Posted tagged ‘War lit’

On to Tampa! AWP18

March 7, 2018

Now I got a reason, now I got a reason, now I got a reason, now I got a reason…. –“Holidays in the Sun,” the Sex Pistols

Thursday through Saturday this week in Tampa, Florida, is the Association of Writers and Writing Programs conference, the largest gathering of the year for authors, readers, teachers, publishers, and other lovers of literary fiction, poetry, and memoir. Contemporary war-and-military writers are typically well-represented at AWP panels and readings. Numbers are a little down this year, though still substantial, and judging by the panel descriptions and social media chit-chat, everyone is looking forward to contemplating weighty questions: How has everyone survived the tumultuous and nerve-rattling past twelve months? What does it all portend for writing about war?? Where can the best beer selection in Tampa be found???

All answers will be revealed in the coming days, assuming those of us living in the snowy Northeast can still catch our flights to sunny Florida. My own contribution will be to moderate a panel titled Conflict, Crisis, Verse: Four Poets in Conversation featuring Benjamin Busch, Jehanne Dubrow, Dunya Mikhail, and Brian Turner. This one’s an embarrassment of riches, people, like being asked to coach the 1992 Olympics basketball Dream Team, so I’ll do my best not to screw it up—you might say that all I have to do is roll out the balls, hand-out the jerseys, and then stay-the-hell-out-of-the-way.

Busch’s late-2016 The Road Ahead story “Into the Land of Dogs” really is one for our times, a surreal apocalyptic nightmare vision of war in Afghanistan and afterwards that as much as any tale I’ve read lately drains and wrecks war-and-soldiering of redeeming value, and all the better for doing so. Busch’s poetry, which I love, operates differently. Short lyrics marked by flinty stabs at experiential insight generated by close observation of nature and local event, their hardy stoicism seems forged by the long years Busch has lived in upstate North-country climes, first New York and now Michigan.

Dubrow’s 2017 poetry volume Dots & Dashes is a thing of beauty in particular and in toto. I’m not sure which I like better, the wide-angle poems that ponder the irony of being a poet in an era marked by conflict and violence, or the narrow-focused ones that plumb Dubrow’s marriage to a military officer, but they’re all good. Dubrow is a master of form and technique, as well as of observation, with the fourteen or so sonnets in Dots & Dashes especially remarkable for their exciting, pitch-perfect blends of language, image, and sentiment.

Mikhail, already recognized for her wonderful poetry collection The Iraqi Nights and her prose-poem memoir Diary of a Wave Outside the Sea, will soon be made even more famous by her about-to-be-published work of journalism titled The Beekeeper: Rescuing the Stolen Women of Iraq. The Beekeeper’s subject is the efforts of a roguish band of smugglers, fixers, and humanitarians to save Christian women of the Iraqi Yazidi tribe who have been kidnapped and enslaved by ISIS, as well as about the strength and bravery of the Yazidi women themselves. Beautifully and movingly told, it will almost certainly attract laurels for its heroes (and author) while galvanizing contempt for ISIS brutality.

As for Brian Turner, what can you say? I’m tempted to write Brian f-ing Turner, out of respect for the quality of his writing, his eminence in the field, his generous support of other authors and his readers, and his relentless exploration of new artistic possibilities. Everything I wrote about him in this 2014 blog post is still true now, or even truer. 2017 saw Turner release a hybrid poetry-music blend under the name Interplanetary Acoustic Team that features his late wife Ilyse Kusnetz’s poetry and voice. Now, early 2018 has brought The Kiss, a splendid anthology of vignettes by talented writers (including Busch) about one of life’s tenderest moments.

Now who else would think of that but Sergeant Turner? The author Chuck Klosterman has proposed that as long as we are going to elect entertainment celebrities for President, he’d vote for the wise, generous, calm, and patient Willie Nelson. I like that, but Willie’s a little long-in-the-tooth, so how about if we just vote right now Turner for President, if not of the nation, then of the United States of Poetry?

For a list of all AWP panels focused on contemporary war and conflict, see Charlie Sherpa’s Red Bull Rising post here.

Iraq and Afghanistan War Writing, Theater, Art, and Film 2017

December 15, 2017

Photo by Bill Putnam.

2017 brought new novels by Elliot Ackerman, David Abrams, Helen Benedict, and Siobhan Fallon, and new poetry volumes by Jehanne Dubrow and Elyse Fenton. Also arriving was a first novel by contemporary war short-fiction pioneer Brian Van Reet. By any measure, that’s a bumper crop of new contemporary war fiction and poetry by veteran mil-and-war authors. Besides these works, though, releases of novels, short story collections, and volumes of poetry by major publishing houses were in short supply. Fortunately, university, regional, and independent presses picked up some of the slack: Caleb Cage’s short-story collection Desert Mementos: Stories of Iraq and Nevada appeared courtesy of University of Nevada Press, Eric Chandler’s poetry collection Hugging This Rock was published by Charlie Sherpa’s Middle West Press, and Samuel Gonzalez, Jr. and Christopher Meeks self-published their very interesting novel The Chords of War.

Fallon’s The Confusion of Languages and Ackerman’s Dark at the Crossing only indirectly reference Iraq and Afghanistan, but the locale of each book—Jordan and Turkey, respectively—their interest in conflict and empire, and their authors’ formidable reputations as military insiders validates their inclusion on this year’s list. Other renown war-writers, such as Brian Castner and Roy Scranton, have begun to craft literary identities and build publishing histories well-beyond the confining limits of war literature, a trend that will certainly intensify in coming years.

Ackerman’s Dark at the Crossing earned National Book Award short-list honors, and Van Reet’s Spoils made The Guardian and Wall Street Journal’s year-end “best of” lists. Despite such laurels, war writing as a genre seems to have fallen from major media favor—we’re far from the 2014 days when Vanity Fair and the New York Times ran fawning author portraits and glowing genre appraisals. Online writing by veteran writers has fortunately continued vibrantly apace on websites such as The War Horse, Military Experience and the Arts, The Wrath-Bearing Tree, 0-Dark-Thirty, and War, Literature, and the Arts–and thank you very much all concerned.

Our Trojan War, a modern-war/Homeric-war hybrid, and Jay Moad’s one-man-play Outside Paducah were the highlights of the year in terms of theatrical productions related to Iraq and Afghanistan staged in New York City, but elsewhere in-and-out of NYC the year saw no big-name, big-cast, big-money productions that garnered national attention. There was, however, plenty of action at the regional, local, DIY, collective, performance art, and spoken-word level. Toward the end of the year, former Marine and current movie star Adam Driver announced a $10,000 prize to the winner of a veterans playwriting competition, encouraging news for the energetic talent in the grassroots theater scene.

The only major motion picture released in 2017 about war in Iraq or Afghanistan that a caused much of a splash was War Machine, a Netflix TV-release starring Brad Pitt that I am including here by exception. American Sniper writer Jason Hall’s directorial debut Thank You For Your Service (based on David Finkel’s book) and Richard Linklater’ Last Flag Flying came-and-went quickly. Art and photography exhibition choices offered slim pickings, too, though I’m happy to report Bill Putnam’s photography–oft on display on Time Now–was featured at exhibits in Washington, DC, and New York this year.

In 2016, I included a list of notable non-fiction works about war in Iraq and Afghanistan, but, as with Hollywood movies and the art-and-photo scene, the genre seems to have dried up. I’ve long since stopped tracking veteran memoirs closely, but a Military Times list of year’s best military books offers a couple of titles worth checking out.

The poetry list includes many new entries cribbed from Charlie Sherpa’s Mother of All 21st Century War Poetry Lists, which observes these things far better than I do–many thanks.

Please notify me of any errors or omissions, and I’ll correct the record.

Iraq and Afghanistan War Fiction

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)
Eliot 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)
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)

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)
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 (USMC), 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)

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)
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)
Neither Heaven Nor Earth, Clement Cogitore, director (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 (Netflix) (2017)
Thank Your For Your Service, Jason Hall, director (2017)
The Wall, Doug Liman, director (2017)
War Machine, David Michod (Netflix) (2017)

Matthew Hefti, Benjamin Busch, and Mary Doyle at AWP17, with a glimpse of Teresa Fazio in the left foreground and Whitney Terrell on the right. Photo by Bill Putnam.


The Watched Pot Begins to Bubble: War Writing at AWP17

February 18, 2017
Matthew Hefti, Ben Busch, and Mary Doyle in the background, Whitney Terrell in the foreground. Photo by Bill Putnam.

War writers Matt Hefti, Ben Busch, and Mary Doyle in the background, Whitney Terrell in the foreground. Photo by Bill Putnam.

By rough count, the number of war-writing panels at the annual Association of Writers and Writing Programs conference in Washington, DC, last week were fewer than in past years. Of the panels I attended, there was not much presentation of new work, consideration of contentious current events, or anticipation of future possibilities. Last year in Los Angeles, AWP16 celebrated the diversification of veteran voices: now not just white male combat vets, but women, people-of-color, and non-combat military jobs and experiences. At AWP17, that interest was muted, not foregrounded, though curiosity about Iraqi, Afghan, and other Islamic perspectives emerged on panels on adventure-and-conflict journalism and Iraqi fiction in translation. Both panels broached important matters of ethics, aesthetics, and methodology inherent in writing about the Middle East and southwest Asia after fifteen years of nonstop fighting and intense American involvement, but their focus was on journalism and translation, not war fiction, memoir, and poetry written by Americans. Two panels asked veteran authors to reflect on teaching war writing in classrooms and workshops, a subject I care a lot about, but one a step or two removed from the current political hurly-burly or consideration of the panelists’ own craft. Only panels on using poetry to bridge the civil-military divide and on war-writing in the Midwestern “flyover states”—both led by Randy Brown, aka “Charlie Sherpa”–explored the love-hate relationship between the American public and war, the military, and militarism. The two panels began to connect the dots between individual military experience and national trends since America first went to war in Afghanistan in 2001 and Iraq in 2003, for which I was grateful, but the small taste left me wanting more.

If the war-writing panels themselves were not particularly sharp-edged, that’s not to say that AWP17 reflected a diminution of the vitality of the contemporary war-writing field. If anything, the case was quite the opposite: collectively, the large war-writing contingent in Washington positively bubbled with conviviality, encouragement, and excitement. Veterans of Iraq and Afghanistan know the hail-fellow-well-met bonhomie that comes with arriving safely to a FOB after a long convoy. There was much the same high-five euphoria in the air in DC, as if we found ourselves surprised by finding such welcome and comfort in the midst of troubled times.

What accounts for the upward-trending spirit? Many attendees were animated by Writers Resist Trump activism, particularly as it was organized by Andrew Slater, one of the original Fire and Forget authors, who led a contingent of war writers to the Capitol to lobby on behalf of interpreters affected by the new president’s restrictions on immigration. Another sign of health was the frequent presence of veteran-authors on panels devoted to subjects other than Iraq and Afghanistan—evidence that talented scene stalwarts were now finding fresh subjects and audiences. A cohort of interesting recently-published authors, including Eric Chandler, John Renehan, Whitney Terrell, Matthew Komatsu, Matthew Hefti, and Odie Lindsey, brought energy and new thinking to ongoing discussions as they mixed with familiar AWP faces. Equally exciting was the return to the war-writing fold of many of the field’s pioneers—David Abrams, Elyse Fenton, Kevin Powers, and Helen Benedict, among them—who had not been seen at AWP recently and who now were eagerly met by old hands and newcomers alike. A related factor was anticipation of new work arriving soon by Abrams, Fenton, Powers, Benedict, Jehanne Dubrow, Brian Van Reet, and Siobhan Fallon. With second books on the way from the writers who trailblazed the contemporary war-writing surge, the genre’s enduring worth seems assured. More importantly, war authors with two books or more out, along with occasional published pieces and social media pronouncements, have begun to stake out characteristic themes and subjects, adding maturity and depth to individual bodies of work and collective conversations.

My own contribution to AWP17 consisted of moderating a panel titled From Verse to Stage and Screen: Veterans Adapt. The conceit was to explore the artistic transformation of printed words to public multi-media performance. Bringing the subject to life, panelists Jay Moad, Jenny Pacanowski, Benjamin Busch, and Brian Turner read or performed passages of their work as examples of the process. Moad, a last-minute replacement for playwright Maurice Decaul, led off with a gripping rendition of a scene from Outside Paducah, his one-man play about three generations of war-torn veterans. Pacanowski followed with a raucous spoken-word poem titled “Combat Dick”—surely an instant classic in the annals of writing by women veterans. Busch read an intriguing scene about the peeling of an orange (really!–only Busch could have pulled this off) from his movie Bright and invited us to consider how art that speaks not the name of war can be about war nonetheless. Turner concluded by leading the audience in a group “hum” (literally!) that he recorded for use as ambient noise in a future mixed-media project. He then had us repeat our hum as the backdrop for an incantatory freestyle based on a refrain from an unpublished poem.

At the end of our allotted time, I had not yet asked the panelists to connect their interest in performance with larger worldviews and issues, so I might stand guilty of the same quietist-escapist tendencies I noted above: Was our panel a retreat into the pure realm of art or the fantasy-land of entertainment? That’s not how I felt about it then, though, nor now. Rather, the marvelous performances by Moad, Pacanowksi, Busch, and Turner modeled the imagination, courage, humor, and found moments of joy that are in short supply these days and in fact seem under threat. In the Q&A, an audience member, obviously inspired by the panelists’ ability to turn a drab conference room into a magical collective performance space, wondered if they might be able to work similar transformations in public places full of unwitting, unsolicited people. The concept was hard to understand, but the question-asker seemed to have in mind a Situationist-style performance-art infusion of the mundane world with the restorative and righteous properties of interactive theater. That seemed a lot to ask of artists even as fearless and creative as Moad, Pacanowski, Busch, and Turner, who remained noncommittal while taking in the idea. The question made me think, though: what it asked for seems already to apply to the ongoing national political spectacle, as we’ve all been turned by the new president into participating members of The Trump Show. Here’s to an equal-but-opposite-and-worthier counter-assault, mounted by writers who know what it means to fight, using all available tools and energy to strengthen the artistic and intellectual might of the nation, and hence its social, cultural, and political health, too.

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