On Tuesday 27 January at 4pm EST, I’ll participate in a Twitter bookchat sponsored by US Studies Online, an offshoot of the British American Studies Association. Our subject will be Phil Klay’s Redeployment and joining me will be Aaron DeRosa, a professor at Cal Poly-Ponoma, and Patrick Deer, a professor at New York University. DeRosa is guest-editing (with Stacey Peebles) an upcoming issue of Modern Fiction Studies titled “Enduring Operations: The Wars in Afghanistan and Iraq.” Deer is the author of Culture in Camouflage: War, Empire, and Modern British Literature, a study of World War II British literature, and he has recently turned his attention to American and British contemporary war literature. I know both DeRosa and Deer and their work and am excited to enter the brave new world of Twitter scholarship with them. Our bios and other background material can be found here. Follow me on Twitter, if you aren’t already, @TimeNowBlog, while the US Studies Online tag is @BAASUSSO. Spicing things up, right on time, is Roy Scranton’s “The Trauma Hero: From Wilfred Owen to “Redeployment” to American Sniper,” published today in the Los Angeles Review of Books. Scranton’s an ex-Army Iraq vet, one of the editors (with Matt Gallagher) of the seminal Fire and Forget war literature anthology, and a Princeton graduate student. A passionate advocate for environmental awareness, he published in 2013 in the New York Times an essay called “Learning How to Die in the Anthropocene,” only partly about Iraq, that lit up the eco-criticism world. Now, in the LARB piece, Scranton delineates a twentieth-century way of writing about war that resolutely depicts male veterans of combat as psychologically shaken, but not so much that they don’t attract our sympathy and respect. Scranton hates this tradition, which he calls a myth, which is to suggest it is a fantasy. He doesn’t think it necessarily accords with either how war has to play out or has to be depicted in fiction and film. He considers it instead an obscene ploy that redirects attention from the real victims of war—the dead, to include dead enemy and civilians—to their killers, while nefariously allowing traumatized killer heroes to avoid culpability for the wars in which they fought. Klay’s “Redeployment” provides fuel for Scranton’s ire, though Scranton is also quick to praise Klay’s “literary sophistication and suspended judgment” and Redeployment in its entirety. For those who haven’t read “Redeployment” lately, it begins with the striking line, “We shot dogs”—the narrator being a home-from-war Marine who parses the ethical relativity of having had to shoot both dogs and people in Iraq and the requirement now to put down his pet Lab, named Vicar. Reread “Redeployment,” read the rest of Scranton’s argument for yourself, decide whether you like it or not, and let’s talk it out 140 characters at a time next Tuesday.