I've immersed myself in a torrent of books and audiovisual media about the 26th President of the United States and his remarkable life. In the weeks to come, I plan to write more about TR, and North Dakota, with relevance to contemporary life, from U.S. party politics to foreign policy.

I pose with sculptor John Lopez's bronze TR (2017) at the Old Town Hall in Medora, North Dakota.

Meanwhile, I write to share, and to laud, the new TR Presidential Library (Library), especially the artificial intelligence (AI) experience. You might have seen the Library on TV already, as Lee Cowan produced a July package on the opening for CBS Sunday Morning.

The Library itself is a physical marvel. Designed by the global, Oslo-headquartered architectural firm Snøhetta, the earth-toned buildings are melded in sweeping curves into the breathtaking landscape of the North Dakota badlands.  

The Library blends into its landscape.

 

The landscape is part of the visitor experience both outside and inside the Library.

Visitors are encouraged to explore a perimeter boardwalk, where grasslands are being restored, post-construction, and the badlands buttes of the Theodore Roosevelt National Park stretch to the horizon. 

More than mere conveyance, the boardwalk around the Library is a work of exceptional craftsmanship.

Moreover, visitors can switchback their way to the top of the organic green roof of the Library itself.

Visitors summit the Library roof.

The exhibition space features a central hall with rows of displays that, through artifacts and text panels, tell the story of TR's life, from youth to higher education, to North Dakota ranching, New York politics, Washington, the Spanish-American War, the White House, Africa, and the Amazon.

The central hall exhibits are organized chronologically.

In the manner of a presidential library, the subject matter is treated with reverence, but not with total ignorance of controversy or the fallibility of the subject. For example, one display depicts TR's meeting and correspondence with Booker T. Washington, but notes that TR distanced himself from Washington publicly after the meeting went down poorly with Republicans.

Most displayed papers are replicas or on loan, as TR artifacts are collected already at other sites.
Artful exhibits convey authenticity nonetheless; replicas of papers and objects are well made.

On both sides of the hall, large, themed rooms beckon with elaborate sets re-creating periods of TR's life, such as a log cabin in the badlands, or the 1900 Republican convention in Philadelphia.

TR escaped to remote North Dakota amid the grief of losing his (first) wife and mother both on Valentine's Day, 1884.

The themed rooms feature further artifacts and information, as well as experiences for visitors, including the use of AI.

At an activity station, visitors can develop their own campaign posters in the style of the 19-aughts.

A visitor to the Library has the option of having a photograph taken at the Library entrance and carrying a bracelet with an RFID-enabled token to scan at various stations. In one experience, for example, visitors can play President and make decisions about crises the TR Administration faced. One can then see the trade-offs required to satisfy various constituencies, as approval ratings fluctuate in the high-tech choose-your-own-adventure. The Library AI constructs a cumulative record of the visitor's experiences and expressed preferences and generates a summation by email afterward.

Visitors can assess their take on the issues and cast their own votes in the 1912 election.

A recurring delight in the experience vein is a series of stations that use the visitor's likeness to place one in an AI-generated "photograph" in the context of a setting in TR's life. Visitors of all ages, including me, giddily anticipate the images, which appear on a large screen for everyone nearby to see, sometimes eliciting "wow"s, or giggles, and always delight. (Below are my own images from the Library, emailed to me after my visit.)

The crown jewel of the AI system is in the re-created White House Cabinet Room, where a holographic TR (technically, a "life-size interactive avatar") stands behind his desk and answers questions. "TR" invites visitors to come to a lectern in front of the desk, scan their bracelets, and hold down a mic button while asking a question. Along the ceiling above, both visitor and the hologram are captioned for the room.

TR himself answers visitor questions in the White House Cabinet Room.

The AI is good. I mean, very good. Frankly, I expected that the hologram would deliver only truisms and platitudes with the faltering dexterity of an animatronic in the Disney Hall of Presidents.

Not so. This TR was ebullient and on point. He answered questions with surprising depth of knowledge and even what seemed like insight. Even when seconds were required for the AI to formulate a response, the hologram delayed with smooth conversational transitions, such as "Well, let me consider that."

While I was there, one man asked what TR's greatest challenge was as President. That was a softball; TR answered with settlement of the 1902 Coal Strike, a good call. The hologram delivered, though, more than mere encyclopedic recitation, rather an insightful and stirring summary of the experience from the man who was in the room.

A woman then asked whether any of TR's descendants settled in North Dakota. I thought that question might force the AI to dodge. TR did have to "consider" for a few more seconds than for the previous question. He then answered with a capable summary of where his children moved on to, explaining how his family in subsequent generations did fan out across the country. But none, he lamented confidently, followed the old man's tracks back to North Dakota.

A young boy then went up to the lectern—courageously, I thought, with a room full of adults looking on—and eked out a simple question, "Did you like your name?" The hologram bought some time by lauding the question. Then he answered, firmly, no. He then capably explicated his nicknames in life, including "Teedie" as a boy and "Teddy" in politics, and said that he always preferred "Theodore" or "Thee." This hologram has read his David McCullough.

I asked a question, not a hard one, but one I hoped would make the AI earn its keep: "Why do you think you lost the 1912 election?" I made "think" my main verb because I wanted to spur the AI to speculate, not merely orate. I was not disappointed.

To my surprise and delight, the hologram took little time to think and became animated. TR described for the room how, yes, forming the Bull Moose Party had split Republican voters and handed the 1912 election to Woodrow Wilson. Yet, pounding a fist, TR was adamant that he had done the right thing, standing on principle for the needs of people and against the private interests that had captured the Republican party. (Sound familiar? Then you have a sense of what I hope to write more about soon.)

Inevitably, a person in the room asked TR how he would address political division in America today. Here, the AI was programmed with brakes. TR gave an eloquent answer, a dodge at last, about how it's not his place to second-guess political decision-making in a time so different from his.

But he wasn't finished. Again to my surprise, TR went on to give an impassioned description of political rifts in his own time, and how he addressed them, with salient examples, such as negotiating the Treaty of Portsmouth to end the Russo-Japanese War in 1905. Speaking further of the higher calling to exhibit integrity in politics rather than pander to popular sentiments, his answer proved to have contemporary relevance with very little inference required. Or maybe that's just how I heard it.

I was reluctant to leave the room. AI TR was enchanting. 

I met a couple of TR impersonators while I was in Medora. Joe Wiegand's Teddy Roosevelt Show at the Town Square Showhall is superb. (Me with Wiegand's TR at left.) But on those occasions, I was always aware that I was watching and interacting with an actor, however well prepared and gifted for the role.

 

TR (Wiegand) weaved rhetoric into a brilliant portrayal at the Teddy Roosevelt Show.

At the Library, there was no actor. It was easier than I imagined to be seduced by the ghost in the machine. I left the Library feeling like I had some authentic measure of the magnetic charisma that so many of TR's contemporaries described. 

There are some other gems in the Library. There are artifacts from when TR was shot in an assassination attempt. There is a small room dedicated to the dark day when he lost his wife and mother. I don't want to say too much and spoil the adventure. The joy of visiting the Library is discovering these spaces yourself, and imagining yourself in the same historical context—with a little help from AI.

My AI Images from the Library

"Life in TR's New York"
TR was born to privilege but raised with a powerful ethic that wealth entailed an obligation of public service.

"Ranching in the Badlands"
TR sunk more than half of his liquid wealth into ranching in North Dakota. Ultimately he took a massive loss before divesting. But he never regretted the experience, saying it made him who he was, and he would not have been President but for the time he spent in North Dakota.

"Working on the Police Force"
As president of the Police Commission Board, TR walked New York City streets at night with journalist Jacob Riis to uncover and clean up dirty policing.

"Serving in the Navy"
TR did not serve in uniform in the Navy; he served as Assistant Secretary of the Navy in the first-term administration of President William McKinley. Later, as President, Roosevelt deployed "the Great White Fleet," a show of American power and deterrent to aggression, from 1907 to 1909.

"Joining the Rough Riders"
TR resigned his Washington post in 1898 to join the U.S. Volunteer Cavalry, "the Rough Riders," in the Spanish-American War. TR is the only President who has been awarded the Medal of Honor, posthumously, for his heroism in Cuba.

"Leading as President"
TR's political opponents in his own party, corporate-friendly Republicans, hoped to sideline him as President McKinley's running mate on the 1900 reelection ticket. To their dismay, TR became President when McKinley was assassinated in 1901. 

My campaign poster, 19-aughts style
TR had pledged not to seek a third term, honoring the example of President Washington. He went on safari in Africa to remove himself from the political fray. But dissatisfied with the performance of his handpicked successor, President William Taft, he threw his hat in the ring for 1912, unsuccessfully.

"Journeying Into the Amazon"
Ever seeking adventure as an antidote to loss, former President Roosevelt joined an expedition in Brazil to chart a river in the Amazon, from 1913 to 1914. Suffering from a leg injury in a portage and from malaria, he very nearly died. Certainly the wear and tear on his health did him no favors. He died at his home in Oyster Bay, New York, in 1919, of pulmonary embolism, at age 60. 

Small-town Star Trek museum teaches American cultural history, limits of fan fair use in copyright law

I have the con at the Star Trek Original Series Set Tour, Ticonderoga, N.Y., Oct. 2025
(all photos RJ Peltz-Steele CC BY-NC-SA 4.0)

The sleepy town of Ticonderoga, nestled between Lake Champlain and Lake George in upstate New York just south of the Adirondacks, is the unexpected home of a treasure of American history. 

I don't mean the historic Fort Ticonderoga of the American revolutionary era. 

The Star Trek Original Series Set Tour offers visitors an incomparable experience in television history and a lesson in intellectual property law along the way.

Though the transporter was conceived to save money on
prop shots of shuttle landings, it still cost (1966) $600
per effect per person. That's one reason why red shirts
didn't beam down unless they had, let's say, business on
the planet. Regular-cast shots could be recycled. The
platform circles were made with glass from old spotlights.
It's wild to see close up how clever prop crew were with
what they had on hand.

Star Trek in a Small Town 

I've written many times about the relevance of Star Trek to American law and public policy from the civil rights era to today. The Set Tour is the passion project of Star Trek superfan and Ticonderoga native James Cawley, an Elvis impersonator by trade. Cawley is someone who deeply appreciates Trek's cultural importance and has played a role in ensuring that the franchise survives and lives up to its legacy.

Inside the inconspicuous shell of a former Family Dollar in downtown Ticonderoga, Cawley has recreated the Desilu Studios set of the original Star Trek series of the 1960s in astonishing detail, down to the illuminated, colorful "gumdrop" buttons of starship Enterprise control panels.

Little survived from the original 1960s set. At that time, creators still thought about television productions as one-off broadcasts. Syndication was known, but shows were not yet designed for it. Moreover, few critics would have picked Star Trek, a curious experiment in sending Wagon Train to space, as a show that would stand the test of time. 

In fact, Star Trek's perceived ephemerality became a challenge in reconstructing the set, a Set Tour guide explained. The original series had no script supervisor in charge of continuity, mostly because no one expected viewers would see a Star Trek episode for a second time to notice details. A prop that was a scary alien computer in one episode was gently repurposed to be an Enterprise control system in another. Budgets were thin, too, so prop supervisors were ingenious recyclers.

Cawley long collected the few artifacts and set fragments that remained. In the early 1990s, he worked his way into an assistantship with legendary costume designer William Ware Theiss, then working on Star Trek's reincarnation in The Next Generation. Theiss had, and gave to Cawley, discarded blueprints of the 1960s set, as well as original series uniform patterns. Cawley found his calling and embarked on recreation of the set with excruciating attention to detail.

Sickbay: My guide was terrific, knowledgeable and full of lore.
Here the medical scanner is CGI, but in the 1960s, a grip was
needed just to move the little white indicators up and down
from behind the wall.

A Golden Age of Fan Fiction 

Homage to the past, though, was not Cawley's sole design. In the early 20-aughts, he became the founding producer and "Captain Kirk" star of a Star Trek fan production, New Voyages, later known as Star Trek: Phase II. The highly regarded fan franchise published online 10 episodes from 2004 to 2016, and many original series talents contributed to the show, such as writer David Gerrold and actors George Takei (Hikaru Sulu), Walter Koenig (Pavel Chekov), and Grace Lee Whitney (Janice Rand).

That's where things get interesting from the intellectual property perspective.

Star Trek brand owners Paramount, CBS, and Viacom—their corporate relationships shifted over the years—had mixed feelings about Star Trek fan productions. There were many, though none besides New Voyages had fixed sets.

When Star Trek's popularity waned, fan fiction kept the franchise alive in public imagination. As long as fan projects were not for profit, the corporations were content to look the other way, even striking an agreement at one time with New Voyages. But when Paramount, et al., were on the verge of a new Star Trek TV or film project, they tightened the reins.

The corporate equivocation, in tandem with a committed and creative fan base, allowed Star Trek fan fiction to thrive in a way that is uncommon in the American entertainment space. Nevertheless, corporate indulgence started to wane after J.J. Abrams took the helm of the 2009 film Star Trek and revitalized the franchise. 

 The recreation of Engineering is two stories high, as was the
original after it was augmented for Original Series season 2.
The warp core is about 12 feet deep but looks deeper
because of a forced-perspective design to fool the camera.

Copyright Showdown

Things came to a head in 2015. Alec Peters, an actor in Phase II, raised money and excitement around a new fan-film project, Star Trek: Axanar, teased by a compelling 2014 short, Prelude to Axanar (IMDb). With advances in technology, the production quality of fan films was by then quite good. Paramount meanwhile was closing in on 2016 release of a new feature film in the reboot universe, Star Trek Beyond, and a new TV series, Star Trek: Discovery, was slated for launch in 2017. In the last days of 2015, Paramount sued Peters and the Axanar project for copyright infringement.

The copyright case, and to a lesser extent the trademark case, on fan fiction is really open and shut. Profitable or not, the take-offs are not permissible without license by the rights-holder. There is a fuzzy line at the outer boundary of copyright, where protection of creative product gives way to "the scènes à faire doctrine." But it's not that fuzzy.

Law school learning on copyright impresses on students that eligible works must be "fixed in a tangible medium of expression." That does not mean, however, that only that which is committed to print or film is what is copyrighted.

Fictional facts and storylines also may come within copyright protection. Thus, the estate of Anne Rice can claim copyright over the story of a young vampire who shacks up with the master who turned him, adopts a vampire child, and later gives a tell-all interview. But the scènes à faire doctrine ensures that copyright does not remove mere tropes from the public domain. The Rice estate cannot claim copyright infringement in all stories about blood-sucking, undead creatures who cannot tolerate sunlight.

To put that in Star Trek terms, anyone is free to write a story about a human-led inter-species alliance of space-faring civilizations that explores the galaxy and maintains uneasy relations with warlike enemies. But the closer the author gets to a San Francisco-headquartered federation of planets with warp-drive starships, transporters, phasers, and emotion-averse characters with pointy ears, the more the risk of copyright infringement. The line is fuzzy, but it's not wide.

The problem for fan fiction always is that the stories fans want to tell are the stories that explore the boundaries of the established narrative, the existing fictional universe, and ideally, of the recognizable characters in it. That's exactly what copyright does not allow. 

Many scholars have argued for more expansive interpretation of fair use to allow for fan creativity in the presence of clear disclaimer. There's a whole book about the problem of fan fiction in historical and multi-national perspective by California Western Law Professor Aaron Schwabach. The last chapter of Schwabach's book is titled tellingly, "Fanfic: The New Voyages."

Archivist and professor emeritus in cinema studies at NYU, formerly at UCLA, Howard Besser made the case as to Star Trek in particular, besides other popular properties, such as Harry Potter, that the public commons should be larger. He called out corporate owners such as Viacom and Paramount for overreach with unjustifiably aggressive cease-and-desist letters.

But the fact and law remain, protection of fan work that plainly takes place in the same universe as copyrighted works, even when disclaiming ownership and avoiding recognizable names of fictional places and characters, and omitting trademarked titles, still is a non-starter. The analysis is of the totality. Nena may invoke Captain Kirk passingly in "99 Luftballons," but a fan film in the Star Trek universe treads too far.

The Treaty of Axanar 

It was no surprise, then, that the federal court in Paramount Pictures Corp. and CBS Studios, Inc. v. Axanar Productions, Inc. and Alec Peters refused the defendants' motion to dismiss in May 2016. The case over Axanar was careening toward a jury trial, the parties arguing heatedly over evidence and jury instructions, when suddenly, in the third week of January 2017, Paramount and Peters settled.

Out of the Axanar settlement came a remarkable new document, which articulated and still states the boundaries around what Paramount and CBS will tolerate in Star Trek fan fiction. The guidelines stated severe new limits, including:

• The duration of a fan production is limited to 15 minutes, or one story in two parts for 30 minutes, "with no additional seasons, episodes, parts, sequels or remakes."
• The work may not have "Star Trek" in the main title and must be subtitled, "A STAR TREK FAN PRODUCTION."
• No Star Trek content content may be used, and Star Trek-recognizable costumes and props must be official Star Trek merchandise.
• No creator or actor ever employed in a licensed Star Trek production may work on the project, and no one working on the project may be paid.
• A production must be non-commercial with a budget from fundraising limited to $50,000.

Described by fan fiction enthusiasts as "draconian," the new guidelines made impossible the production of projects fans had come to love. It seemed that no film such as Axanar could proceed. Serial projects such as Phase II had to call it quits. The golden age of streaming Star Trek fan fiction was over.

Prelude to Axanar
movie poster
(presumed ©; illustrative use)

Axanar Fal-Tor-Pan?

Yet, for better or worse, the Paramount-CBS guidelines were far from the last word on Axanar. Secret arbitration over money raised for Axanar followed the 2017 settlement. In 2023, Paramount sued Peters in California Superior Court in Los Angeles, alleging that he never stopped raising money for an Axanar film, and asking the court to affirm the outcome of the arbitration. 

Peters did not appear, and the court entered Paramount's desired order in February 2024. Rights-holder copyright consultant Jonathan Bailey, founder of CopyByte, wrote about the case for his Plagiarism Today. Fans follow developments around Peters and Axanar in the public Facebook group page, AxaMonitor.

Meanwhile, production on Axanar most definitely continued. Six days after Paramount had its way in court in Los Angeles, Axanar wrapped filming on its set, Jonathan Lane reported on his Fan Film Factor. Peters himself gives monthly updates on Axanar on YouTube. 

In the October 2025 Axanar update, posted on October 17, Peters reported on post-production progress on the latest installment of Axanar, to follow Prelude. He referenced the lawsuit, thereby suggesting that subsequent "episodes" (not "films") might comply with the Paramount-CBS guidelines. If that's what he meant, then a single episode of Axanar cannot exceed 15 minutes, shorter than Prelude's 21 minutes, and there can be only two. Yet Peters described Prelude as mere "proof of concept." Confirming Paramount's 2015 fears, Peters said that Prelude was designed to demonstrate that a fan work could be of such high quality as to be technically indistinguishable from an official studio product.

The ultimate extent of Peters's fealty to the guidelines is unclear. I wonder whether he regards them indeed as mere "guidelines"—like the 1976 copyright fair use guidelines that, in my opinion, courts have too often misapplied as hard lines. In the October update, Peters talked about beta testing a new fundraising website. I wonder further whether he's exceeded the cap of the guidelines. He encouraged fan financial support at the Axanar website.

There was really only one corridor for every corridor shot.
Signs and wall fixtures could be changed, and it curved
(behind camera here) for an illusion of more space.

A New New Voyage

The Axanar debacle in 2016 left Cawley in an awkward spot. His one-of-a-kind set reconstruction had little remaining practical use for filming after Phase II folded. Yet adoring fans would bask in the extravagance of the work. He conceived of the Set Tour. Still, without official imprimatur, he would risk legal jeopardy by opening to the public. 

Cawley invited Paramount execs to Ticonderoga to have a look. No doubt, they were skeptical going in. But, at least as a Set Tour guide told the story, the execs were so impressed with Cawley's loving attention to detail that they agreed to license the Star Trek name. Thus, the Star Trek Original Series Set Tour is not, as I had first suspected, a trademark infringement flying under the radar in tiny Ticonderoga. Set Tour tour guides will not volunteer information about Phase II or other fan productions. Whether they're just playing it safe, or that was an agreement with Paramount, I do not know. But guides will answer questions about Phase II if asked.

The Star Trek Set Tour has a deceptively modest exterior.

To Cawley's credit, he always played ball with Star Trek owners. Remember, it was New Voyages that reached an express understanding with Paramount, before Axanar came along. Cawley came by the 1960s set plans honestly, by all accounts, while working for Theiss on the official franchise. And the Captain Kirk of eight New Voyages episodes even scored a cameo as a bridge officer in J.J. Abrams's Star Trek. The Set Tour has hosted original series cast members as guest tour guides. The original Captain Kirk, ninety-four-year-old William Shatner, is expected back in November 2025.

There is, by the way, a USS Ticonderoga in Star Trek, though accounts differ over whether the name is a nod to Cawley, American history, a real-life Ticonderoga, or all of the above. Five U.S. Navy ships have borne the name Ticonderoga, including an aircraft carrier that distinguished itself in World War II and the Vietnam War. In the 1970 epic war film Tora! Tora! Tora!, the Essex-class Ticonderoga served as a set for the slightly smaller Yorktown-class aircraft carrier Enterprise (CV-6, not the later, nuclear-powered Enterprise carrier built in 1961). A great many other Navy carriers lent their names to Star Trek starships, including the Lexington, Saratoga, and Yorktown in The Original Series.

I had a (phaser) blast of a good time at the Star Trek Original Set Tour earlier this month. On my way home from the American Society of Comparative Law annual conference in Montreal, walking through a wonderland of Gene Roddenberry optimism about humanity's future was a welcome antidote to Professor James Q. Whitman's gloomy prognosis for rule of law in the United States.

Set Tour visitors get a turn in the captain's chair amid Cawley's breathtaking recreation of the classic bridge of the starship Enterprise. Ironically in revolutionary-historical Ticonderoga, amid relics from an imaginary future, I've never felt more a part of American history.

(All photos RJ Peltz-Steele CC BY-NC-SA 4.0.)

The Set Tour has tons of artifacts, including ship models, props, and uniforms. Some of the props are recreations, but made so well that they were used in throwback, time-travel episodes, such as Deep Space Nine's 30th anniversary "Trials and Tribble-ations"—besides fan shows such as Phase II.

Vietnam marks 50 years since fall of Saigon, but American corporations overshadow communism today

At Hoàn Kiếm Lake, Hanoi

Vietnam recently celebrated the 50th anniversary of the fall of Saigon, and I visited Hanoi and Ho Chi Minh City to see the country today.

(All contemporary photos by RJ Peltz-Steele, CC BY-NC-SA 4.0, with no claim to underlying works.) 

Known in Vietnam as "the civil war" or "the American war," the Vietnam War was a hot chapter in the Cold War story, as the United States sought to counter expansion of communism in Indochina.

The war was barbaric on the ground and devastating to life and land. Estimates range from one to three million civilian and military lives lost in Vietnam, Cambodia, and Laos. More than 58,000 U.S. service members were killed. Land and wildlife were laid waste by lethal chemical defoliants, Agent Orange just one among them, inducing waves of cancer and birth defects. 

In the United States, veteran healthcare was overwhelmed by what would later be recognized as post-traumatic stress disorder. Meanwhile, the social turmoil of war protest shaped a generation of counterculture so powerful that it went mainstream, transforming law and society—even working as impetus in the development of modern First Amendment and transparency doctrine.

(For an anecdote from "the Hanoi Hilton" prison, see Analog propaganda proves persuasive to some at 'Hanoi Hilton,' where exhibits selectively whitewash war, The Savory Tort, July 30, 2025.)

Shipmate, the magazine of the U.S. Naval Academy Alumni Association, recently has published a series on the Vietnam War and its aftermath for veterans, "Legacy of Valor." The latest issue, July/August 2025, contains the fourth entry in the series and features USNA alumni stories.

The May/June 2025 Shipmate, which featured Marines' stories, also highlighted Vietnam War exhibits in the National Medal of Honor Museum (MOHM), which opened in Arlington, Texas, just in March. I was struck by similarities between MOHM—in the narrative and pictures, at least; I have not visited yet—and the War Remnants Museum in Ho Chi Minh City, where I visited in June. MOHM's largest artifact is a restored Bell UH-1 "Huey" helicopter donated by a veteran pilot; there's an American UH-1 Huey at the museum in Vietnam, too (with me below).

(Inset: Cover of Shipmate, March/April 2025, credited to Capt. Tom Murphy, USNA '66, USN (Ret.), depicting Murphy, at left, with his SEAL team in Vietnam in 1969. "Murphy was awarded a Silver Star for his actions that helped eliminate a heavily fortified Viet Cong camp on 2 March 1969," the magazine added.)

An American Huey UH-1H at the War Remnants Museum, Ho Chi Minh City

Ho Chi Minh's Mausoleum, Hanoi

Saliently, the superpower United States lost the war, beating a humiliating retreat from the southern capital, Saigon. Vietnamese forces trumpeted the persevering efficacy of ruthless guerilla warfare. The sweep of communism crushed western collaborators and the remaining resistance and sparked a humanitarian crisis as refugees escaped to the sea.

Yet to walk the streets of Vietnam's major cities today, one could be forgiven for confusion over which side in fact won the war.

Ho Chi Minh City

The fall of Saigon—today, Ho Chi Minh City, though "Saigon" is still widely used, at least to refer to the touristic center, and "SGN" is the IATA code of the international airport—is celebrated on April 30. The contiguity of international labor day on May 1 makes for a holiday break.

This year, innumerable banners, signs, and monuments lined streets throughout the country to celebrate the 50th anniversary. I wonder at the cost. The posters bore patriotic illustrations that would be at home in a historical compilation of 20th-century Cold War propaganda.

Yet the banners stand juxtaposed against a background of signs demonstrating the market dominance of western corporations, namely the likes of Coca-Cola, KFC, and ubiquitous 7-Elevens. 

A local guide who took me to the Cu Chi tunnels, from where Viet Cong guerilla fighters waged brutal resistance against American forces from underneath a great swath of the country, told me how his family lost their home and modest wealth and fled Saigon when all property was nationalized after the communists took over the south.

Communism never delivered on its promises, he said. When his father returned to the family home, he found it occupied by party apparatchiks, hardly "the people." Still today, he said, despite commercial development, Vietnamese people suffer poverty, grade-school-limited public education, and no universal healthcare. That's not much to show for a communist people's victory.

"We hate Americans," he joked, smiling. He explained that the regime, apropos of the classic propaganda-poster style of the 50th anniversary images, still teaches schoolchildren to hate America. But people know better and have "moved on," he said. "Now we drink Starbucks."

It occurred to me, insofar as corporatocracy is the measure of the day, it's maybe truly representative democracy that lost the war, both in Vietnam and in America. 

Lunar-new-year commemorative beer from Budweiser, for sale at shop, Mỹ Tho

Roadside signs, Ho Chi Minh City

Billboards, Ho Chi Minh City

Exhibit at War Remnants Museum, Ho Chi Minh City

Marker at Hoàn Kiếm Lake, Hanoi

Exhibit at Thăng Long Imperial Citadel, Hanoi

 

Marker in traffic circle, Hanoi

Analog propaganda proves persuasive to some at 'Hanoi Hilton,' where exhibits selectively whitewash war

Hỏa Lò Prison, Hanoi
RJ Peltz-Steele CC BY-NC-SA 4.0

Media illiteracy is not just an affliction of the aged.

In June, I visited Hỏa Lò Prison, also known as "the Hanoi Hilton," in Vietnam, where captured American soldiers, including the late U.S. Senator John McCain in 1967, were imprisoned during the Vietnam War.

Hỏa Lò was a prison well before the Vietnam War. The prison museum today mostly memorializes the brutal torture and execution of political prisoners at the hands of French colonial forces since the prison's 1896 construction.

Guillotine used by the French
in colonial Vietnam,
now at Hỏa Lò Prison
RJ Peltz-Steele CC BY-NC-SA 4.0

The museum exhibits largely whitewash the imprisonment of Americans during the Vietnam War. Exhibits skip over the interrogation and torture of American prisoners, which conditions they were forced to deny in statements in the 1960s, but later reported (U.S. Navy, CBS News). Under international pressure, the Viet Cong improved conditions in the prison late in 1969. The museum focuses on that time and a prisoner exchange in 1973, in which McCain went home after more than five years.

Following the timeline of the prison's history through the many exhibit rooms, I came upon a group of British tourists, circa 20 years old. They were looking at an image of American soldiers playing volleyball in the prison yard. The photograph is a rather well known piece of propaganda, but it's represented in the museum as just a day in the life of "the American pilots" held at the prison.

One young woman in the group turned to her cohort. "See?" she said. "After the French treated them so horribly, this is how well they treated the Americans."

I guess history is written by the victors. 

Sometimes I lament that persons of my parents' generation, reared on Walter Cronkite, too readily believe anything they hear from a purported "news" anchor on cable TV or the internet. I wonder whether a screen-reared generation is too ready to believe anything they see on a museum wall.

I'll have a longer photo-essay on Vietnam, and the 50th anniversary of the fall of Saigon, here at The Savory Tort on Friday, August 1.