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 4
“War Poetry Never Dies: The Thin Red Lines that Connect Generations”
When I travelled to Fort Knox, Kentucky to take my first boot-steps in the U.S. Army, I brought with me a copy of William Shakespeare’s “Henry V.” During fireguard duty—every night, we’d take 1-hour shifts acting as human smoke-detectors in our extremely flammable WWII-era barracks—I’d keep myself awake by memorizing ye olde bardic bits. One fragment that has never grown old is King Harry’s “St. Crispin’s Day” speech, rallying the troops against the French:
From this day to the ending of the world,
But we in it shall be remember’d;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne’er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin’s day.
I wasn’t, of course, the first shavetail to latch onto the whole “band of brothers” thing. British Admiral Horatio Nelson (1758-1805) famously referred to the ship captains under his command as such, starting with the 1798 Battle of the Nile. And “Band of Brothers” was both the title and epigraph to a 1992 book by historian Stephen E. Ambrose, which also became a popular cable TV mini-series in 2001.
In a World War II narrative comprising 10 episodes, the HBO series tells the story of E Company, 2nd Battalion, 506th Parachute Infantry Regiment—part of the U.S. Army’s 101st Airborne “Screaming Eagle” Division. With the first episode airing just a few days before the terrorist attacks of September 11, 2001, the HBO series was formative to many veterans of the Global War on Terror (GWOT).
Besides “band of brothers” references, there are other poetic threads to be pulled from military history. The Crimean War (1853-1856) saw an alliance of the United Kingdom, France, the Ottoman Empire, and others fight Imperial Russia over, among other things, the rights of Christians in Palestine. The war echoes even today, in poetic bursts that are still oft-quoted. Catchphrases such as: “Theirs not to reason why, / Theirs but to do and die” are regularly uttered in military ranks, whether in offices and foxholes.
The Battle of Balaclava (Oct. 25, 2854) was notable for the “Charge of the Light Brigade,” in which a British commander of unarmored, sword-carrying cavalry disastrously misunderstood a superior’s order, and attacked an Russian artillery position head-on, under blistering fire. Six weeks later, basing his lines on battlefield reports published in newspapers, the poet Alfred, Lord Tennyson commemorated the valor of the doomed troops. The short narrative poem, titled “Charge of the Light Brigade,” includes lines that sound like the start of a “there I was” war story among veterans of any era:
[...] Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volleyed and thundered;Stormed at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of hell
Rode the six hundred. [...]
Earlier and elsewhere in the same battle, a British infantry commander with too few troops to defend against the attacking Russian cavalry reportedly said, “There is no retreat from here, men. You must die where you stand.” Defending in a line formation only two-soldiers-deep—the doctrinal manual called for four—the red-coated Scotsmen of the 93rd Sutherland Highlanders successfully stood their ground. Some lived to tell the tale. (A famous 1881 painting by Scottish painter Robert Gibbs, titled “The Thin Red Line,” further adds to the resulting mythology.)
The phrase “Thin Red Line” became a lasting and popular metaphor—a reminder that any given country’s armed force is a limited resource. One of my go-to poems in discussions with veterans, British poet Rudyard Kipling’s 1890 poem “Tommy,” includes more than one “thin red line” reference. Similar to perhaps to the American “G.I. Joe,” the nickname “Tommy Adkins” is historically a fictional, universal nickname for a British soldier. Written in the embittered voice of a common “Tommy,” Kipling’s poem recounts a list of grievances, contrasting citizens’ patriotic fervor during wartime with their begrudging poor treatment of soldiers during peace:
[…] Yes, makin’ mock o’ uniforms that guard you while you sleep
Is cheaper than them uniforms, an’ they’re starvation cheap.
An’ hustlin’ drunken soldiers when they’re goin’ large a bit
Is five times better business than paradin’ in full kit.
Then it’s Tommy this, an' Tommy that, an’ “Tommy, ’ow's yer soul?”
But it's “Thin red line of ’eroes” when the drums begin to roll [...]
Metaphors can expand and evolve over time, of course, and “thin red line” is no different. For example, “The Thin Red Line” is also the title of a 1962 novel by World War II U.S. Army veteran James Jones. The book is semi-autobiographical, and regards American troops fighting on the Pacific island of Guadalcanal. The novel has generated two movie adaptations, in 1964 and 1998. The 1998 version was directed by Terrence Malick, and is a philosophical and cinematic masterpiece—an art-house war movie. In terms of capturing the brutal absurdities of war, I’d rank it up there with other favorites, such as Stanley Kubrick’s “Full Metal Jacket” (1987) and Francis Ford Coppola’s “Apocalypse Now” (1979). The titular line from Jones’ book isn’t quoted directly in the 1998 movie, but for the author, “There’s only a thin red line between the sane and the mad.”
The “Thin Red Line” is also ancestor to the “Thin Blue Line,” a phrase that has poetic origins as a reference to the U.S. Army in a 1911 poem by Nels Dickmann Anderson, but in modern times usually refers to law-enforcement personnel. The “Thin Blue Line” is variously characterized as a symbolic line separating order and chaos, or civil society and criminality. One potential problem with the metaphor is the implied “us vs. them” relationship between a coercive paramilitary force and the citizenry that force is intended to protect. The modern “Thin Blue Line” phrase originated in 1922, in a series of defensive speeches by New York City Police Commissioner Richard Enright. It was the title of short-lived TV panel show produced in Los Angeles in the 1950s, and was a phrase popularized by a racist, militaristic, and public-relations-focused Los Angeles police chief named William H. Parker III.
Various sloganeers and bumper-sticker manufacturers have tried to make other “thin lines” happen, usually in context of a decolorized American flag. (So much for “these colors don’t run”?) There are designs featuring a “Thin Green Line” that commemorate safety, conservation officers, or industrial workers. And “Thin Orange Line” designs for search-and-rescue personnel, emergency medical services, or construction workers. And even “Thin Red Line” flags for firefighters, rather than military personnel.
Obviously, it isn’t very standardized. Or even fully thought-out. Everyone seems to want to stand out in their own thin lines. To me, these ugly black flags seem more about declaring martyr status as a somehow under-appreciated, underdog minority. They are flags of claimed victim-hood.
I have, however, come to expand my personal canon regarding the “Thin Red Line” as metaphor. Rather than as an “us vs. them” crowbar, I think that it can be more usefully framed as something more akin to the “The Long Gray Line.” I first encountered this phrase in a the title of a 1989 book by historian Rick Atkinson, who traced the life-stories of three cadets of the U.S. Military Academy at West Point’s Class of 1966. The title evokes the tradition of envisioning the corps of cadets and its graduates as a long-running continuum of gray uniforms, reaching back into the past and marching toward the future. There’s also a 1955 movie directed by John Ford, “The Long Gray Line,” that uses a similar metaphor.
I think that if I’m going to continue to think of myself as part of any “red line,” it’ll be in this sense: A “Long Red Line” of citizen-soldiers (and poets) past, present, and future.
After more than 20 years “part-time” in U.S. Army uniform—including more than a few on full-time federal active duty—leaving my life as a citizen-soldier was difficult. I no longer saw the same friends and colleagues every month, or shared a common experience and mission with them. I came to realize how much I’d come to define myself in terms of that “Minuteman” mythos—someone who was ready, willing, and able to drop everything to run to the proverbial sound of the guns. (Because I was part of the Iowa Army National Guard’s 2nd Brigade Combat Team, 34th Infantry “Red Bull” Division, I was just as likely to deploy to the sounds of tornados, floods, and blizzards.) And yet, as a veteran, I still consider myself to be connected. That doesn’t give me the right to lecture my fellow citizens on how to carry or display a flag, or whether to kneel or non-kneel during prayers or sporting events. And it doesn’t entitle me to special parking spaces and sales discounts. But it does give me a potential connection, I suppose, to a community of sorts. Part of a tradition, perhaps.
It might not be as well-known as Gibb’s “Thin Red Line” image, but there’s a 1988 military painting by Donna J. Neary, commissioned by the U.S. National Guard Bureau, that depicts a particular moment in my former unit’s history. Her “The Red Bull in the Winter Line” depicts an World War II infantry assault against German soldiers at Mount Patano, Italy. The “Winter Line” refers to a series of German and Italian fortifications, that defended the route to Rome.
Inadvertently channeling a bit of Tennyson, I later wrote a poem about the unit’s “Red Bull” shoulder patch. The patch, coincidentally, was originally designed by Iowa painter, Marvin Cone, as he and his fellow Iowans were training in the New Mexican desert for World War I. In a nod to the title of Neary’s painting, I titled the poem “From a Red Bull in Winter” (The full poem appears in my 2015 collection, Welcome to FOB Haiku):
[…] The army wears its stories on our sleeves.
Every scrap is a battle, every stitch is a past.
We are canvas, leather, dust, and blood.
At airport gates and main street parades,
the right shoulder patch carries with it
Africa and Afghanistan, Italy and Iraq.
But you are more than these threads, these fragments, those bones:
You continue the march. You are the present, armed.
You are the “Attack!”
Whether it’s “cannons to the left of us, cannons to the right” or “‘Tommy, this’ and ‘Tommy that,’” reading (or writing!) a few lines of war poetry can connect us to a long line of citizens and soldiers past, present, and future. Poetry puts us in the boots of those who have served before, and hooks our chutes to a larger histories and experiences. Poetry can ground and center us—as veterans, as family members, as people with experiences with the military—and it can build bridges of mutual understanding, appreciation, and empathy.
War poems, after all, are war stories. Not the kind that seek to discourage discussion, full of “you had to be there” bluster and brick. But the kind that start with “there we were” and end with an invitation: “can you imagine?”
Like the song says, “Old soldiers never die, they just fade away.”
But old poets? Man, they can live forever.
All it takes is a few lines, written in red.
Next: Scouting the Literary Terrain: How and Where to Find War Poems.
* * * * *
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
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.