Posted tagged ‘War literature’

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.

 

Making the SEAL Team SEAL-y: Literary Theory and Recent War Writing

December 1, 2017

In a 2005 book titled Private Perry and Mr. Poe, an Army major named William Hecker argues that Edgar Allan Poe’s essays “The Philosophy of Composition” and “The Poetic Principle” were inspired by Poe’s service as an Army artilleryman from 1827 to 1829. Hecker researched the Army artillery manuals that Poe would have used and found in them many words and ideas that corresponded closely with those he later used in “The Philosophy of Composition” and “The Poetic Principle” to describe literature. In the two essays, Poe explains that every element of a successful poem or story should contribute to the work’s intended meaning and reception, or, in Poe’s words, they should create “unity-of- effect.”  Poe’s duty position in the Army was that of an “artificer”:  it was his job to calculate explosive charges and cut fuse lengths so that the shells fired by his unit’s cannons exploded precisely on their targets.  In other words, he was responsible for creating the artillery shell’s unity-of-effect.

That’s a pretty good piece of work on Hecker’s part—definitely ingenious if not provable or beyond criticism.  Not many people know Poe’s essays, but most writers and readers would agree that the elements of a work of literature should contribute meaningfully in a coordinated way to the work’s theme and tone.  Poe’s essays are important articulations of the idea, so any information about their sources and origins is welcome.

Now, Michael Carson, a former Army officer and Iraq veteran, also makes a significant contribution to literary history and theory.  In “The October Revolution, Russia Occupation of Persia:  WWI Soldier Viktor Shklovsky’s Sentimental Memoirs,” a piece published on The WWrite Blog, a blog sponsored by the World War I Centennial Commission, Carson uncovers a previously unexplored war memoir written by Viktor Shklovsky, an important member of a literary theory school known as “Russian Formalism,” that describes Shklovsky’s service in the Russian Army occupying Persia (now Iran) in 1917.  Since 1917 marked the first appearance of Shklovsky’s most well-known work, an essay titled “Art as Technique,” it is at least conceivable that Shklovsky composed “Art as Technique” while preparing to go to Persia or even while there.  Carson doesn’t push the point, and it’s not as clear in Shklovsky’s case as it is in Poe’s which came first—military service or literary theory—or exactly how military service and literary theory are connected, but that’s OK.  Carson’s discovery is an important breadcrumb for future scholars, especially given the nature and stature of Shklovsky’s ideas in “Art as Technique.”

To say that Shklovsky was a “Formalist” is to confuse apprehension of his most accessible ideas, however.  Thinking of literature in terms of its forms, or genres, and its higher-order ways of organizing itself, rather than its themes, characters, plots, and style, is hard-going.  Formalists assert that what really counts in a literary work is not content but the literary vessel in which content is contained:  poetry, memoir, reportage, fiction, etc.  Among other things, formalists speculate how given genres might best represent their times, or emerge in association with something else important about their historical moment.  At one level, this is an easy, obvious concept:  sonnets thrived in Elizabethan England, the novel in the 19th-century, and creative non-fiction came into its own only in the last few decades.  It’s harder, though, to say the next smart thing about the business, to go beyond surface observations and generalizations.

War literature offers examples of the problem.  Poetry may be the mode most correspondent with World War I, the novel with World War II, journalism and reportage with Vietnam, and the graphic novel and blog that of Afghanistan and Iraq.  But is this really even true—there are so many exceptions—and if so, so what?  Besides, there are many confusing data points.  Siegfried Sassoon, known best as a World War I poet, also wrote three novels based on his experience, and three memoirs that covered the exact same ground, and according to no less than Paul Fussell, the novels are truer than the memoirs.  American Vietnam War writer Larry Heinemann called his first novel Close Quarters a “straight up fictionalized memoir,” whatever that means, and the very title of Tim O’Brien’s “How to Tell a True War Story” speaks to similar confusion about formal boundaries between “real” experience and the modes in which one might write about it.  Critics often speculate whether the never-ending wars in Iraq and Afghanistan have made it hard for novelists to write about the two wars, because the “lack of closure” of the wars might preclude novelists from resolving their storylines and final thoughts (see Adin Dobkin’s recent LARB article for a recent example of this line of thinking).  I kind of get it—it’s one thing to write a novel about a character in a war that ends in glorious victory, and another to write one about character that ends in debacle and defeat.  Somehow, though, novelists figure it out, and novels get written.  But maybe an open-ended form, such as an ongoing serial novel, or a blog (gasp), or a more multimodal genre, such as the graphic novel, or a genre-bending hybrid, such as Brian Turner’s and Benjamin Busch’s memoirs, really is the form most congruent for writing about the forever wars.

All that said, Shklovsky’s “Art as Technique” is packed with much more accessible ideas about literature, so much so that is has become a staple in English undergraduate and graduate curriculums.  One of Shklovsky’s ideas is that art’s purpose is to revitalize human powers of perception.  A famous quote is that great art “makes the stone stoney”; that is, in the hands of master artists, descriptions of rocks express whatever is essential about a rock, while also astonishing readers with the unique vitality of the author’s power of observation and expression.  Shklovsky’s word for how people become overly familiar with objects in everyday life and how they are commonly described in mundane literature is “habitualization,” while his word for art’s power to awaken new possibilities of perception is “defamiliarization.” “Defamiliarization” might just be a fancy-pants way of saying “vivid” or “memorable” or “literary” or “better” or “what I like,” but perhaps it really is the best word to sum up all those other words.  One way literature defamiliarizes common understandings, according to Shklovsky, is through the accumulation of closely observed details.  Another way is through the poetic quality of the language used to describe objects.  Together, detail and language create a sense of a sense of wonder that readers, or at least a lot of readers, enjoy and actively seek out, not for information about the subject being described, but for the sensation of “experiencing the artfulness of an object.”

All the above makes great grist for classroom discussion and essay prompts, and also has interesting application to war writing.  Shklovsky himself uses many examples from Tolstoy to illustrate defamiliarization and writes, “In War and Peace, Tolstoy uses the same technique [defamiliarization] in describing whole battles as if battles were something new.”  For my money, there’s an interesting tension that arises from using war writing as an example of the flow between habitualization and defamiliarization, because war is an inherently exotic and thrilling experience, with a natural power to compel interest when written about halfway decently.  But as Shklovsky archly points out (“as if battles were something new”), the experience of combat has been written about so many times that war lit has become one of the most habitualized of genres, overgrown everywhere with convention, cliche, and familiar expectations.  Still, readers, or at least those who are drawn repeatedly to war writing, may actually like the only-slightly-different character of war stories; the appeal of ritualized repetition–“refamiliarization,” to coin a phrase–of combat and military tropes might be stronger than the desire to be defamiliarized.  Meanwhile, authors, it seems to me, strive to avoid writing boring descriptions and clichéd stories—most of them feel the impulse to “make it new” very strongly—but understand that veering too greatly from convention risks making the form unrecognizable while draining war stories of the power that makes them compelling in the first place.

There are other complicating factors.  Veterans and military insiders familiar with military lingo and culture look to war writing for relatable depictions of their lives and bristle at what they perceive as misrepresentations.  In other words, they resist being defamiliarized in regard to things they think they know well (though Shklovsky would argue that defamiliarization, in the hands of masters, brings readers closer to what Poe, to bring his name back into play, once called “the precincts of reality,” rather than pushing them away).  Civilians turn to war writing to learn about events unknown personally by them, but as they read they become habituated to what must be a defamiliarizing reading experience in the beginning.  As new elements appear in war—night vision goggles or drones, for recent examples—and then begin to appear in written accounts, what initially jolts and excites with vitality with each instantiation in subsequent war-writing becomes familiar, mundane, and then worn-out.

The push-pull between the familiar and the unfamiliar in contemporary war writing is illustrated well in the three stories by Will Mackin published the last few years in the New Yorker: “Kattekoppen,” “Crossing the River No Name,”  and “The Lost Troop.”  Published in advance of the release of Mackin’s short-story collection Bring Out the Dog next year, each of the New Yorker stories portrays the inner-workings of SEALs at war in Afghanistan; others in Bring Out the Dog are set in Iraq or America. Wonder of wonders, Mackin defamiliarizes the by-now completely crusted-over genre of SEAL fiction and non-fiction through a variety of techniques Shklovsky (and maybe Poe, too) would recognize.  Mackin served with the SEALs on multiple deployments as an air-support liaison responsible for calling in air strikes (shades of Poe!)—a position he wouldn’t have kept for two days if his technical competence, physical and emotional toughness, and basic good fit for SEAL-team culture were in question.  So he writes with an insider’s familiarity about SEAL team life and operations and thus renders technical and tactical detail with enough precision and authority to quicken the heart of the most hardcore judge of military detail accuracy.  He’s also at home with staple themes of SEAL-team literature–warfighting skill, easy accommodation with the business of killing, the gruff-but-powerful loyalty that unites the SEAL brotherhood—and dramatizes them convincingly, not as end points of the stories but as start points before moving on to more interesting things.  In these ways, Mackin fulfills Shklovsky’s injunction to “make the stone stoney” through the most alert portrait of how things really are, not merely how we are habituated to see them.

The real work of defamiliarization that occurs in Mackin’s stories, however, occurs on a larger scale with the reader’s increasing realization that Mackin has avoided the traps of glamorization and cliché that characterize other SEAL stories.  In Mackin’s hands, SEALs are not supermen, barbarians, or victims; an easy shorthand description of Mackin’s achievement is that he humanizes them, but that’s a tired word that’s been used too many times before. It’s more that Mackin’s found telling ways to portray the character and personality of individualized SEALs within the intensely social SEAL milieu as they execute highly specialized tactical and training operations, with the central motif being the banal, not outrageous, ways that team members jockey to prove their fitness to other members of their teams.  Adding to the defamiliarization process are surreal interjections, moments of narrator unreliability, constant references to the contingencies of observation and perception, and dislocations of the time-space continuum, as well as literary permutations of language that heighten the possibilities of everyday speech.  Not too much, mind you, but just enough to put readers on notice that the stories they are reading are at once more realistic and more artful than those that have come before.

In “Art as Technique,” Shklovsky’s interest is more fiction than in poetry, but he expresses a high regard for poetic language, which he calls “formed speech.”  He writes of how poetic language “gives satisfaction” by slowing and impeding easy apprehension of objects it describes, and quotes Artistotle to the effect that poetic language must appear “strange and wonderful.”  He distinguishes between poetic speech—“attenuated, torturous speech”–and prose—“the ‘direct’ expression of a child”—and notes how in both everyday speech and literature poetic speech and prose intermix to generate an “economy of artistic energy.”

These interesting ideas about poetic language, as well as the fluid interplay of habitualization and defamiliarization, can be put to the test by looking at recent poetry by Lisa Stice and Eric Chandler.  Stice is the wife of a Marine, and her volume Uniform explores the vexing permutations wrought on domestic life by military service.  Chandler, a retired Air Force pilot, in Hugging This Rock, writes not just of being a pilot at war, but also about more sedate experiences and observations affiliated with family and community life.  Neither Stice nor Chandler is overly literary in their word choices or figures-of-speech, but their poems register as “formed speech” through careful arrangement of lines on the page to control the cumulative release of meaning and force.  Stice’s poetry describes her effort to reconcile herself to the ways that military life pressures tranquil domestic life even as codes of military appropriateness inhibit her from confronting such truths directly and publicly.  In other words, her poems register her defamiliarized surprise at the impact of her husband’s career on her own expectations and happiness, while also documenting her habitualization to new norms of military domesticity.  A good example is a poem about the preparations every military family must make when one member deploys:

“Family Readiness”

The paper pocket-folder
you left for me
in the file drawer of our desk:
limited power-of-attorney
your social security number
logins and passwords
names of command I can’t call
because they are with you
your deployment address blank
our bank accounts
contacts for your relatives
chaplain’s email
(but he’ll be gone too)
family birth certificates
list of what you want buried with you
how you’d want to be dressed
the song you’d want played
just in case

For a reader like me, who knows the military well, the poems surprise most with their apt reflection of experiences and observations to which I can relate.  To a reader not as familiar with the military, they’re a peek through the window at a world that is bound to be seen as weird and trying, and inspire wonderment at Stice’s fortitude.

Chandler’s poetry intrigues by its author’s bio alone:  what reader wouldn’t be curious about the poetry a fighter pilot writes?  Might he be the second coming of James Salter, the Korean War Air Force ace later acclaimed as one of America’s foremost literary stylists?? Far too early to tell about that, so to return to theme…. In several of Chandler’s poems, such as the title poem, the effect of viewing the world from five miles up at Mach speed is the very point: “…but either way I’ve seen a bunch of cool things up there that I can think about / while we’re both down here hugging this rock.”  Chandler’s figure-of-speech–“hugging this rock”–suggests humility, a worldview and sense of self in which being a fighter jock is only a small part of an overall identity and life, with the most important aspects centered on human relationships, which must be defined by care and trust.  War is the subject of only about a quarter of Hugging This Rock poems, but sometimes the two halves of Chandler’s identity intersect.  “Maybe I Should Have Lied,” for example, depicts the tension of trying to reconcile being both a man-of-war and a family man:

“Maybe I Should Have Lied”

The teacher asked
Me to come to the class
And talk about flying.
He was my son’s teacher and
The jet’s always popular.

How fast? How high?
Pretty standard stuff.
I wore my flight suit
And handed out stickers even
Though they weren’t toddlers.

One kid asked
If I killed anybody.
I was surprised and
Shouldn’t have been.
I told him the truth.

Later that day,
In the squadron,
I asked a buddy
What he would’ve done.
I would’ve lied, he said.

I answered the question
In front of my son.
The only time it has come up.
“That’s what happens in combat.”
Next question, please.

In poems such as “Maybe I Should Have Lied,” Chandler portrays a civil-military divide not manifested by public debates, but by internal misgivings when compartmentalization just doesn’t work anymore. Many more poems in Hugging This Rock, and Uniform, too, also perform this kind of work, and a lot more, too, so please seek them out.

To close near where I began, some of the work left regarding Shklovsky is to figure out whether his literary ideas grew out of his experience of war, or vice-versa, or whether the relationship is more complicated, or perhaps nonexistent, or coincidental.  For now, though, kudos to the literary artificers:  Will Mackin, Lisa Stice, and Eric Chandler, Edgar Allen Poe and Viktor Shklovsky, and most of all William Hecker and Michael Carson.  Carson is one of the mainstays, along with fellow veterans Adrian Bonenberger and David James, of The Wrath-Bearing Tree, a culture, politics, and military affairs website always full of interesting things.  Hecker unfortunately is no longer with us—within a year of publishing his important work on the source of Poe’s ideas about literature, he was killed by an IED in Iraq.  RIP.

My own contribution to The WWrite Blog, on poet Joyce Kilmer’s wife Aline Kilmer, who was also a poet, can be found at the link.

William F. Hecker, editor, Private Perry and Mr. Poe:  The West Point Poems of 1831, with an epilogue by Gerard McGowan. LSU Press, 2005.

Will Mackin, Bring Out the Dog.  Random House, 2018.

Lisa Stice, Uniform.  Kelsay Books, 2016.

Eric Chandler, Hugging This Rock.  Middle West Press, 2017.

Everyone’s a Critic/War Writing Becomes Aware of Itself

October 8, 2017

Scene from Our Trojan War

2017 has brought new creative work by war literature stalwarts Elliot Ackerman, Siobhan Fallon, David Abrams, Brian Van Reet, Helen Benedict, Jehanne Dubrow, and Elyse Fenton. Less noticed is that, beginning in late 2016, a steady flow of interesting reviews and scholarship has interrogated and deployed (block those military metaphors!) war writing in the name of deeper insights and larger arguments. Below’s a chronicle of some of it, done quick-and-fast, down-and-dirty, leaving the hard work of assessment and synthesis to more capable students of the genre. Still, no excuse now for not knowing what’s going on, nor for failing to recognize opportunities to make fresh contributions….

In fall 2016 appeared Joseph Darda’s essay in the scholarly journal Contemporary Literature titled “The Ethnicization of Veteran America: Larry Heinemann, Toni Morrison, and Military Whiteness after Vietnam.” Singling out Kevin Powers’ The Yellow Birds, Darda posits that “military whiteness,” a racially-charged backlash formation that privileges the heroic suffering of white veterans, characterizes not just Vietnam war fiction, but Afghanistan and Iraq war fiction, too.

The winter 2016 Contemporary Literature features Patrick Deer’s “Mapping Contemporary American War Culture,” in which Deer traces the militarization and weaponization of American domestic life in the wake of fifteen years of continuous war in works such as Redeployment, Billy Lynn’s Long Halftime Walk, and The Wire. Most interesting, arguably, is his take on Brian Turner’s memoir My Life as a Foreign Country, which Deer reads as subverting the dictates of “military futurism”—drones, paramilitary police, cyberwar, etc.—through its jagged, non-linear blending of personal, national, and global history.

Following the production of Our Trojan War, a NYC vet-centric play that stitched together scenes of war in Iraq with scenes and passages from classical texts, the online New Yorker ran a scathing review by James Romm titled “A Misguided Impulse to Update the Greek Classics.” Among other zingers, Romm writes, “The sight of Achilles in a flak jacket, searching for I.E.D.s with shaky hands and a twitchy trigger finger, gives us too simple and reassuring a peg on which to hang these noble old poems.”

New York City Veterans Alliance founder and director and The Road Ahead contributor Kristen Rouse fired back in a letter to the New Yorker (never published, but shared with me):

We’re not simply repackaging great literature in our tired military uniforms to feel better about ourselves. We are a new generation of veterans who are emerging as leaders, as writers, and as artists who have made it our lives’ work to let our fellow Americans know the complexity and impacts of our current wars that Americans keep failing to connect with, and that none of this is new—these lessons applied as much to the ancient hoplite as to today’s infantryman patrolling the mountains of Khost Province, Afghanistan. As a new generation of veterans, many of us are determined to use art as maybe the most urgent and important medium to connect with audiences and shake them from their boredom and disengagement…. If James Romm and the editors of The New Yorker are determined to remain unmoved—along with our still-disengaged American elites who have invested little in our wars or the men and women who have waged them—then so be it. But know that we will keep trying to shake you from your apathy.

In April, the Los Angeles Review of Books published Adin Dobkin’s “The Never-Ending Book of War,” a complex and ambitious piece in which Dobkin connects the long duration of war in Iraq and Afghanistan with literary genre instability. Drawing on theories of history promulgated by heavy-hitters such as Alfred Toynbee and Oswald Spengler, Dobkin expresses hope that a valiant “creative minority” of “soldier-authors” might yet break the impasse wrought by stalled wars and blocked imaginations.

Dobkin’s roll call of potential impasse-breakers includes Siobhan Fallon, but otherwise tilts heavily male: Roy Scranton, Elliot Ackerman, and Eric Fair, among others. The omission of more women writers didn’t pass unnoticed by Andria Williams, who writes in a Military Spouse Book Review blog post titled “Existing for Our Own Sake: Adin Dobkin’s Take on the State of War Writing,”:

I can’t help wonder what made Dobkin feel like he could write an “update” to the state of recent war literature without accounting for a single female veteran-writer, or writer of color…. the communities Dobkin fails to reference may be the very communities from which we’ll see the most, and most experimental, writing over the next few years.

Also riffing on Dobkin’s article was a Canadian Army chaplain named Michael Peterson, who blogs under the nom-de-digit The Mad Padre. Peterson wrote a helpful post titled “War and Remembrance: Notes Toward a Taxonomy of Contemporary War Literature” that covers a wide swath of familiar contemporary war-writing names to explain how easily their work fulfills the expectations of classical forms such as epic, mimesis, satire, soul work, and art.

The spring 2017 issue of The Hedgehog Review published a very interesting article titled, A Guest on This Earth: Humān al-Balwī and the Birth of Jihadist Fiction” by Nadav Samin. Samin inquires whether the terrorist who blew himself up and also seven CIA agents in a 2009 infiltration of Camp Chapman in Afghanistan was also a highly-popular author of jihadist fiction published on the Internet. Samin writes,

If the jihadist movement is at the forefront of a globally resurgent religious politics, it is in no small part because of its masterful capturing of the new mediascape with propaganda that is grandiose, macabre, and even cautiously, awfully literary.

A special edition of Modern Fiction Studies titled “Enduring Operations: The Wars in Iraq and Afghanistan,” co-edited by Aaron DeRosa and Stacey Peebles, is dedicated to contemporary war writing. In the interest of space I’ll only list the titles of articles and their authors (while thanking all), save to say that at least four of them seem to work the same literature-history-form triad as Dobkin. Knowing and curious readers will gather the titles’ drift and seek them out if interested:

“Combat Prosthetics: Recovering the Literature of the Wounded Female Soldier in the War on Terror,” Brenda Sanfilippo

“Home/Land Insecurity, Or, un Desmadre en Aztlán: Virginia Grise’s blu,” Belinda Linn Rincón

“Domestic Aerial Photography in the Era of Drone Warfare,” J. D. Schnepf

“Imagining Afghanistan in Deep Time: Nadeem Aslam and the Aesthetics of the Geologic Turn,” Alla Ivanchikova

“Beyond Recovery: Representing History and Memory in Iraq War Writing,” Patrick Deer

“Reframing War Stories: Multivoiced Novels of the Wars in Iraq and Afghanistan,” Jennifer Haytock

“Iraq War Body Counts: Reportage, Photography, and Fiction,” Roger Luckhurst

“Spectator-Citizen-Soldier: History, Genre, and Gender in The Hurt Locker,” Alex Vernon

Scott Beauchamp—a man clearly not afraid to make enemies–published an article titled “The Detached Literature of Remote Wars” for the American Affairs website that begins with a bang:

…our stories have struggled to convey the novelty of contemporary combat with the depth and significance that literature demands.  Most often, recent war fiction ends up collapsing into exhausted and facile sentimentality, or confining itself to very limited psychological renderings foregrounded by tepid and predictable political sympathies.

Beauchamp’s takedown of Klay, Ackerman, Gallagher, Fountain, et al, is accompanied by the announcement of the upcoming release of his own memoir of service in Iraq–I think we can all agree it better be good.

My own offerings to the discourse have been two-fold: I chaired a panel titled 21st-Century Veterans: Heroes or Victims? at this year’s American Literature Association conference. Below are the names of the panelists and their papers (thank you all):

“Facing Walls and Mending Wounds: Frost, Komunyakaa, and the Modern Veteran,” James Dubinsky

“Gazing at Veterans in Billy Lynn’s Long Halftime Walk and Sand Queen,” Deborah Daley

“Resisting Idyllic Masculinities in Luke Mogelson’s These Heroic, Happy Dead,” Steven Johnson

I also contributed an article titled “Frederick Busch and Annie Proulx: Forebears of Contemporary War Fiction” to the current issue of War, Literature, and the Arts, the United States Air Force Academy journal that has been showcasing war writing, art, and scholarship longer than anyone else around. I’m happy to be included alongside a number of strong contributors and even happier to know that USAFA will host a conference featuring both creative artists and academic scholars titled “Representing and Remembering War,” September 20-21, 2018. Put it on the calendar, everyone.

Summer of 17: Women Fighting and Writing

August 4, 2017

A scene from Bullet Catchers, currently running in New York.

“All wars are boyish and fought by boys,” wrote Herman Melville a long time ago, but it’s hard not to notice all the women-authored and women-centric war-writing that has appeared in the summer of 2017. Much of the new work has taken the shape of memoir and journalism, but new fiction and theater also contribute to the feel that something different and exciting is happening. Some of the new work is by “First Wave” women war writers such as Siobhan Fallon and Helen Benedict–familiar names in the war-writing scene–but appearing also are many new writers–a “Second Wave”–describing subjects and representing perspectives previously unheard or overlooked. The new work is appearing in print or being performed on stage, but online venues seem to be the medium of choice for publication and discussion of this up-to-the-moment phenomenon. Much credit goes to a highly motivated-and-resourced new organization called The War Horse, of which a profile of founder Thomas Brennan can be found here. The War Horse in particular has taken upon itself to promote writing by women-veterans, and even more specifically a War Horse writing workshop that took place in New York City in April, led by David Chrisinger, though not limited to women, has been enormously generative of first-person narratives detailing aspects of life in uniform for women in all its variety and implication. Some examples include:

“Learning to Breathe Through the Journey of Addiction and PTSD,” by Army veteran Jenny Pacanowski.

“Drown Proofing, Khaki Shorts. Some Things About Dive School Don’t Change,” by Coast Guard veteran Tenley Lozano.

“Circumstances, Fortunes, or Misfortunes, by USMC veteran Teresa Fazio.

The titles of Pacanowski’s and Lozano’s pieces preview their intriguing storylines; Fazio’s title doesn’t give her story away so readily, but the article describes the author’s post-service trip to India to find meaning in the Sikh tradition of Prasad. Fazio’s not the only female vet with a spiritual bent, either; another War Horse seminar participant (and my former central New Jersey neighbor), Army veteran Supriya Venkatesan, describes her own search for tranquility through Transcendental Meditation in an article titled “I Lived in a Town Where Everyone Meditated Together. Every Day.” Venkatesan already has a list of non-war-related publishing credits as long as your arm on exotic subjects such as bio-hacking, eco-sex, and home-birth, fyi for all aspiring vet-writers searching to break out of rigid identification as a mil-and-war writer. 

In the articles I’ve posted, Pacanowski, Lozano, Fazio, and Venkatesan don’t directly address military sexism and toxic military masculinity, but awareness of the difficulty of being a woman in uniform underwrites the ethos and worldview of their writing. Not coincidentally, The War Horse broke the story of the Marine Corps photo-sharing scandal early in 2017—Thomas Brennan’s post-Marine career began as an investigative journalist. Fellow ex-Marine Elliot Ackerman, the author of the novels Green on Blue and Dark at the Crossing, profiled Brennan this summer in a telling piece for Esquire titled “Inside the Nude Photo Scandal That Rocked the Marine Corps”—the despair of two proud Marines as they confront the easily-held misogyny of fellow male Marines is palpable. Appearing at almost the same time as Ackerman’s piece was Andria Williams’ story “The List,” a fictional dramatization of a photo-sharing scandal involving two Air Force officers, published on Afghan Post author Adrian Bonenberger’s The Wrath-Bearing Tree web journal. Williams, whose blog The Military Spouse Book Review has long tracked women’s war writing and military family issues, notes that she presciently first drafted her story in 2013, but filed it away thinking it too far-fetched. Little did she know…. the one-two punch of Ackerman’s article and Williams’ story reinforces the impression that the military’s ability to satisfactorily resolve its gender and sexual harassment/sexual abuse issues anytime soon and without outside help is slim, but if identifying the problem is the first step to a solution, then the authors have done their part.

The battle goes on on other fronts, too. On stage, a new play called Bullet Catchers, currently running in New York City, portrays life in an Army unit through the perspective of the women who occupy leadership positions, as well those who serve in the ranks. Bullet Catchers has already elicited at least two shrewd reviews from wise observers of the passing scene: Bullet Catchers: Women’s Modern Warfare” by Rachel Kambury posted on the New York City Veterans Alliance website and “A Plausible Reality by Teresa Fazio, written for Consequence magazine.

Finally (though I’m bound to be forgetting something significant), are the appearance of four books in 2017 by First Wave contemporary war-writing women authors. Already out are Elyse Fenton’s volume of verse Sweet Insurgent and Siobhan Fallon’s novel The Confusion of Languages and soon to come are poet Jehanne Dubrow’s Dots & Dashes and novelist Helen Benedict’s Wolf Season. And finally finally, just published is long-time editor of the Veterans Writing Project journal 0-Dark-Thirty editor Jerri Bell’s and Tracy Crow’s anthology It’s My Country Too: Women’s Military Stories from the American Revolution to AfghanistanIt’s My Country Too’s historical perspective reminds us that the current perfect storm of First and Second Wave women’s war-writing didn’t appear brand new spun out of whole cloth. Not to push things back to 1776, as Bell and Crow do, but to a more-recent 2016, important precedents began appearing last year when anthologies such as Retire the Colors, edited by Dario DiBattista, and The Road Ahead, edited by Adrian Bonenberger and Brian Castner, offered robust mixtures of powerful stories by both men and women veterans.

So what to make of it all? The first step, it seems to me, is recognizing, respecting, and encouraging the development. The second step is assessing what women’s war-writing has to tell us, both about life-in-uniform for women and masculine traditions and conventions of war-writing. Third, preparing for the backlash, which will inevitably come in the form of sneers about “the feminization of war-writing” and efforts to reestablish its manly basis. Fourth, ever-more precisely disentangling current notions about military culture, war-winning, and fighting ability from their unproductive entwinement with accepted cultural ideas about manhood and patriarchy, so that the military becomes a better place for all Americans to serve, rather than being a big boy’s club, and applies itself more effectively to winning wars, rather than being an endless employment and get-rich opportunity for flag-wavers, war addicts, mercenaries, and profiteers.

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.

 

Veterans War Writing: Anthologies R Us

November 20, 2016

“Corregidor in Wait” by Rachel McNeill, from After Action Review (2011). Used with permission.

Anthologies of writing by veterans have been a significant feature of contemporary war literature since the genre emerged as a recognizable form circa 2005. Single-author memoirs, blogs, novels, graphic novels, poetry volumes, and assorted other literary endeavors have been plenty, but the most impactful publishing format arguably has been the collection of short fiction, non-fiction, or poetry pieces assembled and published by enterprising editors. Often growing out of writers’ workshops and regional literary collectives, anthologies have served as gateway vehicles of expression and publication for hundreds of veterans while comfortably repurposing military camaraderie in the name of authorship. Below are the anthologies of which I’m aware, most of which I own and have read; I’m sure there are many others. I’ve also noted the editors and listed the authors who were reasonably prominent at the time of publication or since have become so—apologies in advance for the many names I’m sure I’ve erred by not including.

1. Operation Homecoming: Iraq, Afghanistan, and the Home Front, in the Words of U.S. Troops and Their Families (2006). Edited by Andrew Carroll with a preface by Dana Gioia. Operation Homecoming, as far as I know, stands at the head of the field and thus gets all the kudos that come with being first. In addition to less renown voices among its 89 contributors, Operation Homecoming features work by authors such as Benjamin Busch, Colby Buzzell, and Brian Turner, highly literate veterans who had already achieved some fame as authors and in ensuing years would become leaders of the war lit field.

2. Move, Shoot and Communicate (2007). The first of five anthologies published by Warrior Writers, a veterans-writing organization headquartered in Philadelphia and led by Lovella Calica, whose contribution to veterans writing began early and continues impressively to this day. I have not personally read Move, Shoot, and Communicate, but it is available through the Warrior Writers website.

3. Re-Making Sense (2008). Edited by Lovella Calica. A second Warrior Writers anthology—again, I have not personally seen Re-Making Sense.

4. After Action Review: A Collection of Writing and Artwork by Veterans of the Global War on Terror (2011). Edited by Lovella Calica, with a foreword by Brian Turner and an afterword by James A. Moad II. Yet another anthology from the very industrious Warrior Writers. This one, which I have read, contains poems and narratives by Roy Scranton, Victor Inzunza, Chantelle Bateman, Rachel McNeill, Emily Yates, Paul Wasserman, Jennifer Pacanowski, and Jeremy Stainthorp Berggren, among others.

5. Fire and Forget: Short Stories from the Long War (2013). Edited by Roy Scranton and Matt Gallagher, with an introduction by Colum McCann. A seminal work featuring fiction by several already well-known war writers such as Siobhan Fallon, Brian Turner, Matt Gallagher, and Colby Buzzell and a number of talented, ambitious newcomers who would find their way into print many times in the ensuing years, to include Scranton, Phil Klay, David Abrams, Gavin Ford Kovite, Mariette Kalinowski, and Brian Van Reet among them.

6. Outside the Wire: American Soldiers Voices from Afghanistan (2013). Edited by Christine Dumaine Leche with a foreword by Brian Turner. A very interesting collection of essays and vignettes composed by soldier-students of editor Christine Leche in classes she taught on US Army FOBs in Afghanistan. Leche includes a number of ingenious prompts she used in her classes that seem to have inspired her students to address war subjects and themes from a variety of fresh angles.

7. Standing Down: From Warrior to Civilian (2013). Selected and edited by Donald H. Whitfield with a foreword by Benjamin Busch. A work sponsored by the high-powered, highly resourced National Endowment for the Humanities, Standing Down features already published work by David Finkel, Brian Turner, Benjamin Busch, and Siobhan Fallon among other moderns, in addition to essays and reminiscences from pre-9/11 wars. The biggest of all the anthologies of which I am aware of, checking in at 494 pages.

8. Warrior Writers: A Collection of Writing & Artwork by Veterans (2014). Published by Warrior Writers and edited by Lovella Calica and Kevin Basl. One more from Warrior Writers, this eponymous collection includes writing by most of the authors who also appear in After Action Review, plus Maurice Decaul, Brian Turner, Hugh Martin, and Vietnam era vet-author stalwarts Bruce Weigl and Fred Marchant—80 authors total, the second most of the anthologies I’ve read.

9. Incoming: Veteran Writers on Coming Home. Edited by Justin Hudnall (2015). A product of Hudnall’s San Diego-based story-telling collective So Say We All, Incoming features non-fiction essays and stories by Benjamin Busch, Brandon Lingle, Brooke King, Tenley Lozano, Natalie Lovejoy, Lizbeth Prifogle, William Corley, and Adam Stone.

10. See Me For Who I Am: Student Veterans’ Stories of War and Coming Home (2016). Edited by David Chrisinger and with a foreword by Brian Castner. See Me For Who I Am features essays written by student veterans at the University of Wisconsin-Stevens Point, where Chrisinger teaches a veterans reintegration course.

11. Retire the Colors: Veterans & Civilians on Iraq and Afghanistan (2016). Edited by Dario DiBattista with an introduction by Ron Capps. Featuring work by Brooke King, Lauren Kay Halloran, David Chrisinger, Matthew J. Hefti, Colin D. Halloran, Teresa Fazio, and Brian Castner.

12. Our Voices United: 9 Women Veteran Authors (2016). Edited by Sergeant Stephanie J. Shannon. I know that women veterans’ stories are foregrounded in books such as Kirsten Holdmstedt’s Band of Sisters (2007) and Helen Benedict’s The Lonely Soldier (2010), but this recently published small collection is the only stand-alone collection of essays by contemporary war veterans I could find. That can’t possibly be, so please correct me and I will make adjustments to the post.

13. Holding It Down Philadelphia: A Collection of Writing by Veterans (2016). Edited by Warrior Writers’ Lovella Calica and Kevin Basl, Holding It Down Philadelphia features poetry by several Philly-based veterans.

14. The Road Ahead: Stories of the Forever Wars (forthcoming in 2017). Edited by Adrian Bonenburger and Brian Castner with a foreword by Roxana Robinson. An unofficial sequel to Fire and Forget featuring fiction by (mostly) established war writers, including Elliot Ackerman, Benjamin Busch, Brandon Caro, Maurice Decaul, Teresa Fazio, Thomas Gibbons Neff, Aaron Gwyn, Alex Horton, Chris Wolfe, Kristen L. Rouse, Kayla M. Williams, and Brandon Willitts.

Mention should also be made of the Veterans Writing Project journal 0-Dark-Thirty (online and print), the United States Air Force Academy journal War, Literature, and the Arts (online and print), and Military Experience and the Arts (online). All three journals partake of the spirit of the anthology by showcasing a wide range of veteran stories and perspectives.

I could write at length on each of these collections and may well do so in the future. A necessary first step is making more precise distinctions among them, because each anthology, to say nothing of the pieces within them, features a unique approach, ethos, and publishing history. The Warrior Writers anthologies, for example, reflect the raw anger of veterans troubled by service and deployment, while Fire and Forget channels a more polished literary vibe. Incoming and 0-Dark-Thirty, among others, juxtapose contemporary veteran voices with those from past wars. While early anthologies took pride in showcasing as many veteran writers as possible and blending unknown and established writers, more recent anthologies such as Retire the Colors and The Road Ahead feature established authors who have already made their mark on the war writing scene. Each of the anthologies might also be characterized by how earnestly they offer page space to women, minority, and non-combat arms veterans, as well as family members of veterans. At a more refined level of analysis, each anthology speaks to its particular political and cultural moment–roughly defined by the President in office when it is published–with varying degrees of relation, passion, nuance, and focus. One wonders for instance, how the forthcoming The Road Ahead will constitute a response to the new era ushered in by the election of President Trump—at what roads ahead will they both be looking?

In regard to sins of omission, no one yet, to my knowledge, has organized an anthology on the basis of rank (junior enlisted, NCO, junior officer, field grade officer), which I think would be a helpful way of understanding the viewpoints of service members based on that crucial determining factor. Same for anthologies based on branch of service. I’m also somewhat surprised to discover that anthologies showcasing writing by women or wounded and disabled vets seem to be mostly missing-in-action (and all the more reason to look forward to 2017’s It’s My Country Too: Women’s Military Stories from the American Revolution to Afghanistan, edited by Tracy Crow and Jerri Bell, with a foreword by Kayla Williams). Many many anthologies focus on redeployment, which is OK, but which also seems to short-change consideration of aspects of deployed military life that might interest. There’s very little, for instance, that offers factual, fictional, or poetic recounting of unit chain-of-command conflicts and personalities and just as little on the romantic and erotic lives of soldiers. Interest in Iraqis and Afghans is notably lacking, and, at the level of style, most anthology entries sacrifice literary flair for directness of expression.

Finally, the anthologies’ introductions, forewords, and afterwords alone are worth examining for how they frame each project. Common themes include giving voice to diverse military experiences; seeking clarity about troubling events; rendering the particular reality of deployment, combat, and redeployment; and, always, bridging the communication and understanding divide between the small percentage of Americans who have served in Iraq and Afghanistan and the large percentage who haven’t. To let the editor who seems to have started it all have the last word, Andrew Carroll writes in the introduction to Operation Homecoming, “…now that the idea of seeking out the undiscovered literature of our nation’s troops and their loved ones has taken hold, it is exhilarating to think of all that is yet to be found and of everything, ultimately that is still to be written.” Hear hear, and salute to the editors, publishers, authors, and readers of the nation’s twenty-first century veterans’ anthologies.

War Writing: The Raw and the Cooked

August 14, 2016
Khost Province, Afghanistan. USAF Photograph

Khost Province, Afghanistan (USAF photograph).

A flutter of recent data points raise the questions whether veterans are natural storytellers and whether they are prone to adorn their stories to impress listeners. An article by “Angry Staff Officer” on the Task and Purpose website titled “Three Things That Make Service Members Great Storytellers” asserts that the combination of “mission, story, and time” allows men and women in uniform to “relate our cultural and personal experiences to a group, bring them into the story in an intimate setting, and reveal a shared identity.” Angry Staff Officer cites soldiers from the South as military tale-tellers par excellence, a notion corroborated in “Colleen,” from Odie Lindsey’s fine collection of stories about Southern veterans of the Gulf War and Operation Iraqi Freedom titled We Come to Our Senses. The narrator sets a scene in a VFW hall:

A couple of men asked Van Dorn how he was, and he held court as he blustered and bragged. They tolerated this, because storytelling—his or anyone’s—cued up the opportunity to indulge their own tales, to again revisit their trauma.

So the men did just that, they ran a story cycle, memory to memory, barstool to barstool, and on down to Colleen.

But it’s not just service members from below the Mason-Dixon Line. Last week, at a family reunion in upstate New York, my cousin’s kid Teddy, who served as an infantryman in Iraq, at a late night campfire related tales that were quite a bit more engaging than anyone else’s. Teddy didn’t speak of war, and he didn’t bluster or brag, but he smoothly turned routine events of his life into stories and the people who populated them into personalities. Like Angry Staff Officer describes in his post, as I listened to Teddy it was as if I was once more in an MRAP on a long conop in Afghanistan, eavesdropping through earphones to the crew members spin tales about past missions, past assignments, and past lives.

While Angry Staff Officer writes of how service members and veterans communicate among themselves, David Chrisinger explores how and why veterans frequently embellish the stories they tell or write for civilians. In a piece titled “The Redemptive Power of Lying” posted on Warhorse, Chrisinger writes, “I’m OK with lies—the ones my students need to tell themselves, and in turn, tell me—but I’m not OK with bullshit.” Matt Gallagher, who always has something good to say in these cases, picks up on Chrisinger’s theme. In a recent story published in Playboy titled “Babylon,” Gallagher has his protagonist, a female USMC vet living in Brooklyn, state:

Some of the biggest posers I’d known were vets. The pogue who never left Kuwait but needed to pretend he’d crossed the brink. The staff officer whose lone patrol off base became more dangerous with each of her retellings. Even the grunts, it was rare for them to stick to the truth, because the truth was never enough. War stories meant bullshit, that’s just how it was. Deep down, I knew I’d exaggerated what happened that day in Al Hillah to people, be they surly uncles I wanted to impress or lipstick dykes I wanted to screw. I wasn’t proud of it. But still. It’d happened, and it’d probably happen again.

Maybe we’d earned the right to bullshit….

Recently, the popular Humans of New York website and its even more popular Facebook page have been featuring Iraq and Afghanistan vets relating vignettes of intense wartime experiences. The vignettes, or anecdotes, exemplify the tendencies noted by Angry Staff Officer, Chrisinger, and Gallagher: short, well-turned, gripping accounts of extraordinary events experienced by the veterans, accompanied by poignant statements about the events’ lingering significance in their lives. The posts have been shared on Facebook upwards of 10,000 times, and the comments sections have generated hundreds of compliments, denunciations, and other expressions of belief, disbelief, support, and even accusations that the veterans’ stories were fictive.

If the Humans of New York posts offer a glimpse of the contemporary war-story-telling zeitgeist, the lessons are simple: 1) Go sensational. 2) Go emotional. 3) Keep your own experience at the center, and 4) Convey conviction that your perspective of the event you describe is the true one. Don’t mince around; what people want to hear about is either the worst thing that ever happened to you or the most triumphant. The worst thing is always the shock of learning that war is much worse than you could have imagined or can handle. The best thing is always that you acquitted yourself well in combat.

If you can’t hit those notes, well OK, but be ready for a less-than-enthusiastic response from the reading masses. Tell a subtle, nuanced tale reflecting perplexed anxiety about things that you observed while you were in the military, and five, 500, or 5,000 people might be interested. Tell a graphic story of harrowing adventure and personal tumult, and your audience will be 50,000, 500,000, five million, or more. Edgar Allan Poe wrote long ago, “But the simple truth is, that the writer who aims at impressing the people, is always wrong when he fails in forcing that people to receive the impression.” The lineaments of war story popular connection are right there for the taking. Hint—they look a lot like American Sniper. Reading suggestion—another story in Lindsey’s collection, titled “Chicks,” a funny one about a screenwriter trying to pitch his war-movie script to a producer, brilliantly dramatizes and complicates Poe’s notion. Just in case it’s not obvious–“Chicks” will never be as popular as American Sniper.

Many years ago the French anthropologist Claude Lévi-Strauss proposed the phrase “the raw and the cooked” to distinguish between primitive and advanced indigenous populations. Lévi-Strauss’s specific subject was food preparation—the move from eating food raw to cooking it clearly demarcated a cultural advance—but lots of critics have since used the phrase to analyze all kinds of human activities, and I’m going to do the same now. War stories, says I, come in two kinds—the raw, visceral kind that use blunt language to describe combat, killing, war brutality, and the rough aspects of military life, and the more mannered and brooding efforts I am calling “the cooked,” which might be described as an attempt to represent a thinking-person’s take on war. Both terms have connotations: when it comes to war writing, “raw” is inevitably linked with “honesty,” which makes “cooked” seem overly-analytical or even evasive. If you’ve eaten twenty straight raw meat-and-potato dinners, however, you might appreciate a little imaginative culinary preparation the next meal around. No doubt, I prefer a literary “cooked” approach, but I’m also in awe of the power of the “raw” to capture the imagination of soldiers, writers, and audiences, so, really, as you work through what I say next, try to avoid thinking of either term as inherently pejorative or complimentary. Instead, consider them as poles on a spectrum of war storytelling possibility.

The great example of contemporary “raw” war-writing is American Sniper. Never mind that Chris Kyle had extensive ghost-writing help, parts of his memoir may have been fabrication, and Kyle himself disavowed aspects of his own story. American Sniper resonated deeply because readers responded to and respected Kyle’s unapologetic and visceral account of his actions in a voice that they identified as authentically his own. Whether it was the truth, the whole truth, and nothing but the truth, or not, it just seemed honest:

I had a job to do as a SEAL: I killed the enemy—an enemy I saw day in and day out plotting to kill my fellow Americans.

The first time you shoot someone, you get a little nervous. You think, can I really shoot this guy? Is it really okay? But after you kill your enemy, you see it’s okay. You say, Great….

I loved what I did. I still do. I don’t regret any of it. I’d do it again.

I never once fought for the Iraqis. I could give a flying fuck about them.

There are many signature elements of a “raw” war story that help register such honesty. One of them is a blunt, hard-boiled prose style, full of profanity and tough talk, as if the author, his narrator, and his characters were really angry about something. Another is unbridled contempt for the chain-of-command; raw war stories bristle with certainty that higher-ups are stupid, vain, and selfish. A third is a thorough self-identification as a soldier or veteran and the assertion of undying brotherhood with fellow soldiers. A fourth is preoccupation with killing and battlefield carnage. A fifth is the treatment of the enemy as savages without humanity or distinction. These signature elements, in my opinion, are diluted in contemporary war writing, American Sniper excepted. If you don’t believe me compare Larry Heinemann’s Vietnam War novel Paco’s Story, which won the National Book Award in 1987, with Phil Klay’s Redeployment, which won the same award for 2014. In terms of the rawness criteria I have established, Paco’s Story rates about a 9 on a scale of 10, while Redeployment gets maybe a 3 or 4. American Sniper is up there with Paco’s Story in terms of rawness, but where Heinemann’s rawness is a stylized literary effect that impressed critics and several thousand readers in its time, Kyle’s memoir has been scorned by critics, while causing the masses to build memorials in his honor.

Kyle’s last quote above—about not giving a “flying fuck” about Iraqis—is interesting, because it brings into play something I’d like to propose is true of contemporary war writing. The signature elements of raw war stories may not appear as often in war writing across the board these days, but the fifth still persists as a demarcation point separating war writing into raw and cooked segments. The main ingredient of a “raw” war story about Iraq and Afghanistan, I would say, is lack of interest in or outright contempt for Iraqis and Afghans, while a “cooked” war story manifests curiosity about them, attempts to portray them “as people,” and worries about the cost of war on them. I could without hesitation divide the 20 or more works of fiction I’ve reviewed on Time Now and the countless works I’ve read but have not (yet) reviewed, and rate them based on their empathy for the inhabitants of the land in which the Americans portrayed were fighting. Stacey Peebles also (first, really) hit on this means of evaluation in a chapter in Welcome to the Suck: Narrating the American Soldier’s Experience in Iraq in which she compares Brian Turner’s Here, Bullet and John Crawford’s Iraq War memoir The Last True War Story I’ll Ever Tell. Crawford left Iraq venomously disdainful of Iraqis, while Turner’s surfeit of empathy for Iraqi people, history, and culture threatened to overwhelm his effectiveness as an infantry sergeant. Peebles writes, “If Crawford takes in nothing of Iraq and empties himself out until he is a hollow shell, Turner takes in so much that he is full to bursting.” It follows then that Crawford’s memoir is “raw” and Turner’s poetry is “cooked.”

Which brings us back to the Humans of New York. The names of the veteran story-tellers are not given, but the second and third are both authors about whom I’ve written about on this blog, Jenny Pacanowski and Elliot Ackerman, respectively. Both are savvy writers and in Pacanowski’s case a seasoned performer of spoken-word poetry. In her scathing, ribald, and often extremely funny monologues, Pacanowski presents her tour-of-duty in the Army and Iraq as terrible to the point of traumatizing. Ackerman’s Afghanistan war novel Green on Blue, on the other hand, is practically void of American characters and instead places a Pashtun militia member at its narrative center. According to the schema I have set up, Pacanowski’s poetry is an example of “raw” war writing, while Ackerman’s novel represents the “cooked.” But in their Humans of New York vignettes, we can see them each moving toward a middle ground: Pacanowski fighting to demilitarize her all-consuming self-identification as an angry veteran, Ackerman letting down his guard to let the world take a better measure of who he is as a person. Be sure to read them, and salute to both.


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