Nico Walker’s Cherry: First Thoughts and Questions

Posted December 29, 2018 by Peter Molin
Categories: General

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Is Nico Walker’s novel Cherry about war in Iraq or heroin addiction? Or is it about both? If so, what connects Iraq and heroin in the life and mind of its unnamed but clearly autobiographical first-person narrator? The first half of Cherry recounts the narrator’s life through deployment to Iraq as a medic in a combat unit in ways similar to Matthew J. Hefti’s A Hard and Heavy Thing, Brandon Caro’s Old Silk Road, and Maximillian Uriarte’s The White Donkey: purposeless young white male junior-enlisted soldiers, mostly unimpressed by anything the military has to offer, confront horrifying events that overwhelm their defense-mechanisms and occasion their dissolution into drugs, drink, violence, and anti-sociality. But the formula doesn’t quite work for Cherry. The second-half of the novel, in which the narrator describes his heroin addiction and the criminal capers he undertakes to finance it, refracted through his love for his fellow addict and soulmate Emily, seems thematically and tonally disconnected from the war-and-military sections. I came away from the novel thinking that military deployment mostly bored the narrator, and not much happened overseas that he connects to the verve of his drug-addicted, crime-ridden romance with Emily except that for a while it paid the post-war bills for love and debauchery:

There was nothing better than to be young and on heroin. Emily and I were living together. The days were bright. You didn’t worry about jobs because there weren’t any. But you could go to school so you could get FAFSA, you could get student loans and Pell Grants. And if you were getting G.I. Bill, that’d cover your tuition; then you didn’t need your FAFSA for school and you could go and buy dope with it instead. Which was all you really wanted. You could kill yourself real slow and feel like a million dollars. You could grow high-class weed in your basement and pay the rent like that. Of course the future looked bad—you went into debt, you got sick all the time, you couldn’t shit, everyone you met was a fucker, your new friends would eat the eyes out of your head for a spoon or twenty dollars, your old friends stayed away—but you could do more heroin and that would usually serve to settle you down, when you were going on 25, back when you could still fake it, and there was nothing better than to be young and on heroin.

For the narrator, heroin addiction is the logical culmination of love of getting high. He was plenty attracted to drugs before he joined the Army and deployment seems a soon-forgotten side-episode in what he considers the real story of his life. The military didn’t reform or save him, but it wasn’t his ruin, either.

Heroin addiction and overdose have wrecked my extended family’s happiness far more than anything associated with my blood-soaked and death-tinged deployment to Afghanistan, too, so I may be more receptive to Cherry‘s druggie aspects than most. But Cherry’s marketing material—book-jacket blurbs and Amazon testimonials—seems to agree with me that the novel is more junkie-romance than war-story.  Lea Carpenter writes on the dust-jacket, for example, “Cherry is the debut novel America needs now, a letter from the front line of opioid addiction and, almost subliminally, a war story.” That “almost subliminally” is intriguing. Does Carpenter mean that Walker himself doesn’t quite understand how war and drugs are mixed up in his mind and life, or is she suggesting that the real war central to the American 21st-century is not the “war on terror” but the “war on drugs”? The great article or book connecting the two wars is there for the writing.

What’s without question is Cherry’s striking critical and public reception upon release. At last check, Cherry was far-outpacing other 2018 war-fiction releases on Amazon’s best-seller list. Advance readers and reviewers have been lavish in their praise; the quote from Lea Carpenter above is restrained compared to its dust-jacket companions:

“Someone once said there are two things worth writing about, love and death. Nico Walker may know more about these two subjects than 99.9 percent of fiction writers working today.”

“After reading this, you’ll say only one thing: Nico Walker is one of the best writers alive.”

“a powerful book that declares the arrival of a real writer who has made art out of anguish.”

Far more measured is a remarkable blogpost by Spoils author Brian Van Reet, a rumination on Walker and Cherry described by Fire and Forget author Jacob Siegel on Twitter as “one of the only essential pieces of cultural criticism that I read this year.” Van Reet nicely captures the dilemma of judging Cherry work-and-author fairly:

When I first heard of him [Walker] and his autobiographical novel, I confess my reaction to it was not-so-gentle bemusement. Oh great, I thought. An Iraq-veteran-junkie-bank-robber novelist. We have truly jumped the shark in this genre. Blame our sensationalistic media culture, which often functions to seek out and reward the very worst people. I feared the rest of us, in the wake of his book, would now have to deal with its confirmation of a damaging stereotype about this generation of veterans: that we are no more than mindless thugs who, by virtue of our participation in a criminal war, are criminals at heart, if not by the letter of the law.

On top of that, it seemed to me a dizzying moral abdication that so many literary journalists and book critics had taken it upon themselves to celebrate work by a convicted violent criminal from an affluent background, in a cultural moment when any number of male authors and editors have been lately accused of inappropriate behavior, which may not rise to the level of criminal offense, but which is nevertheless deemed toxic enough to warrant the ruination of their careers. Meanwhile, some of the same institutions and people most responsible for tearing down these “shitty men” in literature were now elevating Walker to literary celebrity, his career launched precisely because of his outrageously bad behavior.

So, another question: Is Cherry the apotheosis of modern war fiction, the book critics and readers have been waiting for all along? Or, is it the nadir, the repudiation of literary possibilities suggested by veteran authors such as Kevin Powers, David Abrams, Phil Klay, Matt Gallagher, and Van Reet himself? To be fair to Van Reet, following his skeptical start-point, he works toward recognition of Cherry’s appeal and achievement: the startlingly visceral illusion of clarity and honesty with which Walker presents the narrator, his tour in Iraq, and his love for heroin. In describing both hair-raising (and sometimes comic) scenes of combat and junkie degeneracy, Walker’s understated language mostly avoids sensationalist and melodramatic excess. The narrator doesn’t waste time in self-reflection or analytical explanation, which is a virtue in terms of sprightly story-telling, but also a weakness for readers curious to learn what Walker knows about “love and death” better than “99.9 percent of fiction writers working today.” More decidedly a plus, there’s a thankful lack of either apologizing or humble-bragging in the narrator’s account of his walks-on-the-wild-side, and even better is that Walker avoids the trap of stale media and public health buzz-words to describe his drug-taking: there’s very little mention of “abuse,” “addiction,” “rehabilitation,” “opioid epidemic,” “monkey on my back,” “overdose,” “clean,” “OD,” “drug fiend,” “junkie,” “addict,” or “war on drugs.”

The narrator’s prose voice seems intuitive and unrehearsed, though by Walker’s own report in the Acknowledgements the finished book is the product of many rewrites and much tough-tutelage administered by his publishing team. In other words, he worked harder on Cherry than anything he ever worked on in his life, save for scoring heroin and (perhaps, hopefully) making Emily happy, and the unadorned feel of natural genius is the product of extensive editorial curation. Whatever, Walker’s self-presentation is Cherry‘s strength; in the Acknowledgments Walker relates that he knew Cherry was getting good when one of his editors tells him that after a few dozen revisions the main character was no longer just an “asshole,” but an asshole “she kind of liked.” More Jim Carroll’s The Basketball Diaries than Colby Buzzell’s My War, more Sid and Nancy than American Sniper, Cherry awaits your reading.

Also recommended:  Jenny Pacanowki’s “Learning to Breathe Through the Journey of Addiction and PTSD.”

Nico Walker, Cherry. Knopf, 2018.

Yale, the Great War and Modern War-Writing

Posted December 26, 2018 by Peter Molin
Categories: Art and War

Tags: , , , , ,

Many thanks to the Yale University Veterans Association for the invitation to moderate a World War I Armistice Day Commemoration panel on WWI literature and film. The event was coordinated and hosted by Adrian Bonenberger, a Yale graduate, 173rd Airborne paratrooper, author of the memoir Afghan Post, co-editor (with Brian Castner) of the collection of contemporary war short-fiction The Road Ahead, and currently an editor of a Yale medical-science journal. Bonenberger invited an eclectic group of war artists and scholars to participate in a very cool endeavor: linking contemporary war-writing to precedents established by veterans and talented artists during and after “The Great War.” Joining me on the panel, which served as the capstone for a week of commemorative events, were Benjamin Busch, Jennifer Orth-Veillon, and Brianne Bilsky. Busch, well-known to readers of Time Now, is a film-maker, poet, photographer, actor, and memoirist of very high order. Orth-Veillon is the editor of the fantastic WWriteBlog, where she has published reflections on World War I by many modern war-writers. Bilsky, now a dean of one of Yale’s residential colleges, is a former colleague on the faculty of the Department of English and Philosophy at West Point, where we frequently taught World War I writing to cadets.

The set-up for the occasion was intriguing, as it demonstrated the appetite of the Yale community for honoring veterans and for thinking about war-related issues in serious, complex ways. After an informative and enjoyable lecture by Yale historian Paul Kennedy on World War I memorials, we, along with our audience, watched Stanley Kubrick’s 1957 movie Paths of Glory, about French soldiers court-martialed for cowardice in World War I, and then discussed it in relation to the post-World War I artistic tradition. Next, we segued into discussion of World War I writing to which we felt personally connected. Finally, we tried to suggest the wider impact of World War I writing on contemporary veteran-authors and culture-wide thinking about war.

A broad charge, to be sure, one perhaps too broad for the time allotted, save for the acuity of the panelists, each of whom is apparently incapable of saying a dull thing. Watching Paths of Glory was galvanizing, as it offered chance to admire Kubrick’s superb direction and Kirk Douglas’s riveting acting, but the film in my opinion is a bit of a counterpoint to the general trend of World War I art. Not so much concerned with the impact of war on individual soldiers as with the moral bankruptcy of the chain-of-command that keeps the war machine going, Paths of Glory is a late-stage addition to the Great War artistic legacy. Arguably, it is as much about post-World War II Cold War conformity as it is about the historical work performed by World War I in erasing 19th-century modes-of-thought and bringing our modern era into being. Still, discussion of Paths of Glory set the stage for return to the canonical literary works of World War I, as well as the publicizing of voices neglected by the decades but resonant now. Here are the works each panelist read from and commented on:

Jennifer Orth-Veillon: Ernest Hemingway’s novel A Farewell to Arms
Benjamin Busch: Wilfred Owen’s poem “The Parable of the Old Man and the Young,” followed by Hemingway’s short-story “Soldier Home”
Brianne Bilsky: Siegfried Sassoon’s poem “Counter-Attack”
Me: Aline Kilmer’s poem “To a Young Aviator”

What can be said about World War I writing that hasn’t been said before? To some extent, perhaps not much, because that’s some very well-trod critical ground. The better question is what rings particularly true today? Below are some of my thoughts on the matter, inspired by our panel.

One is the general truth that World War I veteran-writers and contemporary war-writers are both well-read participants in the literary traditions they hope to join. Each cohort has gone to war and then written about it with a swirl of precursor works in mind, the Western tradition of classics for World War I writers and the 20th-century body of war writing-and-film for modern veteran authors. Another link is a characteristic subject: the disillusionment of the individual soldier, caused not just by the slaughter and stupidity he (or she) witnesses, but in the collapse of the dream of heroism, inflected with huge amounts of survivor guilt. This morphing of heroic possibility into lacerating self-reproach is related to the way that soldiers were randomly and unglamorously killed in the two wars: by gas, artillery barrage, and mowed down by machine-gun in World War I, and blasted instantly off the face-of-the-earth by IED explosions in Iraq or Afghanistan. A third is a similarity in tone, different from the hard-boiled feel of the great World War II novels and the moral outrage of Vietnam War fiction—a tone more elegiac or hesitant or softer or somehow regretful. While World War II and Vietnam writing often seems testosterone-soaked, few World War I or Iraq/Afghanistan authors come off as tough guys, and most give the impression that he or she would view extreme masculine competitive aggressiveness as a pathetic pose in the face of circumstance. Connected to this last notion is a shared sense of futility about the respective war efforts, and a distancing from responsibility or even care for strategic goals and national aspirations, which are typically categorized as vain, foolish, or irrelevant to the individual soldier experience.

These are just some ideas, surely there are others. Not every aspect of contemporary war-writing need have an antecedent in World War I, and the World War I canon is not beyond criticism—in fact, the canon cries out for “problematizing,” to use academic-speak, on several grounds. Still, it would be a foolish contemporary war-writer who set pen to paper without first reading the works authored by World War I combatants and interested non-combatants touched by the war, and it would be a very good one who surpasses or transforms the marks they established.

****

The event had a special family significance for me: My grandmother’s brother left Yale during World War I to fight in France, where he suffered wounds in a gas attack from which he never fully recovered.

Jennifer Orth-Vellion, Brianne Bilsky, Benjamin Busch, Adrian Bonenberger, me.

Elliot Ackerman’s Waiting for Eden

Posted December 11, 2018 by Peter Molin
Categories: Art and War

Tags: ,

Elliot Ackerman, as much as any contemporary veteran, has turned himself into a working professional author. With three novels in three years published by prestigious publishing houses and a collection of journalism and essays on the way, he’s making the rest of the veteran war-writing crew look a little sluggish, as if they were struggling to generate sellable story ideas. Time will tell who is the Tim O’Brien of the current cohort of war authors, but Ackerman is well on his way to being its Robert Olen Butler: the author of a steady stream of distinctive war-related fiction; books that fuse contemporary concerns with literary antecedents and private vision, that may be more loss-leaders than cash-cows for their publishers, but cumulatively adding up to a successful career and a laudable body-of-work.

Ackerman’s latest work-of-fiction, Waiting for Eden, is novella-length, so not as tight and focused as a short-story nor as expansive as a novel. Shorting commentary, context and portrayal of social milieu while still taking time to reveal its secrets and generate impact, Waiting for Eden aims for evocativeness rather than detail as it presents the story of a grievously wounded and near-comatose Iraq veteran lying in a San Antonio hospital bed years after his wounding. The veteran, Eden Malcolm by name, is kept alive by the miracles of medicine and the refusal of his wife Mary to let doctors pull the plug on him. Eden in this regard resembles the protagonist of Dalton Trumbo’s acclaimed novel Johnny Got His Gun, published in 1938, about a World War I quadruple-amputee trapped alone with his thoughts inside his mangled body. Waiting for Eden is narrated by Eden’s Marine Corps buddy, an unnamed friend killed in the same IED explosion that injures Eden and who now tells the story from beyond the grave. The parallels between Waiting for Eden and Johnny Got His Gun have been noted by reviewers, but no one, to my knowledge, has noticed the similarity of the narration to Larry Heinemann’s 1987 National Book Award-winning Vietnam War novel Paco’s Story, which is related by the collective voice of the dead soldiers killed in a big battle that leaves the title character physically disabled and mentally anguished.

With this intriguing buddy-pair–neither narrator nor protagonist fully there in the real world to tell his story and interact with living people–demanding attention at first read, reviews of Waiting for Eden have tended to explain it in terms of its exploration of war disability, soldierly camaraderie, survivor guilt, and national responsibility for war-wounded. The novella also asks readers to consider the plight of the families of wounded veterans and the ethical-medical-legal quandaries of extending life by technology and pharmaceuticals. To the extent that Waiting for Eden actually does explore these weighty themes, it’s interesting to speculate how other contemporary war-writers might have handled them:

-Phil Klay might philosophize about the ethics of life preservation and the oaths soldiers and families make to each other unto eternity.
-Matt Gallagher might infuse the story with self-deprecating humor and existential bemusement.
-Roy Scranton might critique sanctimonious dwelling on wounded American soldiers and the feebleness of “thanking soldiers for their service.”
-Will Mackin might have a field day describing the porous boundaries between life and death.

This fanciful mind-game actually has a point: Ackerman, or his narrator, is not especially interested in the cosmic dynamics of the life-death continuum nor the politics of caring for wounded veterans. The reviews that focus on these matters have missed what the narrator clearly states in the opening lines of Waiting for Eden:

I want you to understand Mary and what she did. But I don’t know if you will. You’ve got to wonder if in the end you’d make the same choice, circumstances being similar, or even the same, God help you.

In other words, the focus is on Mary, a problematic care-taker of her disabled husband and object of fascination and desire for the narrator, and it’s also a referendum on the narrator’s own thoughts and actions. It’s too soon after publication to reveal key plot details and discuss the story’s finale, but events before Iraq and after her husband’s wounding reveal that Mary’s choices and motives in regard to Eden are not exactly beyond reproach, nor are the narrator’s. Without giving away too much, let’s just say marital dissatisfaction and sexual impotence are issues, and matters of infidelity and paternity also come into play. The narrator’s intent (and I am assuming Ackerman’s too) is to save Mary and himself from harsh judgment, which is cool by me. The issue is complicated, however, by the narrator’s unreliability, his failure to clarify important plot points, and most of all, his failure or inability to offer fulsome portraits of Mary’s thoughts, though he is quite omniscient about other aspects of the story he tells. The problem is compounded by the fact that the narrator is a disembodied voice, not a ghost who interjects himself in the lives of the living, and Mary isolates herself from family, hometown, friends, fellow military spouses, medical care-givers, and even her daughter, which makes it hard to evaluate them in the context of social relations. Readers who feel they don’t have enough information to properly “understand” Mary and “what she did” might be left in a perplexed state by Waiting for Eden, which I believe is by design. Whether they approve of Mary and the narrator or not, readers will certainly be eager to discuss their ideas with other readers, which any author should welcome, and which I would certainly enjoy doing over a beer or two, if anyone’s interested.

To situate Ackerman once more among his war-writer peers, Waiting for Eden explores the precincts of military marriage also patrolled by Siobhan Fallon. Fallon’s latest novel, The Confusion of Languages, features a character much like Waiting for Eden’s narrator–in Fallon’s case, a self-important male Army officer eager to preserve plausible deniability that he’s not your average, ordinary horndog with the hots for his best friend’s wife. Fallon’s best stories—“Leave,” “The Last Stand,” and “Tips for a Smooth Transition”—feature military couples in scenes set not just in any domestic space, but in the “rank sweat of an enseamed bed,” as Hamlet puts it, where the jealousy, resentment, and pay-back meters can ping off the charts. A great line from the movie version of Cat on a Hot Tin Roof spoken by the family matriarch, Big Mama, played by Judith Anderson, helps define the parameters of Waiting for Eden‘s odd ménage-à-trois and the centrality of the hospital bed where all the action happens, or doesn’t happen. While sitting on her daughter-in-law’s bed, Big Mama barks at Elizabeth Taylor’s Maggie-the-Cat character, who is married to Big Mama’s dysfunctional son Brick, played by Paul Newman: “You’re childless and my son drinks, and the problem starts right here,” at the same time slapping the unhappy couple’s mattress. Brick, it turns out, pines for his childhood friend Skipper, who has committed suicide after Maggie-the-Cat attempts to seduce him in order to ruin his friendship with Brick, which she resents.

Complicated, yes, but something of the same is at work in Waiting for Eden. Eden’s hospital bed, haunted by the narrator’s vigil, serves, if we can borrow from William Blake, as “the Marriage hearse” for Eden and Mary’s ruptured dream of conjugal bliss and fruitful procreation. The romantic triangle formed by Mary, Eden, and the narrator also nicely illustrates literary critic Eve Kosofsky Sedgwick’s theory of “homosociality”: one deal-e-o going down is the psychodrama of the two men, locked in passive-aggressive one-upmanship manifested as desire for Mary, which is quickly transformed into dependence on her, and not just need for her body and approval, but for very existence. In a startlingly apt description, Benjamin Busch writes of Fallon’s “worried imagination,” and in many of her stories it’s not wives worrying about their husband’s fidelity that’s the issue, but wives worrying about their own potential for betrayal, along with the evident ability they have to emotionally crush their naïve, oblivious, trusting, and child-like husbands, should they choose to. This sentiment also informs Waiting for Eden. Ackerman’s achievement is tracing the narrator’s growing respect for Mary’s increasing consciousness of the power she holds over the men in her life, and their death, while moving the reader to understand and respect her growing awareness, too.

That’s an enigmatic, perhaps not entirely helpful way to close this invitation to read Waiting for Eden, which I urge you to accept nonetheless. The book ends (as does Benjamin Busch’s memoir Dust to Dust, by the by) by quoting the final lines of John Milton’s Paradise Lost, which describe Adam and Eve, sadder but wiser after Eve eats the apple, leaving the Garden of Eden on “thir solitarie way.” It’s a stirring image, but its exact relation to the story Waiting for Eden tells is one more thing we can talk about when we have that beer together.

Elliot Ackerman, Waiting for Eden. Alfred A. Knopf, 2018.

War Fiction, Poetry, and Film 2018

Posted December 1, 2018 by Peter Molin
Categories: Art and War

Tags: , ,

USASOC #7, by Bill Putnam, used with permission.

2018 was a bounteous year for new fiction about the wars in Iraq and Afghanistan. Titles by veterans Elliot Ackerman, Will Mackin, Ray McPadden, and Nico Walker burst with interest and talent, and works by non-veterans Raymond Hutson, Kathleen McInnis, Hilary Plum, Stephen Markley, and Ahmed Saadawi offer as much or more.

2018 poetry titles include new work by Army vet Hugh Martin, Marine spouse Lisa Stice, and Army spouse Abby Murray. As far as I have noted, the only major movie about war in Iraq or Afghanistan to have appeared in 2018 is 12 Strong, about Special Forces in the early days of the war in Afghanistan, though Vice, about war architect Vice-President Dick Cheney, is set to hit theaters on Christmas.

What am I missing? Let me know and I’ll add it to the lists.

Iraq and Afghanistan War Fiction

Bob Kornheiser, Crossing the Wire (2004)
Nadeem Aslam, The Wasted Vigil (2008)
David Zimmerman, The Sandbox (2010)
Siobhan Fallon (Army spouse), You Know When the Men Are Gone (2011)
Helen Benedict, Sand Queen (2011)
David Abrams (Army), Fobbit (2012)
Ben Fountain, Billy Lynn’s Long Halftime Walk (2012)
Kevin Powers (Army), The Yellow Birds (2012)
Joydeep Roy-Bhattacharya, The Watch (2012)
Sinan Antoon, The Corpse Washer (2013)
Nadeem Aslam, The Blind Man’s Garden (2013)
Lea Carpenter, Eleven Days (2013)
Masha Hamilton, What Changes Everything (2013)
Hilary Plum, They Dragged Them Through the Streets (2013)
Roxana Robinson, Sparta (2013)
J.K. Rowling (aka Robert Galbraith), The Cuckoo’s Calling (2013)
Katey Shultz, Flashes of War (2013)
Fire and Forget: Short Stories from the Long War, edited by Roy Scranton (Army) and Matt Gallagher (Army) (2013)
Paul Avallone, Tattoo Zoo (2014)
Greg Baxter, The Apartment (2014)
Hassan Blasim, The Corpse Exhibition (2014)
Aaron Gwyn, Wynne’s War (2014)
Cara Hoffman, Be Safe, I Love You (2014)
Atticus Lish (USMC), Preparation for the Next Life (2014)
Phil Klay (USMC), Redeployment (2014)
Michael Pitre (USMC), Fives and Twenty-Fives (2014)
Elliot Ackerman (USMC), Green on Blue (2015)
Eric Bennett, A Big Enough Lie (2015)
Brandon Caro (Navy), Old Silk Road (2015)
Mary “M.L.” Doyle, The Bonding Spell (2015)
Jesse Goolsby (USAF), I’d Walk With My Friends If I Could Find Them (2015)
Carrie Morgan, The Road Back from Broken (2015)
John Renehan (Army), The Valley (2015)
Ross Ritchell (Army), The Knife (2015)
Christopher Robinson and Gavin Kovite (Army), War of the Encylopaedists (2015)
Susan Aspley, Granola, MN: Love and War in a Nutty Little Town (2016)
The Road Ahead, Adrian Bonenberger (Army) and Brian Castner (Air Force), eds. (2016)
Matt Gallagher (Army), Youngblood (2016)
Matthew Hefti (Air Force), A Hard and Heavy Thing (2016)
Tom King and Mitch Gervais, The Sheriff of Babylon, vol 1: Bang. Bang. Bang.(2016).
Odie Lindsey (Army), We Come to Our Senses (2016)
Elizabeth Marro, Casualties (2016)
Luke Mogelson, These Heroic, Happy Dead (2016)
Harry Parker, Anatomy of a Soldier (2016)
Scott Pomfret, You Are the One (2016)
Roy Scranton (Army), War Porn (2016)
Whitney Terrell, The Good Lieutenant (2016)
Maximilian Uriarte (USMC), The White Donkey (2016)
David Abrams (Army), Brave Deeds (2017)
Elliot Ackerman (USMC), Dark at the Crossing (2017)
Helen Benedict, Wolf Season (2017)
Caleb Cage (Army), Desert Mementos: Stories of Iraq and Nevada (2017)
Siobhan Fallon (Army spouse), The Confusion of Languages (2017)
Tom King (CIA) and Mitch Gervais, The Sheriff of Babylon, vol. 2: Pow. Pow. Pow. (2017)
Christopher Meeks and Samuel Gonzalez, Jr. (Army), The Chords of War (2017)
Brian Van Reet (Army), Spoils (2017)
Elliot Ackerman (USMC), Waiting for Eden (2018)
Raymond Hutson, Finding Sergeant Kent (2018)
Kathleen J. McInnis, The Heart of War: Misadventures in the Pentagon (2018)
Will Mackin (Navy), Bring Out the Dog (2018)
Stephen Markley, Ohio (2018)
Ray McPadden (Army), And the Whole Mountain Burned (2018)
Hilary Plum, Strawberry Fields (2018)
Ahmed Saadawi, Frankenstein in Baghdad (2018)
Nico Walker (Army), Cherry (2018)

Iraq and Afghanistan War Poetry

Juliana Spahr, This Connection of Everyone with Lungs (2005)
Brian Turner (Army), Here, Bullet (2005)
Walt Piatt (Army), Paktika (2006)
Sinan Antoon, The Baghdad Blues (2008)
Frances Richey (Army mother), The Warrior: A Mother’s Story of a Son at War (2008)
Jehanne Dubrow (Navy spouse), Stateside (2010)
Elyse Fenton (Army spouse), Clamor (2010)
Frances Richey (Army mother), Voices of the Guard (2010)
Brian Turner (Army), Phantom Noise (2010)
Allan Gray (Army), Overwatch (2011)
Tom Sleigh, Army Cats (2011)
Colin Halloran (Army), Shortly Thereafter (2012)
Abby E. Murray, Quick Draw: Poems from a Soldier’s Wife (2012)
Jason Poudrier (Army), Red Fields (2012)
Seth Brady Tucker (Army), Mormon Boy (2012)
Paul Wasserman (USAF), Say Again All (2012)
Charles Bondhus, All the Heat We Could Carry (2013)
Stanton S. Coerr (USMC), Rubicon (2013)
Kerry James Evans (Army), Bangalore (2013)
Amalie Flynn (Navy spouse), Wife and War (2013)
Hugh Martin, The Stick Soldiers (2013)
Chuck Rybak, War (2013)
David R. Dixon (USMC), Call in the Air (2014)
Frederick Foote (Navy), Medic Against Bomb: A Doctor’s Poetry of War (2014)
Gerardo Mena (Navy), The Shape of Our Faces No Longer Matters (2014)
Seth Brady Tucker (Army), We Deserve the Gods We Ask For (2014)
Kevin Powers (Army), Letter Composed During a Lull in the Fighting (2014)
Sylvia Bowersox (Army), Triggers(2015)
Randy Brown, aka “Charlie Sherpa” (Army), Welcome to FOB Haiku (2015)
Colin Halloran (Army), Icarian Flux (2015)
Victoria Kelly (spouse), When the Men Go Off to War (2015)
Philip Metres, Sand Opera (2015)
Tom Sleigh, Station Zed (2015)
Washing the Dust from Our Hearts: Poetry and Prose from the Afghan Women Writing Project (2015)
Paul David Adkins (Army), Flying Over Baghdad with Sylvia Plath (2016)
Jonathan Baxter (Army), The Ghosts of Babylon (2016)
Lance B. Brender (Army) and C. Rodney Pattan (Army), In Cadence (2016)
Kim Garcia, Drone (2016)
Nicole Goodwin (Army), Warcries (2016)
Karen Skolfield (Army), Frost in the Low Areas (2016)
Lisa Stice (USMC spouse), Uniform (2016)
Home Front: Jehanne Dubrow’s Stateside, Elyse Fenton’s Clamor, Bryony Doran’s Bulletproof, and Isabel Palmer’s Atmospherics (2016, UK only)
Paul David Adkins (Army), FM 101-5-1 MCRP 5-2A: Operational Terms and Graphics (2017)
Eric Chandler (USAF), Hugging This Rock (2017)
Jehanne Dubrow (Navy spouse), Dots & Dashes (2017)
Elyse Fenton (Army spouse), Sweet Insurgent (2017)
Benjamin Hertwig (Canadian Army), Slow War (2017)
Lynn Marie Houston, Unguarded (2017)
Hugh Martin (Army), In Country (2018)
Abby Murray (Army spouse), How To Be Married After Iraq (2018)
Lisa Stice (USMC spouse), Permanent Change of Station (2018)

Iraq and Afghanistan War Film

In the Valley of Elah, Paul Haggis, director (2007)
Lions for Lambs, Robert Redford, director (2007)
Battle for Haditha, Nick Broomfield, director (2007)
Body of War, Ellen Spiro and Phil Donahue, directors (2008)
The Hurt Locker, Kathryn Bigelow, director (2008)
Standard Operating Procedures, Errol Morris, director (2008)
Stop-Loss, Kimberly Pierce, director (2008)
Generation Kill, David Simon and Ed Burns, executive producers (HBO) (2008)
The Objective, Daniel Myrick, director (2008)
Brothers, Jim Sheridan, director (2009)
Restrepo, Sebastian Junger, director (2009)
The Messenger, Oren Moverman, director (2009)
Green Zone, Paul Greengrass, director (2010)
Return, Liza Johnson, director (2011)
Zero-Dark-Thirty, Kathryn Bigelow, director (2012)
Lone Survivor, Peter Berg, director (2013)
American Sniper, Clint Eastwood, director (2014)
Korengal, Sebastian Junger, director (2014)
The Last Patrol, Sebastian Junger, director (2014)
Fort Bliss, Claudia Myers, director (2014)
Man Down, Dito Monteil, director (2015)
A War, Tobias Lindholm, director (2015)
Hyena Road, Paul Gross, director (2015)
Billy Lynn’s Long Halftime Walk, Ang Lee, director (2016)
Blood Stripe, Remy Auberjonois, director (2016)
Neither Heaven Nor Earth, Clement Cogitore, director (2016)
Nobel, Per-Olav Sorensen, director (Netflix) (2016)
War Dogs, Todd Phillips, director (2016)
Whiskey Tango Foxtrot, Glenn Ficarra and John Reque, directors (2016)
Last Flag Flying, Richard Linklater, director (2017)
Sand Castle, Fernando Coimbra, director (Netflix) (2017)
Thank You For Your Service, Jason Hall, director (2017)
The Wall, Doug Liman, director (2017)
War Machine, David Michod, director (Netflix) (2017)
The Yellow Birds, Alexandre Moors, director (2017)
12 Strong, Nicolai Fuglsig, director (2018)

Can You Take a Five Finger Death Punch?

Posted November 26, 2018 by Peter Molin
Categories: Art and War

Tags: ,

How you feel about the American metal band Five Finger Death Punch’s extensive use of military terminology, imagery, themes, characters, and narratives in their songs and videos probably has a lot to do with how you feel about metal generally. If you find metal cartoonish at best and unlistenable the rest of the time, you probably won’t be very impressed by Five Finger Death Punch’s musical efforts to give voice to the concerns of  soldiers and veterans. If you love metal, Five Finger Death Punch’s mil-and-war songs and videos probably strike you as moving, sincere, and laudable. I suppose you could love Five Finger Death Punch, but have reservations about their exploitation of military motifs, and I suppose you could whole-heartedly “support the troops” while hating on Five Finger Death Punch. The numbers, however, suggest that Five Finger Death Punch has captured the true, beating heart of what many soldiers really like when it comes to seeing their lives reflected in art, and what hundreds of thousands of non-veterans (to include the members of Five Finger Death Punch) think it means to thank veterans for their service. The video for “Wrong Side of Heaven” has been viewed 230 million times, people, and the YouTube comments ooze with testimonials from vets who find much to appreciate in Five Finger Death Punch’s music and messages. It’s also hard to gainsay the band’s concentrated commitment to helping struggling veterans, as reflected in their organization 5FDP4VETS.

Still, the matter of Five Finger Death Punch’s popularity is not without its complications, as explored in a 2015 Stereogum article titled “How Five Finger Death Punch Got Huge By Writing Songs for Soldiers” by Phil Freeman. Freeman frames the issue as such:

Five Finger Death Punch are probably the least cool metal band around right now. Critics pretty much hate them (a reaction that’s likely to get worse, now that guitarist Zoltan Bathory has endorsed Donald Trump’s presidential campaign on Twitter); metal elitists sneer at them and consider them knuckle-dragging, lowest-common-denominator purveyors of post-Pantera crap. But they’re able to sell 114,000 albums in a week, which means they’re reaching an audience your average blog-friendly metal band can’t even dream of. And I have a theory about that audience: I think Five Finger Death Punch have succeeded by building a relationship with listeners in the military, in a way other bands haven’t.

I’ll let you sort out your own feelings about the subject while reading the rest of Freeman’s article and checking out the Five Finger Death Punch music-video evidence below.

“Bad Company” (2010). A cover of the Bad Company classic-rocker, accompanied by footage of Five Finger Death Punch’s tour of US military FOBs in Iraq.

“Remember Everything” (2012). About the impossibility of forgetting war-related horror after returning home.

“Wrong Side of Heaven” (2014). Focuses attention on veteran trauma and homelessness while castigating an ungrateful nation.

“Gone Away” (2017). A young man, torn by guilt when his best friend is killed in an IED blast overseas, decides to enlist. A cover of a song by the Offspring.

“When the Seasons Change” (2018). Dedicated to Charleston Hartfield, US Army Iraq veteran and Las Vegas policeman killed in the 2017 mass shooting there.

 

Red Beards, Restrepo, Benito Cereno

Posted November 16, 2018 by Peter Molin
Categories: Art and War

The most popular blog post I’ve ever written was not for Time Now, but for my old blog 15-Month Adventure, about my year in Afghanistan from 2008-2009. One post, titled “Red Beard,” still gets lots of hits, especially after the movie Restrepo shows somewhere on TV. A scene featuring an Afghan elder with a henna-dyed beard sends curious viewers to the Internet to find out more about the practice. By some Google trickery my post pops up near the top for searches for “Red Beard Afghanistan.” Looking at the post the other day for the first time in a while, I remembered that in it I riffed on Herman Melville’s novella Benito Cereno. Benito Cereno? Restrepo? That’s close enough to “Art, Film, and Literature” for me to reprise the original post on Time Now for readers who didn’t know me back then. I can’t carry over the “Comments” from the old post, however, so be sure to check them out here–they’re where I discuss the practices of male hair-and-beard dyeing and wearing eyeliner and fingernail polish with “h,” one of my Afghanistan interpreters.

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Red Beard

This video appeared in several places on the web this week [in 2010].  It shows 101stAirborne Division soldiers engaged in a battle in Shimbowat wadi, near Camp Clark in Khowst province, Afghanistan. Toward the end, American soldiers are seen speaking with an Afghan elder whose hair and beard are died a hideous shade of red.

I recognized the terrain because I walked and drove up Shimbowat wadi many times when I was in Khowst in 2008 and 2009. I’m about 90% sure I recognize the elder, whom I’ll call “Red Beard.”  I was thinking of writing about him even before I saw the video.

One night we positively identified that a rocket had been launched in our direction from the vicinity of Red Beard’s kalat. We countered with artillery fire of our own and at first light we rode out to inspect the damage.

The smell of explosives hung in the air and fresh shrapnel marks splattered the kalat‘s exterior walls.

Red Beard and six other “MAMs” (Military Age Males) stood around a table. Cleavers in hand, they were butchering a cow that had been killed by the artillery rounds. The carcass was a bloody mess and the men’s hands and the sleeves and fronts of their shirts were also smeared with blood.  Red Beard greeted us jovially.

“No we haven’t seen any Taliban.”

“They come down from the hills, shoot their rockets and mortars and then leave.”

“All these men are my family and they are here for a wedding.”

“Don’t worry about the cow.  We were going to kill it anyway.”

We learned that one of Red Beard’s sons was currently in detention at Bagram Air Force Base and another had been killed fighting the government. Still, he professed his desire for peace in Afghanistan and his respect for the military. We didn’t have any evidence to detain him; in fact, before we left we gave him script he could redeem for the value of the cow.  A few days later, though, we went back and arrested him on the basis of a tip from an Afghan informant.  But after three days we had to let him go, again for lack of evidence.

A report filtered in that our artillery had wounded three children. Another arrived stating that it had been three insurgents. We never determined if either was true.

The men with cleavers in hand, all chopping away at the cow carcass, reminded me of Melville’s “Benito Cereno.” In that story, a naïve American ship captain boards a slave ship on which a mutiny has taken place but which the mutineers attempt to hide from the American. The captain, Amasa Delano, sees a lot of strange things, including a row of slaves furiously polishing hatchets. The hatchet-polishers look like a work party, but in actuality stand guard over the white crew members who are now their prisoners. I’m not saying that Afghanistan is like Melville’s San Dominick, the ship the slaves have taken control of.  But operating there one can feel a lot like Amasa Delano.

We took pictures and retina scans of all the military-age males in the vicinity of Red Beard’s kalat.

A Veterans Day Photo Anthology

Posted November 10, 2018 by Peter Molin
Categories: Art and War

Tags:

Phil Klay, USMC.

Benjamin Busch, USMC.

Matt Gallagher, US Army.

John Renehan, US Army.

Elyse Fenton, US Army spouse.

Siobhan Fallon, US Army spouse.

Brian Van Reet, US Army.

Bill Putnam, US Army.

Jan Barry, US Army.

Brian Turner, US Army.

John Myer, US Army.

Brandon Willitts, US Navy,

Chris Wolfe, US Army.

Roy Scranton, US Army, and Jacob Siegel, US Army.

Maurice Decaul, USMC, with Alex Mallory.

Emily Yates, US Army, and Jenny Pacanowski, US Army.

Elyse Fenton, US Army spouse, and Andria Williams, US Navy spouse.

Jay Moad II (USAF) and Jesse Goolsby (USAF)

Matt Gallagher, US Army, Andrew Slater, US Army, Fred Marchant, USMC.

Benjamin Busch, USMC, Siobhan Fallon, US Army spouse, and Brian Turner, US Army.

Hugh Martin, US Army, Matt Gallagher, US Army, Chantelle Bateman, USMC, and Mariette Kalinowski, USMC.

Ron Capps, US Army, Peter Molin, US Army, Kayla Williams, US Army, Maurice Decaul, USMC, and Colby Buzzell, US Army.

Brandon Willitts, US Navy, Matt Gallagher, US Army, Peter Molin, US Army, Teresa Fazio, USMC, and Chris Wolfe.

Adrian Bonenberger, US Army, Roxana Robinson, David Abrams, US Army, and Matt Gallagher, US Army.

Roman Baca, USMC, Siobhan Fallon, US Army spouse, Brian Turner, US Army, and Benjamin Busch, USMC.

Nate Bethea, US Army, Eric Nelson, US Army, Adrian Bonenberger, US Army, Brandon Willitts, US Navy, Mariette Kalinowski, USMC, Vic Zlatonovic, US Army, Lisbeth Prifogle, USMC, Peter Molin, US Army, and Jacob Sotak, US Army.

I took all the pictures except for the group photos in which I am included. The pictures of me with Matt Gallagher, Chris Wolfe, Brandon Willitts, and Teresa Fazio and with Nate Bethea, Eric Nelson, and others were taken by Sang Hui Molin. I can’t remember exactly who took the picture of me with Ron Capps, Maurice Decaul, Kayla Williams, and Colby Buzzell, but it was probably Andria Williams. The picture of Andria Williams and Elyse Fenton was taken by me with Andria Williams’ camera and first displayed on her blogpost here.


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