"And the Blue Angels are coming back to scare the local population. I remember seeing old Vietnamese women ducking under the benches in Washington Square; they thought they were back in the war"

In this quote, Lawrence Ferlinghetti records an effective and striking picture of heaven Angels, the U.S. Navy's flight presentation squadron, whose performance in the sky invokes a vivid scene of worry similar to wartime experiences. The Blue Angels are renowned for their accuracy flying and are a symbol of American military prowess, typically performing at airshows and public events. However, Ferlinghetti's portrayal suggests a duality in their presence: a phenomenon for some, yet a haunting pointer for others.

The reference of the "local population" being scared indicates that the impact of these efficiencies is not uniformly favorable or thrilling for everybody. Particularly, Ferlinghetti lights up the viewpoint of older Vietnamese ladies who are triggered by the noise of these jets. Their reaction of ducking under benches in Washington Square remembers deeply entrenched memories of the Vietnam War, during which air raids and military airplane represented impending danger and damage.

Ferlinghetti's choice of words draws attention to the mental scars left by war, highlighting the withstanding injury experienced by those who as soon as lived through such disputes. The juxtaposition in between the celebratory environment of an airshow and the fear it can stimulate underscores the complex nature of military display screens. For veterans and refugees, these performances can suddenly resurrect traumatic memories, exposing a detach in between public celebration and individual history.

Furthermore, the recommendation to Washington Square locates this scene within a city American landscape, highlighting how war's tradition can resurface far from the initial battlegrounds. Ferlinghetti's reflection works as a poignant tip of war's long lasting effect, prompting us to consider the varied experiences of individuals within our neighborhoods. By presenting this upsetting contrast, he welcomes a more empathetic understanding of how national signs and celebrations can bring different significances for different individuals, formed by their unique histories and experiences.