War, Poetry, Experience: Hugh Martin, Abby E. Murray, Nomi Stone

Recent poetry volumes by Hugh Martin, Abby E. Murray, and Nomi Stone reflect the ongoing pull of war and military themes on poets and the authors’ fascination with the poetry as a means of reflecting on their experiences as soldiers, military spouses, and military observers, respectively. “Experience,” it seems to me, is a key word for sussing out the nature of the books’ achievements. I remember a telling Tweet or Facebook post from Lauren Kay Johnson a few years back in which she queried veteran friends and followers about a word that might be used as a synonym or alternative to the word “experience” to categorize their time in the military and on deployment. Responses were mixed, or not especially helpful, as I recall: more evidence that the word might be both overused and under-interrogated as an all-purpose label for how we conceptualize time spent in uniform, at war, or rubbing up against the strange culture of the military in ways that seem interesting, important, or even transformative.

Hugh Martin, In Country

Most of the poems in Hugh Martin’s In Country, as in his first volume, The Stick Soldiers, consist of vignettes of events Martin lived through on his tour in Iraq as an Ohio National Guardsman in 2004. A few poems are set afterwards, and these more directly address what it means to live-on following service on the ground in combat in Iraq. Some, such as the title and title-poem, which reference Bobbie Ann Mason’s great Vietnam novel of the same name, touch on even larger circles of historical-cultural signification. Martin is not given to over-arching pronouncements or editorializing within the space of his poems, however. Instead, he emphasizes observed detail and understated tactics of suggestion and inference. What I get from his poems, and it may not be at all what Martin intended, is a need to document the idea and fact that he, the poet Hugh Martin, in 2018, is the same young man who went to war in 2005 and with a gun strapped to his body did the things war asks soldiers to do–break down doors and shoot people, for starters. The dots connecting the two Hugh Martins go mostly implied or unconnected or too-scary to face directly, which is OK by me, since they go largely unresolved in my own mind in regard to my own deployment and life afterwards, too. So, I can relate to the perceived overall sensibility of In Country, just as I can easily relate to the vignettes of actual deployed experience that Martin captures in verse, such as this one:

“Test Fire”
-south of Jalawala

After we drive through
the barren hills
where the earth unrolls

itself for miles, where the soil’s
as stale as boxed cookies
sent from the Youngstown

USO, the gunners fire
machineguns at the ridge
wall’s face—small

dust-explosions lift
to the sky like faded desert
larks while the rest of us

shoot from our knees, our
chests, as copper casings
rain like loose change

across the dirt, then
as we convoy back
to Cobra from nowhere

the Bedouin come
to collect the shells
& stuff them in sacks

& after they go: only
boot & footprints,
a careful cursive of tire-tracks.

Abby E. Murray, How to Be Married After Iraq

Many of the poems in Abby E. Murray’s How to Be Married After Iraq reflect the authors’s felt disjunction between her identity as a woman and a poet with an MFA and PhD in literature and her role, or chosen life, as the wife of a career infantry officer. The social milieu of officer marriages, and, speaking from (again) personal knowledge, especially that of infantry officer marriages, is strange and cloistered, so much so that I sense it can be off-putting to observers from the outside. The almost perverse blend of intense competitiveness, ambition, physical vitality, concern for appearances, and homosociality of the men as they are observed by their wives has been ably recounted by Siobhan Fallon in fiction and Angela Ricketts in non-fiction, and part of their accomplishment lies in noting the tension inspired by their own complicity in the experience. Fallon, Ricketts, and now Murray have missed nothing, taken great notes, and, when they are so inclined, punch very hard. The best poems in How to Be Married After Iraq, however, do much more than express ambivalence about military marriage. Murray, much like fellow military-spouse poet Elyse Fenton, is a superb chronicler of the distortions on her own psyche and the nation’s wrought by endless life during wartime, distortions on which her vantage point in the inner-circle of the warrior kingdom gives her exemplary purchase. Here’s the beginning of a Murray poem that begs to be paired with Brian Turner’s “At Lowe’s Home Improvement Center”:

“Sitting in a Simulated Living Space at the Seattle Ikea”

To sit in a simulated living space at Ikea
is to know what sand knows
as it rests inside the oyster.
This is how you might arrange your life
if you were to start from scratch:
a newer, better version of yourself applied
coat by coat, beginning with lamplight
from the simulated living room.
The man who lives here has never killed.
There is no American camouflage drying
over the backs of his kitchen chairs,
no battle studies on the coffee table.
He travels without a weapon,
hangs photographs of the Taj Mahal,
the Eiffel Tower above the sofa.
The woman who lives here has no need
for prescriptions or self-help,
her mirror cabinet holds a pump
for lotion and a rose-colored water glass,
her nightstand is stacked with hardcovers
on Swedish architecture….

And onward to a striking set of closing lines:

you wish you could say this place
is not enough for you, that you’re better off
in the harsh light of the parking garage,
a light that shows your skin beneath your skin,
the color of your past self,
pale in places, flushed in others.

UPDATE:  Many of the poems in the chapbook how to be married after Iraq are included in her 2019 Perugia Press publication Hail and Farewell. A review of Hail and Farewell may be forthcoming as I consider the ways it extends and goes beyond the ideas and subjects I’ve discussed here.

Nomi Stone, Kill Class

As a veteran of the Army’s National Training Center, Joint Readiness Training Center, Jungle Operations Training Center, and most valuably, pre-Afghanistan deployment scenario-training at Fort Riley, I for one am fascinated by the idea of a verse volume that takes these places as its subject. Voilá, Nomi Stone in Kill Class has written a series of linked poems inspired by her anthropological field work at several US military training centers that prepare soldiers for Iraq and Afghanistan by putting them through role-playing scenarios staged by émigrés from the war-ravaged regions to which the soldiers will deploy. Stone’s poems are not especially interested in presenting themselves as accessible and easily absorbed, however. Narrative linearity, connective explanations, and summarizing statements are few; instead Stone offers shards, impressions, aggressive line-breaks, non-standard punctuation, abrupt transitions, and oblique references. The intimidating verse surface in Kill Class reflects the complexity of Stone’s background and subject position: educated as a poet in the manner of formidable modern masters such as Jorie Graham and as a Columbia-trained cultural anthropologist, Stone appears to have sometimes or often crossed lines and became a role-player herself named “Gypsy” in the training scenarios, so, like Jen Percy in Demon Camp, she deliberately foregrounds her (un)trustworthiness as an objective observer while at the same time asserting her insider bona-fides. Stone’s critique of war and the military is no more savage than they deserve, and her human sympathies extend almost equally to Muslim role players and American paratroopers, while the complicated poetics mirror the complexities of twenty-first century war, culture, militarism, identity, performativity, and the subjective nature of reality and the elusive processes of meaning-making. Kill Class may not give away its insights cheaply, but readers who invest the time will find much to appreciate about the interpretive experience it summons.

“War Game: Plug and Play”

Wait. Begin Again.
Reverse loop. Enter the stage.
The war scenario has: [vegetable stalls], [roaming animals],
and [people] in it.    The people speak

the language of a country we are trying
to make into a kinder country. Some
of the people over there are good /
others evil / others circumstantially

bad / some only want
cash / some just want
their family to not die.
The games says figure

out which
are which.

Finally, it’s almost certainly against the reading strategies proposed by Kill Class to read for conventionally “poetic” images, but Stone is quite capable of some stunners, such as the following lines from “War Game: America”:

There is a door in every word;
behind it, someone grieving.

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Hugh Martin, In Country. BOA, 2018.

Abby E. Murray, How to Be Married After Iraq. Finishing Line Press, 2018.

Nomi Stone, Kill Class. Tupelo Press, 2019.

Forty-Two American Iraq-and-Afghanistan War Poets

Soldiers Patrolling Wheatfield, Khost Province, Afghanistan (USAF-ISAF photo)

UPDATE SEPTEMBER 2021: The links to the poems by the following poets are unfortunately broken: Nicole Goodwin, Colin Halloran, Lynn Houston, Victor Inzunza, Dunya Mikhail, and Brian Turner.

I am leaving the entries in place for now, in hopes the links will be restored and to alert readers that the poets and their poems are well worth seeking out by other means.

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To honor National Poetry Month, below are poems by forty American writers that reflect and engage America’s 21st-century wars in Iraq or Afghanistan, directly, indirectly, or possibly only in my mind.* They run the gamut from the nation’s poet-laureate to MFA-honed to raw, and are written by veterans, spouses, and interested civilian observers, but they’re all great individually and collectively they articulate the nation’s crazy play of emotions as it sought redress for the sting of the 9/11 attacks. Many thanks to the authors for writing them and much love also for online media sites that feature poets and poetry–please read them, support them, share them, and spread the word.

The links should take you directly to each of the poems, except for Jeremy Stainthorp Berggren’s and Maurice Decaul’s, which are featured on the Warrior Writers page. An additional click on “Writing” will get you in the ballpark, and you can figure it out from there. If you discover a dead link or that access to a poem is blocked by a pay-wall, please let me know.

*Seth Brady Tucker’s “The Road to Baghdad” probably draws on Tucker’s experience in the 1990 Gulf War, but was first published in 2011 and can certainly be read as a contemporary war poem.

1.  Graham Barnhart, “What Being in the Army Did.” Beloit Poetry Journal.

2. Chantelle Bateman, “PTSD.” Apiary Magazine.

3. Jeremy Stainthorp Berggren, “Real Vet, Fake Vet.” Warrior Writers.

4. Marvin Bell, “Bagram, Afghanistan, 2002.” The New Yorker.

5. Benjamin Busch,“Madness in the Wild.” Slippery Elm.

6. Eric Chandler, “The Stars and Stripes is Free.”  Line of Advance.

7. Liam Corley, “A Veteran Observes the Republic and Remembers Ginsberg.” The Wrath-Bearing Tree.

8. Maurice Decaul, “Shush.” Warrior Writers.

9. Jehanne Dubrow, “Much Tattooed Sailor Aboard the USS New Jersey.” poets.org.

10. Elyse Fenton, “Word from the Front.” Reed Magazine.

11. Amalie Flynn, “Where” and “Know.” New York Times.

12. Frederick Foote, “Birth Rights.” The Piker Press.

13. Kate Gaskin, “The Foxes.” poets.org.

14. Nicole Goodwin, “In Medusa’s Arms.” The Moxie Bee.

15. D.A. Gray, “Makeshift: The Mortar’s Whistle/Transubstantiation.” Sewanee Review

16. Colin D. Halloran, “I Remember.” Drunken Boat.

17. Pamela Hart, “Penelope at the Shooting Range.” Heron Tree.

18. Lynn Houston, “At the Harbor Lights Motel After You Return.”  As It Ought To Be.

19. Victor Inzunza, “The Part of Ourselves We’re Afraid Of.” Pacific Review.

20. Brock Jones, “Explaining the Unexplainable.” Mobius: The Journal of Social Change.

21. Shara Lessley, “The Test.” Missouri Review.

22. Hugh Martin, “Ways of Looking at an IED.” Blackbird.

23. Phil Metres, “Hung Lyres (for Mohamedou Ould Slahi).” Poets Reading the News.

24. Dunya Mikhail, “The Iraqi Nights.” Poetry Foundation.

25. Abby E. Murray, “Asking for a Friend.” RHINO/Frontier Poetry.

26. Jenny Pacanowski, “Strength in Vulnerability.” Women Veterans’ Rhetoric.

27. Drew Pham, “How to Remember Your Ancestors’ Names.” The WWrite Blog.

28. Robert Pinsky, “The Forgetting.” Poetry in Multimedia.

29. Kevin Powers, “Improvised Explosive Device.” Bookanista.

30. Frances Richey, “Letters.” poets.org

31. Roy Scranton, “And nevermore shall we turn back to the 7-11.” Painted Bride Quarterly.

32. Solmaz Sharif, “Look.” PEN America.

33. Charlie Sherpa, “Toward an understanding of war and poetry told (mostly) in aphorisms.”  Wrath-Bearing Tree.

34. Juliana Spahr, “December 2, 2002.” poets.org.

35. Lisa Stice, “While Daddy’s at Training, Our Daughter Asks Questions.” the honest ulsterman.

36. Nomi Stone, “The Door.” Poets.org.

37. Seth Brady Tucker, “The Road to Baghdad.” Colorado Poets Center.

38. Brian Turner, “At Lowe’s Home Improvement Center.” Poetry Daily.

39. Paul Wasserman, “Fifteen Months, Twenty-Two Days.” Time Now.

40. Ben Weakley, “No Take Backs.” Line of Advance.

41. Johnson Wiley, “Shooting Stars of Kuwait” and “A Mother’s Son Returned.” Time Now.

42. Donna Zephrine, “War Sees No Color.”  Military Experience & the Arts.