On Telling War Stories

by Jerad W. Alexander

In a bar in the Poncey-Highland neighborhood of Atlanta, I sat across from a woman with eyes like wet iron and watched through cigarette smoke as she explained how her boyfriend had been murdered. He had been killed the previous May at a popular drive-in theater. After the movie had ended he discovered his car battery had failed him and he needed a jump. He walked to the truck next to him, tapped on the dark driver-side window, and for his troubles received a bullet to the chest which killed him as paramedics worked on him in the back of a speeding ambulance.

Her story put a zap through my spine, as I’m sure it would anyone. She cried almost mechanically as she told it. She was tough, and would later give testimony before a jury that would inevitably put the shooter away for life. But at the moment, there in the bar under a haze of beer and whiskey and chain-smoked cigarettes, was a reflection of old pains I recognized almost immediately. A savagery had taken hold, a bitterness. It was completely justified, of course, but I recognized it because I had once carried it within myself. It’s the kind of thing you can hear in the back of the throat—a sort of bile-damp gravel that curls the upper lip an almost imperceptible measure. You can see it as a hardening of the eye capillaries whenever pain creates rage; and I felt a dubious need to lay on some Old Folksy Wartime Wisdom. I had been in her world, at least in a certain psychic sense, and I wanted to offer perspective.

I told her a war story.

I told her of a lance corporal I knew in Iraq who was killed by an alpha-male nightmare and the comic error of bad driving. One afternoon, the staff NCO of the guard at our camp in western Iraq orchestrated a response drill. Basically, he wanted to see how fast his Marines would respond to a potential threat in the camp, normally a routine and completely justifiable action. However, the staff NCO of the guard, a massive gunnery sergeant with a booming voice and woefully arrogant demeanor who lead by fear and intimidation, whipped his troops into a stress frenzy. As the lance corporal rode in the bed of an open air Humvee the nervous driver misread a turn and flipped the top-heavy vehicle onto its back. The lance corporal was tossed from the bed and crushed between the roof and the ground.

I found out about it soon after from the battalion administration staff NCO who was a friend of mine. He had been called to identify the body a few hours earlier. Later, as I glumly walked toward my hooch to shed my gear I passed near the helipad reserved for the battalion aid station. Standing outside the entrance to the station were two facing ranks of Navy corpsman. A number of others, including the battalion chaplain, were on hand. Unsure of what was going on I stopped and watched. Within a few seconds a fat gray Marine transport helicopter clattered to the ground and dropped its ramp. Fine Iraqi dust flew in thick billows around all of us. The wooden doors of the aid station burst open and through the dust two corpsmen wheeled a gurney toward the back of the chopper. On it rested a rumpled black body bag. . .

Kestava - WastelandIt was at about this point in the story that I became emotional. Sitting in front of this woman in a dive bar in Atlanta my eyes welled slightly. It was an odd thing, the welling up. I had never done that before. I had told that story to a few close others, but never had I came close to weeping. And yet, even now as I write on this rainy summer night years later, I feel that same sad rush collect in my sinuses, and it makes me laugh because it’s such an old story now.

Back in the bar and next to the helipad, I shakily told her how as the corpsmen wheeled his body to the maw of the helicopter everyone gave an honest salute in good keeping with war movie clichés. But it was a bitter salute for me, and one that did not last very long. The bird revved its massive blades to liftoff speeds and sent the dust into a whirlwind. I told her how I swore it was the dust, that rotten dust that coated my eyes and inside my nose, that made me turn away and wipe the water from my eyes and beat a fist in rage against the concrete warehouse I stood near. I explained my vitriol toward the gunnery sergeant, toward the shaky Humvee driver, and toward the general lock-step stupidity. I told her I wanted to kill everything. I told her I hated the war and the marketed and bullying jingoism that put us all in that country to begin with, for her and for even you now.

But I quickly dried up and offer The Message—that I had long factored it all, come to grips with the war despite my spurring emotions, and had found peace with the war and my involvement in it, while maintaining an itch to express to others the savagery, oddities, insanities, and even the humanity of the Marine Corps and of Iraq War at large; and that hopefully in telling these things to others could expand on some larger truth that might spare us further damage, as Pollyanna as that lofty goal might be. I explained how she might have a similar opportunity when she was ready for it. She seemed to understand.

For years I figured other veterans shut up about their service because of some latent trauma. Perhaps I’m woefully naïve, but it never occurred to me they might stay silent because of the response they might receive. I don’t talk much about the military anymore, at least not in casual conversations or in detail with folks I don’t know very well. The subject has a tendency to spray a social gathering with what seems to be an ultrafine shit-mist, regardless of whether I’m talking about a wild barracks party during a hurricane or a day in Iraq when my buddy and I laughed and shoved each other like schoolkids as we lugged a machinegun to the roof of a building taking sniper fire. There’s often an unspoken assumption that I’m somehow damaged, that because I’m telling some wartime anecdote I must certainly be in the grips of some flashback just shy of some violent boiling point. While wildly inaccurate, this certainly accounts for all the stories of human resources managers and job recruiters who’ve skipped over veterans’ resumes because they don’t want to have a real life John Rambo (or their fearhead image of one) sitting in the breakroom with the regular squares during lunch break.

The sad truth is that while I’m completely comfortable telling honest war stories, I often wonder if the audience that needs to hear them the most—those who have built their understanding of the wars on dubious political or social perceptions—are simply unreceptive, or unavailable.

The Written Word about the Iraq and Afghanistan wars has been shuttled off into easily digestible camps. There are the hero/war porn tales filled with soul-wounded sniper-death-kill memoirs, Navy SEAL vignettes, and whatever jingoist G.I. Joe/Greatest Generation war stories that pack up the Great White neocon newsfeeds. It’s the land of the battle hardened operator, the bonafide ‘Merican hero above reproach who makes the flyover states feel a little more comfortable in their dubious notion of American Exceptionalism. Alternatively, there is the often well intentioned-but-retreaded literary war fiction that feels beaten into the MFA copy of the Novel of the Last Big War while desperately trying to squeeze out Tim O’Brien for a spot in the next generation of high school English text books. They do a better job of portraying the battlefield, from both physical and moral standpoints, but they’re packed with so much wartime woe that any uneducated reader is bound to be chased off by the suicidal demons that crawl off the pages. The running narratives of these wars are wrapped up in either politicized chest-beating or as the showroom models of damaged goods. Veterans tend to favor the former while civilians edge toward the latter, if they’re inclined to go anywhere at all. Neither of them are completely accurate and we’re all suffering because of it.

As the night progressed in the smoky bar, and as she asked me questions about the war, her tone darkened. After downing shots and beers over loud Tom Waits and Johnny Cash she looked at me through cigarette smoke and her old bitterness churned alive. She looked sprayed with the aforementioned shit-mist, but for some atavistic reason kept wading through it anyway. After a while it felt more like an interrogation than a conversation. Finally, she interrupted me—

“You were a minion,” she said.

“I’m sorry?”

“You were a minion, ok?. You did Bush’s dirty work. You’re a murderer? I’m sorry, but I can’t help it. I don’t believe in any of it. How could you even do all that? It makes me sick.”

The music softened. Or maybe it didn’t. Maybe I thought it did. Somewhere in the back of my frayed auditory cortex a concerned synapse must have turned down the worldly volume because everything focused on this one precise moment. All the recording devices of my mind clicked on as if I had tapped into some bizarre historical conduit too foul to let slip by. I had read of veterans returning from Vietnam with similar stories, but always assumed they were limited to the time period. And yet here it was: bold faced, stark, dry, and very real.

I know many combat veterans who would have gone completely sideways at mere notion of having anyone bounce such prejudices their way. A few might have ripped the table from the floor and broke the wood down to splinters. Others still might have even been tipped enough to get violent with even her, regardless of the state where her statements came from (which can only be half accounted to trauma). As for me, I pride myself on a certain level of emotional wherewithal. There is no perspective one can offer to assuage the emotional amputation caused by a violent death of someone close, or in some cases even nonviolent. Its only remedy is time and time alone. Even now I have to routinely remind myself of that fact. There is no other fix. Nevertheless, I quickly paid and washed my hands of the whole rotten scene. I was too stunned to do otherwise. Sometimes I wonder if shattering a few pint glasses on the way out might have been worth it, if only as a punctuation mark.

Are veterans obligated to Spread the Word out to the congregation? Is it worth wading across the divide between veterans and civilians? I know for me it is, at least in a certain respect, but walking out of that bar those years ago I had to rationally wonder if the waters are simply too high to cross.

Traditional Students and Veterans: Using Drama to Bridge a Difficult Gap

By Gaby Bedetti

“Fantastic show, that’s what education should look like!” said Travis Martin’s generous e-mail in response to our class’s attempt to capture the experience of war and its aftermath in a play. “A wonderful, often moving piece of theatre,” wrote a professor about “From Shiloh to Afghanistan.” Neither suggested a disconnect between war and the students’ representation. Yet Daniel Buckman’s “Swords to Pencils: Thoughts on the Veteran Experience in Academics” articulates a troubling question: Did any of us develop a real understanding of the veterans’ experience?

Comprised of traditional students, our Eastern Kentucky University class spent spring 2015 armchair traveling from the American Civil War to the modern-day battlefields of the Middle East. Neither my co-teacher, Mason Smith, nor I have fought in a war, so, to mark the 150th anniversary of the Civil War, we focused on its bloodiest battle. To convey what they had learned from reading history and fiction, the students wrote, directed, and performed six one-act plays on May 7 in the Black Box Theatre of the EKU Center for the Arts. A jug band from the seminar performed brief interludes of Appalachian songs. The production concluded with “A Litany for Our Veterans,” constructed from lines of poetry about all the wars in which Americans have fought. The litany’s elegiac tone projected an earnestness its fifteen reciters may not have earned.

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The students dramatized their generation’s stories in various ways. For example, in “An Ignorant Soldier” a time-traveling student journeyed back to the Battle of Shiloh, where he accidentally killed Gen. U.S. Grant and started a chain of events that altered the course of history. “Row Your Boat” depicted a straggler and a general at the Battle of Shiloh trapped as one struggled to row toward safety, and the other toward battle. Martin coached the writers to tweak the dialogue and behaviors to make them more realistic. He challenged the writer of “Homecoming,” whose brother is in the military, to aim for a more nuanced portrayal of a veteran with PTS in this excerpt:

LITTLE GIRL

(approaches him with a clip board in attempt to sell cookies)

Excuse me sir?

RANDY

(coldly)

Get away from me.

LITTLE GIRL

What, no? I just have a question for you.

RANDY

(panicked)

What are you hiding behind that clipboard?

(rips it out form her hands and she accidently falls back out of shock and cries)

What do you want? Get away!

LIBBY

(Libby hears the shouting and runs over)

Hey, hey, hey! Calm down she’s just selling cookies. What’s going on?

RANDY

She wouldn’t listen. I told her to get away and she wouldn’t. She needs to get away from me.

 

The writer modified the violence by having only the clipboard fall, not the little girl. A deeper understanding of those who have experienced war calls for a more authentic learning experience.

In order to respond to what Buckman aptly characterizes as the narcissism of the traditional student, academics could collaborate with the veteran community. In her article, “Veterans Studies: Expanding Notions of ‘Vet Friendly’ to Include the Curriculum,” Penny Coleman endorses Martin’s call to bring both veterans and non-veterans together. The course could be cross-listed in EKU’s Veterans Studies Program. Veterans would educate instructors about their needs and learning styles, as Sarah Gann suggests. Voices of Student Veterans and Verbatim Theatre could teach the kinesthetic learning style emphasized in military training and favored by traditional students today. While the class could never approximate the cohesiveness and camaraderie that Buckman describes in his all-veterans composition class, integrating drama may help bridge the gap.

Along with collaborating with veterans, instructors might focus the reading strategically. With so much excellent war literature available, we could pair works from JME with Civil War readings. We could showcase the experience of women involved in war, as Martin advised, by juxtaposing a female hospital nurse’s experience during the Civil War and Erin Byers’ “Dear America.” Another approach to making the course more genuine would be to have the class focus on a particular image the way Lund focuses on images of hands as a writing prompt and shortcut to agency. An alternative is to focus on a specific moment, such as the night before battle, a motif memorialized in Book VIII of Homer’s Iliad, and captured in the EKU student play, “Shootin’ the Breeze.”

Finally, instructors could more overtly use the course to bridge the gap between veteran and traditional students. To promote points of empathy, we could use a public blog to engage soldiers and veterans in virtual interactions. We could bring veterans into the course through JME and veterans on campus. A veteran could serve as a visiting instructor. Students in the course could help promote the field of Veterans Studies by presenting at the Veterans in Society Conference. A course titled “Battle of Shiloh: Drama for the 21st Century” would be enriched by the coming together of veterans with traditional students.

Our hope is that by improving the course design, the military will exist beyond the university enclaves Buckman describes. Rather than carrying what Gann calls the “burden of seclusion,” veterans will help educate traditional students. As brothers, friends, and fiancés of people in the military, many traditional students have a degree of exposure to the moral and literal injuries of war. Gann presents the academy with an opportunity it cannot waste. The million current VA Education beneficiaries provide the academy with what Gann describes as “an occasion in which it can rise to greatness, to serve those who have greatly given in selfless service.” Bringing soldier and student together in the classroom to write and produce plays about the experience of war is a step toward healing and reconciliation.

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The trailer for the play is available at https://www.youtube.com/watch?v=RWXetx-jfeo.

A recording of the performance is available at https://www.youtube.com/watch?v=KEPF-DaJOwY.

Spotlight: Daniel Buckman

by Travis Switalski, Sr.

The Names of Rivers by Daniel Buckman, his second in a cycle of four novels, begins and ends a dark, heartbreaking tale of the multi-generational dysfunction between fathers and sons who have both survived the major wars of the American Century. The patriarch of the Polish-American family, Bruno Konick, once soldiered with the First Infantry Division from Omaha Beach to the liberations of Dachau and Buchenwald, an experience that aged his body and forever disconnected his mind. The post-traumatic stress caused by his involvement in WW II affected his life, the lives of his two sons before they ever went to Vietnam, and the life of his grandson, Luke, who wanders Watega County, Illinois realizing that something bad has happened, but unable to understand the big whys. 

“Bruno Konick is a compilation of my uncles and grandfathers who fought in the European Theatre of Operations during WW II,” Buckman said in interview. He describes two generations of war veterans in his grandfather’s basement playing cards on Christmas Day. The Vietnam veterans felt isolated and alone at their table, while the World War II veterans, living with their own silent trauma, felt embarrassed for sending their sons off to a war they never intended to win.  “I think they had far less closure than 1950s and 1960s Hollywood would suggest. This experience is also framed by tough Depression childhoods as first-generation Americans.  I found that these men were sent home to roll final credits on WW II that refused a conventional ending after Auschwitz and Nagasaki changed how people must think about war to win.”

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The story of Bruno Konick and his sons intertwines with that of his grandson, Luke. The boy can see the toll that trauma has taken on his working class, Polish-Catholic family even if powerless as a seventeen year-old boy to change anything. “He has a great-grandfather who was gassed in the Meuse-Argonne, a grandfather that was left with malignant PTSD after WW II, and an uncle and a father who are Vietnam veterans that are existing with untreated PTSD and the mania that comes from being a 1980s Vietnam combat veteran,” said Buckman. He wanted to articulate the irony of the boy joining the Marines in order to break the cycle of trauma by potentially exposing himself to the very same trauma.  “I wanted the novel to end with the reader wondering what will become of Luke as they already wonder what became of Huck Finn. Will Luke really get out and use the GI Bill?  Will Luke get sent to war and lose his nimble wits and wander with untreated PTSD from both his experience and the experiences of three generations ahead of him?  I wanted to write a novel about what continuing a military tradition in the family, which is often portrayed as fluffy on network morning shows, does to a family after some hard generations in American Century Wars and untreated PTSD running like an open sore between generations.”

When asked how he thought The Names of Rivers is relevant to America’s recent combat veterans, Buckman said, I believe that today’s OEF/OIF veterans are much like Luke.  He could have been in 1983 Beirut, which was the first major attack by an Islamic terror group on a hard American target, the Marine Barracks 1983.  I know from teaching  OEF/OIF veterans freshman composition at Chicago junior colleges as a Cold War paratrooper that many young vets from the recent crusade come from the same social conditions as teenagers from the divorce frenzy of the late 70s and 80s laced with untreated PTSD as when I served in the 1980s ‘mellow yellow’ period.  I am much older, born in 1967, but my experience teaching OEF/OIF vets and hearing them talk about Korean War veteran grandfathers and Vietnam veteran fathers impresses me one way: This generation of combat veterans are full of grandpa’s and dad’s PTSD themselves. OEF/OIF didn’t escape the culture, hardship, and weird mythology that sprang up to define the wars of the American Century.”  

Buckman is the Vice President and Managing Fiction Editor for Military Experience & the Arts. He has been committed since 2006, when OIF grunts started coming back in real numbers, to teaching veteran students to write college essays and mentoring veteran authors with the belief that writing can help individuals cope with their trauma. “Writing has historical credibility in helping veterans not only define their individual PTS into a manageable narrative that will need periodic adjustment over time, but it has made many veteran writers, who never dreamed they would be writers, become respected authors. Homer must have been a soldier.” Buckman challenges veteran writers and students to read books like The Iliad and The Odyssey, asking them if they identify with the characters, Achilles’ rage or Priam’s profound mourning. Most grunt veterans answered with a resounding “every single verse.” He later encourages them all to read authors like Crane, Hemmingway, Herr, Heinemann, O’Brien and Vonnegut to show them that veterans have been writing from pre-history until present day. “I have seen that the simple act of disciplined running, reading, and writing about the war has brought many vets back from real severe diagnoses.  If they have these books close, they are never alone. If they discipline themselves to write well every day and do PT, they will begin to understand their experience not as an overwhelming mixture of experience and emotional reactions, but as parts of a larger story that they can begin to write and assemble.  I hope that more veterans will use our services at MEA.”

The Names of Rivers is an important novel for all generations of veterans to read and embrace. It is of the same caliber of any of the novels that Buckman recommends to his students and veteran writers and is an outstanding example of the real contribution that veterans have given the literary arts. Buckman’s raw honesty and genuine, heartfelt sincerity come through in his writing, invoking the entire gamut of human emotions in the reader, setting a standard for all writers – veterans and otherwise – to follow.

MEA Vice President Daniel Buckman
MEA Vice President Daniel Buckman

 

American Soldiers: Ground Combat in the World Wars, Korea, and Vietnam

Review: Peter S. Kindsvatter, American Soldiers (Lawrence: University of Kansas Press, 2003).

by Jason Ridler, PhD

All returning combat veterans face the challenge of explaining an experience that has no parallel, that is riddled with fear, blood and violence, and that has no “polite discussion” filter. Paul Fussell noted in Wartime: Understanding and Behavior in the Second World War that the real war rarely gets into the clinical and objective history books, the real war of terror, courage, guts, blood, and shit, not detached and cold retelling events and outcomes..

American Soldiers Cover Image

Peter S, Kindsvatter, Command Historian at the U.S. Army Ordnance Center and Schools, Aberdeen Proving Ground, and a retired Army Lieutenant Colonel, took Fussell’s challenge with  American Soldiers (University of Kansas Press), a tour of the human experience of warfare from the level of the ground soldier through four wars of America’s draft era (Great War, World War II, Korea and Vietnam). Using a legion of memoirs, diaries, oral histories, novels and more, Kindsvatter breaks down the experience of ground combat into thematic chapters that run the gauntlet of topics from sharp end, from fear and courage to unit cohesion and cowardice, the impact of race in a segregated service, as well as the limits of human endurance and sacrifice. Using a range of scholarly sources on psychology, Kindsvatter helps explain (but not judge) the vast panoply of reactions and traumas endured by those who survived combat in the hell of industrialized warfare. Perhaps the finest source utilized is the woefully under-read J. Glen Gray, whose short work The Warriors: Reflections on Men in Battle, was written from the perspective of a combat veteran in the Counter Intelligence Corps and a budding philosopher trying to unpack the nature of war as an environment and soldiers as its primary inhabitant. Gray’s framework for understanding the “enduring appeal” of battle and the different archetypes of soldiers is employed to great effect as Kindsvatter ploughs through a range of experience from America’s ground soldiers. Kindsvatter also doesn’t shy away from the use of fiction by veterans, including James Jones and Ernest Hemingway, as experiential documents that allowed both writers to use the imaginary tools of literature to make sense of a war in a deeply human fashion. The author can’t underscore enough that too often such works are dismissed for being “not historical”, but when they come to the emotional honesty of experience moments of awe, horror, and grace, there can be few better guides than America’s finest writers of fiction. Kindsvatter also delves into the impact on the homefront on the frontline soldier, how the attitudes and perceptions of each war impacted the grunt’s job overseas, especially the increasing sense of isolation birthed from the anti-war movement during the Vietnam era.

For a history buff, American Soldiers is a grand piece of scholarship on a complex subject, well written and well organized. Far more important, for soldiers who have endured war environments and survived, American Soldiers offers itself as a great companion to that unparalleled experience, speaking across the years about what is unique and distinct in combat experience. As one colleague said when reading it, it made him feel like he wasn’t alone.