"Listen Up, Maggots! It's National Poetry Month!"

Archive photo: Army Reserve drill sergeants motivate a participant of the Army Reserve Fitness Challenge during a July 2016 Twin Cities Tough Mudder in Hugo, Minnesota. U.S. Army photo by Staff Sgt. Cliff Coy

This post, written by the author of FOB Haiku: War Poems from Inside the Wire, originally appeared on the Red Bull Rising blog April 6, 2016. It also was featured in the 2019 Military Writers Guild anthology Why We Write: Craft Essays on Writing War, and is featured in the $3 electronic-chapbook Good Morning, First Sergeant: 10 war poems about coffee. It has been slightly updated here, mostly to reflect changes in hyperlinks and available publications.

*****

When packing for one of my first training experiences with the U.S. Army, back in the late 1980s, I knew that free time and footlocker space would be at a premium. I could live without luxuries like my Walkman cassette player for a few months. I also wanted to avoid too much gruff from drill sergeants. So I stuffed a paperback copy of Shakespeare's "Henry V" into my left cargo pocket, wrapped in a plastic sandwich bag, as my sole entertainment.

If nothing else, I thought, I'd work on my memorization skills. ("Oh, for a muse of fire-guard duty …") Little did I realize that so much of my brain would already be filled, starting those summer months at Fort Knox, Ky., with the nursery rhymes of Uncle Sam. Training was full of poetry. Sometimes, it was profane. "This is my rifle, this is my gun!" Sometimes, it was pedagogical. "I will turn the tourniquet / to stop the flow / of the bright red blood." There were even times that it was nearly pathological. "What is the spirit of the bayonet?! / Kill! Kill! Kill!"

These basic phrases connected us new recruits to the yellow footprints of those who had stood here before, marched in our boots, squared the same corners, weathered the same abuses. Every time we moved, we were serenaded by sergeants. Counting cadence, calling cadence, bemoaning that Jody was back home, dating our women, drinking our beer. We learned our lines, our ranks, our patches, our places as much by tribal story-telling than by reading the effing field manual. Even our soldier humor was hand-me-down wisdom, tossed off like singsong hand grenades. Phrases like, "Don't call me 'sir' / I work for a living!" and "You were bet-ter off when you left! / You're right!"

Nobody's quite sure why April got the nod as National Poetry Month. I like to think that it's because of that line from T.S. Eliot's "The Wasteland": "April is the cruelest month." Because that sounds like the Army. Besides, in springtime, the thoughts of every warrior-poet lightly turns to baseball; showers that bring flowers ("If it ain't raining / it ain't training!"); and the start of fighting season in Afghanistan.

Poetry, I recognize, isn't every soldier's three cups of tea. Ever since I entertained my platoon mates with King Harry's inspiring St. Crispin's Day speech, however, I've enjoyed sneaking poetry into the conversation. Perhaps more soldiers would appreciate poetry, were they to realize the inherent poetics of military life:

Every time you go to war, you are engaged in a battle for narrative. Every deployment—individually as a soldier, or collectively as an Army or nation—is a story. Every story has a beginning, middle, and end. Every story is subject to vision, and revision. History isn't always written by the victors, but it is re-written by poets. Treat them well. Otherwise, they will cut you.

Every time you eat soup with a knife, you are wielding a metaphor. Every "boots on the ground," every "line in the sand," every Hollywood-style named operation ("Desert Shield"! "Desert Storm"! "Enduring Freedom"!) is a metaphor that shapes our understanding of a war and its objectives. If you don't understand the dangerous end of a metaphor, you shouldn't be issued one.

(There's also a corollary, and a warning: As missions change, so do metaphors. In other words, when a politician trots out a new metaphor for war, better check your six.)

Every poem is a fragment of intelligence, a piece in the puzzle. A poem can slow down time, describe a moment in lush and flushed detail. It can transport the reader to a different time, a different battlefield. Most importantly, a poem can describe the experience of military life and death through someone else's eyes—a spouse, a villager, a soldier, a journalist. Poetry, in short, is a training opportunity for empathy.

Soldiers like to say that the enemy gets a vote, so it's worth noting that the enemy writes poetry, too. Like reading doctrine and monitoring propaganda, reading an enemy's verse reveals motivations and values. Sun Tzu writes:

If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle.

Every time you quote a master, from Sun Tzu to Schwarzkopf, you are delivering aphorism. I liken the aphorism—a quotable-quote or maxim—to be akin to concise forms of poetry, such as haiku. In fact, in my expansive view, I think aphorisms should count as poetry. In the world of word craft, it can take as much effort to hone an effective aphorism than it does to write a 1,000-word essay. Aphorisms are laser-guided missiles, rather than carpet bombs. We should all spend our words more wisely.

Reading a few lines connects us to the thin red line of soldiers past, present, and future. Poetry puts us in the boots of those who have served before, hooks our chutes to a larger history and experience of war. The likes of Shakespeare's "band of brothers" speech, John McRae's "In Flanders Fields," and Rudyard Kipling's poem "Tommy" continue to speak to the experiences and sentiments of modern soldiers.

I am happy to report that more-contemporary war poets have continued the march.

Here's a quick list to probe the front lines of modern war poetry: From World War II, seek out Henry Reed's "The Naming of Parts." For a jolt of Vietnam Era parody, read Alan Farrell's "The Blaming of Parts." From the Iraq War, Brian Turner's "Here, Bullet." In this tight shot group, modern soldiers will no doubt recognize themselves, their tools, and their times. Here is industrial-grade boredom, an assembly line of war, punctuated with humor and grit, gunpowder and lead.

Want more? Check out print and on-line literary offerings from venues such as Military Experience & the Arts' literary journal "As You Were"; the "Line of Advance" journal; and Missouri Humanities' "Proud to Be: Writing by American Warriors" annual anthology series.

Finally, you can buy an pocket anthology of poetry, such as the Everyman's Library Pocket Poets edition of "War Poems" from Knopf, or Ebury's "Heroes: 100 Poems from the New Generation of War Poets." Stuff it in your left cargo pocket. Read a page a day as a secular devotional, a meditation on war. Or, pick a favorite poem, print it out, and post it on the wall of your fighting position or office cube. Read the same poem, over and over again, during the course of a few weeks. See how it changes. See how it changes in you.

Remember: It's National Poetry Month. And every time you read a war poem, an angel gets its Airborne wings.

*****

Randy “Sherpa” Brown embedded with his former Iowa Army National Guard unit as a civilian journalist in Afghanistan, May-June 2011. He later authored the poetry collection Welcome to FOB Haiku: War Poems from Inside the Wire. He co-edited the Military Writers Guild anthology Why We Write: Craft Essays on Writing War, and, with fellow war poet Lisa Stice, Things We Carry Still: Poems & Micro-Stories about Military Gear. He is the current poetry editor of Military Experience and the Arts' "As You Were" literary journal, a member of the Science Fiction and Fantasy Poetry Association, and a past board member of the Military Writers Guild. As "Charlie Sherpa," he blogs about citizen-soldier culture at www.redbullrising.com and military writing techniques and markets at www.aimingcircle.org.

Learn more or connect with Sherpa: linktr.ee/randysherpabrown

"War Poetry Postcard" Contest Announced!

Literary organizations Middle West Press LLC and Collateral Journal have issued a short-fuze call for postcard-sized poems that thematically engage with the effects of war, state violence, and military service.

Contest deadline is May 3, 2025. 

This summer, up to three prize-winners of the inaugural “War Poetry Postcard Project” contest will have their poems published as visually engaging glossy 4x6 postcards, each suitable for mailing to friends, family, politicians, and others.

Learn more about the project at: linktr.ee/warpoets

“With the increasing chaos and friction of the world around us, and the decreasing utility of social media in building community, we’ve found ourselves looking for new ways to encourage artful conversations about experiences with the military,” says Randy “Sherpa” Brown (he/him) of Middle West Press LLC, Johnston, Iowa. Brown is a published poet and literary activist, as well as a 20-year retired U.S. Army veteran. “That can include chewy discussions about moral injury, honor, patriotism, mental health, resilience, and remembrance.”

Collateral Journal founder and Pacific Northwest poet Abby E. Murray (they/them) supplied the project’s keynote poem, and will assist in judging contest entries. First published on-line in Rattle magazine Nov. 17, 2024, Murray’s poem “Hello, I am Not a Soldier” wrestles with a new dissonance felt within their active-duty U.S. Army family: “[...] Wherever I go, I cling to my hope / like a weapon I have been trained to love.”

North Carolina poet and U.S. Marine Corps spouse Lisa Stice, most recently the author of the poetry collection “Letters from Conflict” (2024) and co-editor of “Things We Carry Still: Poems & Micro-Stories about Military Gear” (2023), will also assist in judging. In addition to her on-going role as associate editor at Middle West Press, Stice recently joined the volunteer staff of Collateral Journal as the publications’ visual arts editor.

Submit up to 3 poems, each less than 26 lines each. New or reprint work is acceptable. Deadline for submissions is Sat., May 3, 2025. A Submittable link is here at this link.

Up to 3 prize-winners will be announced in early July 2025. Top prize includes a cash award of $50 (U.S.).

Each prize-winner will receive a set of 25 of their respective poems published as mailable postcards, and a trophy “War Poetry Postcard Prize-winner” coffee mug!

An entry fee of $9.99 (U.S.) will help the project cover production, mailing, and prize expenses. 

Each U.S. poet entering the contest will receive a packet of the 3 winning poems! (Alternative products may be available to international entrants.) Entries will also be considered for inclusion in a potential print and/or e-book chapbook to be published later in 2025.

Established in 2016 by Abby E. Murray, Collateral Journal is a twice-annual on-line journal that features “literary and visual art concerned with the impact of violent conflict and military service beyond the combat zone.” Murray is a former poet-laureate of the City of Tacoma, Washington, and the author of the poetry collections “Hail and Farewell” (Perugia Press, 2019) and “Recovery Commands” (Ex Ophidia Press, 2025).

Incorporated as an independent micro-publisher in 2015 by freelance editor and writer Randy “Sherpa” Brown, Middle West Press LLC annually produces from 1 to 4 projects of non-fiction, journalism, fiction, and poetry. Brown’s credits include a poetry collection, “Welcome to FOB Haiku: War Poems from Inside the Wire” (2015), as well as other work.

Middle West Press’ literary projects often celebrate the people, places, and history of the American Midwest, as well as U.S. military veterans and families. Past projects include anthologies such as “Giant Robot Poems: On Mecha-Human Culture, Science & War” (2024) and “Why We Write: Craft Essays on Writing War” (2019).

How to Be a War Poet — Part 8

In a new series of 12 monthly essays, poet, journalist, and U.S. Army veteran Randy “Sherpa” Brown explores how military service members, family members, and citizens can develop a practice of poetry toward improved mindfulness, empathy across the “civil-military divide,” and even political or social action. 

* * * * *

How to Be a War Poet — Part 8

“In Flanders Fields the Poppies Blow”

by Randy “Sherpa” Brown

Let slip the phrase “war poem” to poet or professor, and there are a couple of World War I texts that seem to universally answer the call: A first would be “In Flanders Fields,” written by Canadian Lt. Col. John McCrae. McCrae was a physician who served in World War I field hospitals in France and Belgium; he died of pneumonia before the end of the war.

A second oft-cited poem would also come from the first world war: “Dulce Et Decorum Est” by Wilfred Owen. Owen was a British officer, and died in combat a week before the cessation of warfare on Nov. 11, 1918. He is remembered today for a number of poems, but particularly for “Dulce Et Decorum Est.” The latin title is the first part of a quote from the ancient Roman poet Horace, the full line of which that translates as “it is sweet and fitting to die for one’s country.” 

Each of these poems is about remembrance. Each, however, offers a slightly different take on what is to be remembered, and what is to be done in present day.

In evoking the battlefield cemeteries of France and Belgium, McCrae’s 1915 poem “In Flanders Fields” its likely the origin of the annual appearance of poppies each November 11th—“Remembrance Day,” as it is celebrated in Commonwealth and other countries. (In other countries, the date is “Armistice Day,” which relates to the initial end of the First World War at “the eleventh hour of the eleventh day of the eleventh month.”) In evoking the memory of wartime dead, the red poppies of Remembrance Day frequently appear as lapel pins. You’ll also like annually encounter flowery images in children’s artwork and social-media posts.

(In the United States, November 11 is “Veterans Day,” which commemorates all those who have served in uniform, while the related commemoration of the honored military dead functionally gravitates more toward “Memorial Day” every month of May.) 

McCrae’s poem memorably begins:

“In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below. […]”

Among veterans of all countries, Wilfred Owen’s “Dulce Et Decorum Est” is a particular shibboleth—a text that seems to signal one’s access to secret and shared knowledge, regarding what it means to have served in uniform. Bearing gruesome witness to the industrialized horrors of chemical warfare, after all, Owen’s poem exposes any promise of battlefield glory as an empty one:

“[…] Obscene as cancer,
Bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.”

Remember the old lie? That “it is sweet and fitting to die for one’s country”? There is no glory in war—only bitter sights and smells and injuries. We cover and clutter up the old lie, whenever we dress up our memories of service with ribbons, medals, and other mementos. But it is a constant, across all branches and eras. Part of my expanded application of “The Thin Red Line.”

A related thought: American soldiers sometimes still use the historical phrase “seeing the elephant.” Although the phrase dates from the 1800s—whatever the origin story, the through-line involves a quest or journey for an ultimately disappointing experience.  We joke about whether or not new soldiers have yet “seen the elephant”—whether they have yet experienced the disappointing reality of war. I’ve also heard it used regarding military service in general. Consider it a highfalutin’ way to say “BOHICA,” perhaps, or to reference being visited by the “Green Weenie.”

It might be also appropriate to note that elephants are also thought to have good memories. Some experiences, disappointments, and memories are harder to shake. (A friendly reminder of the unnumbered Sherpatude: “Poetry can be therapeutic, but it sure as #$%^ ain’t therapy.”)

To me, Owen’s “Dulce Et Decorum …” seems to imply that veterans should pass along the truth—the old lie, the real deal, the lessons-learned, the scoop, the gouge—in order to dissuade young people from participating in future wars. Or, at least, from investing so much of themselves into believing in the elephant.

Owen enlisted in 1915, was wounded by artillery in 1916. Diagnosed with what we would now label Post-Traumatic Stress Disorder (PTSD), he convalesced for a time in Edinburgh, Scotland, during which time he met fellow poet and officer Siegfried Sassoon. He returned to full active-service in France in July 1918.

A quote by Owen notably appears on an inscription Westminster Abbey’s “Poets’ Corner,” commemorating 16 poets of World War I. The quote is taken from Owen’s preface to his collection, posthumously published in 1920: “My subject is War, and the pity of War. The Poetry is in the pity. […]”

When I was younger, I struggled to fully comprehend what Owen meant by the “pity” of war. One dictionary definition of the word is “the feeling of sorrow and compassion caused by the suffering and misfortunes of others.” Another, as a verb: “to have sympathy or show mercy for.” As a different kind of noun: “something regrettable.” Now older, I am content to maintain a certain fog around the term. I am comfortable with interpreting Owen’s “pity” as including all of these meanings, and possibly more.

There is a truism often spoken among poets—in casual research, I have failed to locate the origin of the phrase—that “all poetry is elegy.” This statement strikes me as true and useful. An elegy is a poem of serious reflection, and usually more-specifically, a lament for the dead.  And any poem is an attempt to capture a moment in the past-tense—an event, a feeling, an observation. Even if imagined or composed in present-tense, the poetic moment on the page is always perceived as having happened in the past—it is a report, delivered to the reader. And because of this, every poem carries a seed of suggested mortality—a whiff of yet another latin phrase: “memento mori.”

The phrase refers to a trope that shows up in writing and visual art: “remember that you will one day die.” In it, Christians may hear echoes of “ashes to ashes, dust to dust.” I’m no religious scholar, but this quote from the Quran also seems similar: “Indeed, we belong to God, and indeed to Him is our return.” I’m told that Buddhists meditate toward a mindfulness that death can strike at any time, and that, because of this, we should take advantage of every breath.

What should we remember, particularly in the month of November, as Americans celebrate Veterans Day and others celebrate Remembrance Day? Remember, that we will each one day die.

In both form and function, McCrae’s “In Flanders Fields” and Owen’s “Dulce Et Decorum Est” are  each explicitly an elegy. Given its suffocating details of chemical death, Owens’ strikes me as a little more reportorial than aspirational. His tone is also one of compassion (for those who have died) and rebuke (of those who sent the dead to war). In contrast, however, consider the last stanza of MacCrae’s poem, which seems to urge continued conflict, suggesting that the dead be somehow avenged:

“[…] Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.”

I love the imagery of MacCrae’s fields—I’ve purchased and worn my share of poppies—but I’ll also admit that the red poppies feel a bit blood-thirsty now. Now older—more world-weary, if not particularly wiser—I would prefer to regularly plead for peace, rather than for vengeance.

Remember Owen’s preface regarding the “pity of War”? He continues in his collection’s introduction:

“Yet these elegies [his poems] are to this generation in no sense consolatory. They may be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.”

He continues: “If I thought the letter of this book would last, I might have used proper names; but if the spirit of it survives—survives Prussia—my ambition and those names will have achieved themselves fresher fields than Flanders.”

Remember these words: Remember the fallen. Remember the old lie. Remember that you, too, shall die. Pity us all.

Next: Finding Your Tribe, Finding Your Troupe.

* * * * *

Randy “Sherpa” Brown is a 20-year retired veteran of the Iowa Army National Guard, and the author and named editor of more than six military-themed poetry collections, anthologies, and chapbooks of poetry and non-fiction. One recent such project is “Things We Carry Still: Poems & Micro-Stories about Military Gear,” which he co-edited with fellow war poet and military spouse Lisa Stice (“Letters in Conflict: Poems,” 2024). Since 2015, he has served as the poetry editor of As You Were, the literary journal of the non-profit organization Military Experience and the Arts. He also regularly shares tips and techniques regarding military-themed writing at The Aiming Circle, a patron-supported community of writing practice. More info: linktr.ee/randysherpabrown