Time Now’s pace-of-production has dramatically slowed this year for a variety of reasons, even as Time Now itself celebrated its 10th birthday on June 23. From 40 or so posts a year circa 2015, this is only my fifth so far in 2021. Part of the reason for the decline is technical: for reasons inexplicable WordPress has forced me to change the lay-out of the blog, and I have to say the new look has unsettled me. Whatever gain in readability may have accrued, the loss of the familiar format has deflated inspiration. Even worse, behind the public face of Time Now I’ve lost the ability to easily edit posts on the WordPress platform—a serious liability that must be fixable, but which has thus far proven beyond me to do so. Very demoralizing, not because I often go back and substantially revise old posts, but it changes the nature of how I compose and publish, and even small corrections of typos and formatting glitches are hard.
That said, here I’m going to quickly consider a series of war-writing events and works that in past years might have merited much more attention. This will have to suffice for now, but perhaps I can circle back to any or all of the subjects I offer brief descriptions of below.
1. Be sure to check-out my interview with Iraqi expatriate author Hassan Blasim recently published by The Wrath-Bearing Tree. Blasim may more definitively be described as “conflict-and-violence” than a “war” writer, but his work has always struck me and others in the war-writing scene as an important counterpoint to the American-centric focus of contemporary war-and-mil writing by American authors. In the interview Blasim describes the artistic genesis of his new novel God 99, which he firmly locates in the experience of growing up in Iraq under the influence of Saddam Hussein and Iraq war.
2. I just participated in a war-writing panel at the American Literature Association conference—a welcome return to public academic consideration of war-writing following fifteen months of social isolation. The title of our panel and the individual presentations speak to the focus and range of our concerns:
Writing War in the 21st-Century: Unbound Perspectives on the Global War on Terror
Hilary Lithgow: “A 21st Century Chapter for [Samuel Hynes’] The Soldier’s Tale.”
Peter Molin: “Wayward Warfaring: Black Voices in Contemporary War-Writing”
Stacey Peebles: “‘A precious jewel among the wreckage of this country’: Contemporary Iraqi War Fiction.”
Brian Williams: “What kind of crazy fits this war?: Considering the ‘Global’ in the Global War on Terror” [focused on Phil Klay’s Missionaries].
Thanks to Brian Williams for organizing and Melissa Parrish for moderating, as well as to my fellow panelists.
3. Keeping up with new war-writing titles has continued apace. Below are capsule descriptions of recent releases, with a focus on summary rather than assessment and analysis. Buy and read any that sound appealing!
a. Maximilian Uriarte’s Battle-Born: Lapis Lazuli. Uriarte’s follow-up graphic novel to his impressive and important The White Donkey is set in Afghanistan, rather than Iraq, and expands The White Donkey’s focus on soldier trauma to a much wider range of concerns: racism, misogyny, economic exploitation of natural resources, and the lives and perspectives of civilians caught in the turmoil of war and conflict, while also introducing new characters serving in Uriarte’s beloved Marines. Befitting the expanded range of concerns, Battle Born’s artwork is much more lavish than The White Donkey’s, featuring a more striking color palette and more panoramic and detailed drawings.
b. Perry O’Brien’s Fire in the Blood is a welcome full-length novel by the latest (but hopefully not the last) vet-author who first came to prominence as a contributor to the seminal Fire and Forget anthology in 2013. Fire in the Blood begins as a detective whodunit, as its protagonist, a soldier AWOL from duty in Afghanistan, tries to solve the mystery of his wife’s death in New York City. Morphing as it goes, Fire in the Blood evolves into something of an action-thriller as the vet-protagonist battles richy-rich and super-sketchy antagonists who stymie the vet’s pursuit of justice. The descriptions of exotically-sordid characters and places in The Bronx excel.
c. Brett Allen’s Kilroy Was Here’s first-person narrator is a junior officer stuck on battalion staff during his Army unit’s dismal rotation in Afghanistan in 2008-2009. Underappreciated and marginalized by his chain-of-command, the narrator paints a striking picture of toxic military leadership that sometimes comically but ultimately sadly seems to reflect reports by many junior officers who feel they were cheated out of more rewarding tours by their own leaders. Satire and ridicule are the narrator’s primary weapons for exacting revenge, and a plot that allows the narrator’s superior understanding of events and fighting prowess to eventually shine furthers the comeuppance. The portrait of a battalion deployment and internal dynamics, as well as the complexities of missions in Afghanistan, will resonate with readers who have experienced such things, such as me.
d. Travis Klempan’s Have Snakes, Need Birds’ subject is an Army battalion’s tour in Iraq, with the focus on a sergeant of mysterious provenance and talents (he communicates telepathically with birds, for starters) with no specific assignment except to accompany the designated platoon sergeant of an infantry platoon to add experience and be ready to take over “just-in-case.” The reason for this odd setup is not fully explained, and as the novel proceeds, Klempan adds further mysterious and fantastical elements that bespeak an interest in magical realism and speculative-horror fiction. Determined not to be just another war-novel, Have Snakes, Need Bird’s strength lies in its protagonist’s wrangle with his own doubts as he only half-understands how supernatural forces, a vexing mission, and an enigmatic romantic interest collude to bring him to a rendezvous with combat-zone destiny.
4. Two more titles await reading: Former Marine Dewaine Farria’s Revolutions of All Colors, about, among other things, a black Special Forces veteran trying to make his way in the complicated contemporary social and political landscape, and Adrian Bonenberger’s The Disappointed Soldier and Other Stories from War, a collection of darkly absurdist tales and ruminations about war and military by the author of the excellent memoir Afghan Post and the founder of the estimable The Wrath-Bearing Tree website.
That’s all folks–and now back to your regularly scheduled summers.
Brett Allen, Kilroy Was Here. A15 Publishing, 2020.
Hassan Blasim, God 99. Comma Press, 2020. Translated by Jonathan Wright.
Adrian Bonenberger, The Disappointed Soldier and Other Stories from War. KOLO, 2021.
Dewaine Farria, Revolutions of All Colors. Syracuse University Press, 2020.
Travis Klempan, Have Snakes, Need Birds. Koehlerbooks, 2020.
Perry O’Brien, Fire in the Blood. Random House, 2020.
Maximilian Uriarte, Battle Born: Lapis Lazuli. Little, Brown and Company, 2020.
Adrian Bonenberger Benjamin Busch Bill Putnam Brian Castner Brian Turner Brian Van Reet Colby Buzzell David Abrams Drew Pham Elliot Ackerman Elyse Fenton Fire and Forget Hassan Blasim Helen Benedict Hilary Plum Ikram Masmoudi Jehanne Dubrow Jesse Goolsby Johnson Wiley Joydeep Roy-Bhattacharya Kevin Powers Masha Hamilton Matt Gallagher Maurice Decaul Phil Klay Ron Capps Roxana Robinson Roy Scranton Sean Parnell Siobhan Fallon Stacey Peebles Theater of War Tim O'Brien Toni Morrison War art War dance War fiction War film War literature War memoir War photography War poetry War songs War theater Will Mackin