Tim O'brien - How to Tell a True War Story lyrics

This is true. I had a buddy in Vietnam. His name was Bob Kiley, but everybody called him Rat. A friend of his gets k**ed, so about a week later Rat sits down and writes a letter to the guy's sister. Rat tells her what a great brother she had, how together the guy was, a number one pal and comrade. A real soldier's soldier, Rat says. Then he tells a few stories to make the point, how her brother would always volunteer for stuff nobody else would volunteer for in a million years, dangerous stuff, like doing recon or going out on these really bada** night patrols. Stainless steel balls, Rat tells her. The guy was a little crazy, for sure, but crazy in a good way, a real daredevil, because he liked the challenge of it, he liked testing himself, just man against gook. A great, great guy, Rat says. Anyway, it's a terrific letter, very personal and touching. Rat almost bawls writing it. He gets all teary telling about the good times they had together, how her brother made the war seem almost fun, always raising hell and lighting up villes and bringing smoke to bear every which way. A great sense of humor, too. Like the time at this river when he went fishing with a whole damn crate of hand grenades. Probably the funniest thing in world history, Rat says, all that gore, about twenty zillion dead gook fish. Her brother, he had the right attitude. He knew how to have a good time. On Halloween, this real hot spooky night, the dude paints up his body all different colors and puts on this weird mask and hikes over to a ville and goes trick-or-treating almost stark naked, just boots and balls and an M-16. A tremendous human being, Rat says. Pretty nutso sometimes, but you could trust him with your life. And then the letter gets very sad and serious. Rat pours his heart out. He says he loved the guy. He says the guy was his best friend in the world. They were like soul mates, he says, like twins or something, they had a whole lot in common. He tells the guy's sister he'll look her up when the war's over. So what happens? Rat mails the letter. He waits two months. The dumb cooze never writes back. A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil. Listen to Rat Kiley. Cooze, he says. He does not say b**h. He certainly does not say woman, or girl. He says cooze. Then he spits and stares. He's nineteen years old—it's too much for him—so he looks at you with those big sad gentle k**er eyes and says cooze, because his friend is dead, and because it's so incredibly sad and true: she never wrote back. You can tell a true war story if it embarra**es you. If you don't care for obscenity, you don't care for the truth; if you don't care for the truth, watch how you vote. Send guys to war, they come home talking dirty. Listen to Rat: "Jesus Christ, man, I write this beautiful f**in' letter, I slave over it, and what happens? The dumb cooze never writes back." The dead guy's name was Curt Lemon. What happened was, we crossed a muddy river and marched west into the mountains, and on the third day we took a break along a trail junction in deep jungle. Right away, Lemon and Rat Kiley started goofing. They didn't understand about the spookiness. They were kids; they just didn't know. A nature hike, they thought, not even a war, so they went off into the shade of some giant trees—quadruple canopy, no sunlight at all—and they were giggling and calling each other yellow mother and playing a silly game they'd invented. The game involved smoke grenades, which were harmless unless you did stupid things, and what they did was pull out the pin and stand a few feet apart and play catch under the shade of those huge trees. Whoever chickened out was a yellow mother. And if nobody chickened out, the grenade would make a light popping sound and they'd be covered with smoke and they'd laugh and dance around and then do it again. It's all exactly true. It happened, to me, nearly twenty years ago, and I still remember that trail junction and those giant trees and a soft dripping sound somewhere beyond the trees. I remember the smell of moss. Up in the canopy there were tiny white blossoms, but no sunlight at all, and I remember the shadows spreading out under the trees where Curt Lemon and Rat Kiley were playing catch with smoke grenades. Mitchell Sanders sat flipping his yo-yo. Norman Bowker and Kiowa and Dave Jensen were dozing, or half dozing, and all around us were those ragged green mountains. Except for the laughter things were quiet. At one point, I remember, Mitchell Sanders turned and looked at me, not quite nodding, as if to warn me about something, as if he already knew, then after a while he rolled up his yo-yo and moved away. It's hard to tell you what happened next. They were just goofing. There was a noise, I suppose, which must've been the detonator, so I glanced behind me and watched Lemon step from the shade into bright sunlight. His face was suddenly brown and shining. A handsome kid, really. Sharp gray eyes, lean and narrow-waisted, and when he died it was almost beautiful, the way the sunlight came around him and lifted him up and s**ed him high into a tree full of moss and vines and white blossoms. In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told that way. The angles of vision are skewed. When a b**by trap explodes, you close your eyes and duck and float outside yourself. When a guy dies, like Curt Lemon, you look away and then look back for a moment and then look away again. The pictures get jumbled; you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed. In many cases a true war story cannot be believed. If you believe it, be skeptical. It's a question of credibility. Often the crazy stuff is true and the normal stuff isn't, because the normal stuff is necessary to make you believe the truly incredible craziness. In other cases you can't even tell a true war story. Sometimes it's just beyond telling. I heard this one, for example, from Mitchell Sanders. It was near dusk and we were sitting at my foxhole along a wide muddy river north of Quang Ngai. I remember how peaceful the twilight was. A deep pinkish red spilled out on the river, which moved without sound, and in the morning we would cross the river and march west into the mountains. The occasion was right for a good story. "God's truth," Mitchell Sanders said. "A six-man patrol goes up into the mountains on a basic listening-post operation. The idea's to spend a week up there, just lie low and listen for enemy movement. They've got a radio along, so if they hear anything suspicious—anything—they're supposed to call in artillery or gunships, whatever it takes. Otherwise they keep strict field discipline. Absolute silence. They just listen." Sanders glanced at me to make sure I had the scenario. He was playing with his yo-yo, dancing it with short, tight little strokes of the wrist. His face was blank in the dusk. "We're talking regulation, by-the-book LP. These six guys, they don't say boo for a solid week. They don't got tongues. All ears." "Right," I said. "Understand me?" "Invisible." Sanders nodded. "Affirm," he said. "Invisible. So what happens is, these guys get themselves deep in the bush, all camouflaged up, and they lie down and wait and that's all they do, nothing else, they lie there for seven straight days and just listen. And man, I'll tell you—it's spooky. This is mountains. You don't know spooky till you been there. Jungle, sort of, except it's way up in the clouds and there's always this fog—like rain, except it's not raining—everything's all wet and swirly and tangled up and you can't see jack, you can't find your own pecker to piss with. Like you don't even have a body. Serious spooky. You just go with the vapors—the fog sort of takes you in ... And the sounds, man. The sounds carry forever. You hear stuff nobody should overhear." Sanders was quiet for a second, just working the yo-yo, then he smiled at me. "So after a couple days the guys start hearing this real soft, kind of wacked-out music. Weird echoes and stuff. Like a radio or something, but it's not a radio, it's this strange gook music that comes right out of the rocks. Faraway, sort of, but right up close, too. They try to ignore it. But it's a listening post, right? So they listen. And every night they keep hearing that crazya** gook concert. All kinds of chimes and xylophones. I mean, this is wilderness—no way, it can't be real—but there it is, like the mountains are tuned in to Radio f**ing Hanoi. Naturally they get nervous. One guy sticks Juicy Fruit in his ears. Another guy almost flips. Thing is, though, they can't report music. They can't get on the horn and call back to base and say, 'Hey, listen, we need some firepower, we got to blow away this weirdo gook rock band.' They can't do that. It wouldn't go down. So they lie there in the fog and keep their mouths shut. And what makes it extra bad, see, is the poor dudes can't horse around like normal. Can't joke it away. Can't even talk to each other except maybe in whispers, all hush-hush, and that just revs up the willies. All they do is listen." Again there was some silence as Mitchell Sanders looked out on the river. The dark was coming on hard now, and off to the west I could see the mountains rising in silhouette, all the mysteries and unknowns. "This next part," Sanders said quietly, "you won't believe." "Probably not," I said. "You won't. And you know why?" He gave me a long, tired smile. "Because it happened. Because every word is absolutely dead-on true." Sanders made a sound in his throat, like a sigh, as if to say he didn't care if I believed him or not. But he did care. He wanted me to feel the truth, to believe by the raw force of feeling. He seemed sad, in a way. "These six guys," he said, "they're pretty fried out by now, and one night they start hearing voices. Like at a co*ktail party. That's what it sounds like, this big swa*k gook co*ktail party somewhere out there in the fog. Music and chitchat and stuff. It's crazy, I know, but they hear the champagne corks. They hear the actual martini gla**es. Real hoity-toity, all very civilized, except this isn't civilization. This is Nam. "Anyway, the guys try to be cool. They just lie there and groove, but after a while they start hearing—you won't believe this—they hear chamber music. They hear violins and cellos. They hear this terrific mama-san soprano. Then after a while they hear gook opera and a glee club and the Haiphong Boys Choir and a barbershop quartet and all kinds of weird chanting and Buddha-Buddha stuff. And the whole time, in the background, there's still that co*ktail party going on. All these different voices. Not human voices, though. Because it's the mountains. Follow me? The rock—it's talking. And the fog, too, and the gra** and the goddamn mongooses. Everything talks. The trees talk politics, the monkeys talk religion. The whole country. Vietnam. The place talks. It talks. Understand? Nam—it truly talks. "The guys can't cope. They lose it. They get on the radio and report enemy movement—a whole army, they say—and they order up the firepower. They get arty and gunships. They call in air strikes. And I'll tell you, they f**in' crash that co*ktail party. All night long, they just smoke those mountains. They make jungle juice. They blow away trees and glee clubs and whatever else there is to blow away. Scorch time. They walk napalm up and down the ridges. They bring in the Cobras and F-4s, they use Willie Peter and HE and incendiaries. It's all fire. They make those mountains burn. "Around dawn things finally get quiet. Like you never even heard quiet before. One of those real thick, real misty days—just clouds and fog, they're off in this special zone—and the mountains are absolutely dead-flat silent. Like Brigadoon—pure vapor, you know? Everything's all s**ed up inside the fog. Not a single sound, except they still hear it. "So they pack up and start humping. They head down the mountain, back to base camp, and when they get there they don't say diddly. They don't talk. Not a word, like they're deaf and dumb. Later on this fat bird colonel comes up and asks what the hell happened out there. What'd they hear? Why all the ordnance? The man's ragged out, he gets down tight on their case. I mean, they spent six trillion dollars on firepower, and this fata** colonel wants answers, he wants to know what the f**in' story is. "But the guys don't say zip. They just look at him for a while, sort of funny like, sort of amazed, and the whole war is right there in that stare. It says everything you can't ever say. It says, man, you got wax in your ears. It says, poor ba*tard, you'll never know—wrong frequency—you don't even want to hear this. Then they salute the f**er and walk away, because certain stories you don't ever tell." You can tell a true war story by the way it never seems to end. Not then, not ever. Not when Mitchell Sanders stood up and moved off into the dark. It all happened. Even now, at this instant, I remember that yo-yo. In a way, I suppose, you had to be there, you had to hear it, but I could tell how desperately Sanders wanted me to believe him, his frustration at not quite getting the details right, not quite pinning down the final and definitive truth. And I remember sitting at my foxhole that night, watching the shadows of Quang Ngai, thinking about the coming day and how we would cross the river and march west into the mountains, all the ways I might die, all the things I did not understand. Late in the night Mitchell Sanders touched my shoulder. "Just came to me," he whispered. "The moral, I mean. Nobody listens. Nobody hears nothin'. Like that fata** colonel. The politicians, all the civilian types. Your girlfriend. My girlfriend. Everybody's sweet little virgin girlfriend. What they need is to go out on LP. The vapors, man. Trees and rocks—you got to listen to your enemy." And then again, in the morning, Sanders came up to me. The platoon was preparing to move out, checking weapons, going through all the little rituals that preceded a day's march. Already the lead squad had crossed the river and was filing off toward the west. "I got a confession to make," Sanders said. "Last night, man, I had to make up a few things." "I know that." "The glee club. There wasn't any glee club." "Right." "No opera." "Forget it, I understand." "Yeah, but listen, it's still true. Those six guys, they heard wicked sound out there. They heard sound you just plain won't believe." Sanders pulled on his rucksack, closed his eyes for a moment, then almost smiled at me. I knew what was coming. "All right," I said, "what's the moral?" "Forget it." "No, go ahead." For a long while he was quiet, looking away, and the silence kept stretching out until it was almost embarra**ing. Then he shrugged and gave me a stare that lasted all day. "Hear that quiet, man?" he said. "That quiet—just listen. There's your moral." In a true war story, if there's a moral at all, it's like the thread that makes the cloth. You can't tease it out. You can't extract the meaning without unraveling the deeper meaning. And in the end, really, there's nothing much to say about a true war story, except maybe "Oh." True war stories do not generalize. They do not indulge in abstraction or an*lysis. For example: War is hell. As a moral declaration the old truism seems perfectly true, and yet because it abstracts, because it generalizes, I can't believe it with my stomach. Nothing turns inside. It comes down to gut instinct. A true war story, if truly told, makes the stomach believe. This one does it for me. I've told it before—many times, many versions—but here's what actually happened. We crossed that river and marched west into the mountains. On the third day, Curt Lemon stepped on a b**by-trapped 105 round. He was playing catch with Rat Kiley, laughing, and then he was dead. The trees were thick; it took nearly an hour to cut an LZ for the dustoff. Later, higher in the mountains, we came across a baby VC water buffalo. What it was doing there I don't know—no farms or paddies—but we chased it down and got a rope around it and led it along to a deserted village where we set up for the night. After supper Rat Kiley went over and stroked its nose. He opened up a can of C rations, pork and beans, but the baby buffalo wasn't interested. Rat shrugged. He stepped back and shot it through the right front knee. The animal did not make a sound. It went down hard, then got up again, and Rat took careful aim and shot off an ear. He shot it in the hindquarters and in the little hump at its back. He shot it twice in the flanks. It wasn't to k**; it was to hurt. He put the rifle muzzle up against the mouth and shot the mouth away. Nobody said much. The whole platoon stood there watching, feeling all kinds of things, but there wasn't a great deal of pity for the baby water buffalo. Curt Lemon was dead. Rat Kiley had lost his best friend in the world. Later in the week he would write a long personal letter to the guy's sister, who would not write back, but for now it was a question of pain. He shot off the tail. He shot away chunks of meat below the ribs. All around us there was the smell of smoke and filth and deep greenery, and the evening was humid and very hot. Rat went to automatic. He shot randomly, almost casually, quick little spurts in the belly and bu*t. Then he reloaded, squatted down, and shot it in the left front knee. Again the animal fell hard and tried to get up, but this time it couldn't quite make it. It wobbled and went down sideways. Rat shot it in the nose. He bent forward and whispered something, as if talking to a pet, then he shot it in the throat. All the while the baby buffalo was silent, or almost silent, just a light bubbling sound where the nose had been. It lay very still. Nothing moved except the eyes, which were enormous, the pupils shiny black and dumb. Rat Kiley was crying. He tried to say something, but then cradled his rifle and went off by himself. The rest of us stood in a ragged circle around the baby buffalo. For a time no one spoke. We had witnessed something essential, something brand-new and profound, a piece of the world so startling there was not yet a name for it. Somebody kicked the baby buffalo. It was still alive, though just barely, just in the eyes. "Amazing," Dave Jensen said. "My whole life, I never seen anything like it." "Never?" "Not hardly. Not once." Kiowa and Mitchell Sanders picked up the baby buffalo. They hauled it across the open square, hoisted it up, and dumped it in the village well. Afterward, we sat waiting for Rat to get himself together. "Amazing," Dave Jensen kept saying. "A new wrinkle. I never seen it before." Mitchell Sanders took out his yo-yo. "Well, that's Nam," he said. "Garden of Evil. Over here, man, every sin's real fresh and original." How do you generalize? War is hell, but that's not the half of it, because war is also mystery and terror and adventure and courage and discovery and holiness and pity and despair and longing and love. War is nasty; war is fun. War is thrilling; war is drudgery. War makes you a man; war makes you dead. The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can't help but gape at the awful majesty of combat. You stare out at tracer rounds unwinding through the dark like brilliant red ribbons. You crouch in ambush as a cool, impa**ive moon rises over the nighttime paddies. You admire the fluid symmetries of troops on the move, the harmonies of sound and shape and proportion, the great sheets of metal-fire streaming down from a gunship, the illumination rounds, the white phosphorus, the purply orange glow of napalm, the rocket's red glare. It's not pretty, exactly. It's astonishing. It fills the eye. It commands you. You hate it, yes, but your eyes do not. Like a k**er forest fire, like cancer under a microscope, any battle or bombing raid or artillery barrage has the aesthetic purity of absolute moral indifference—a powerful, implacable beauty—and a true war story will tell the truth about this, though the truth is ugly. To generalize about war is like generalizing about peace. Almost everything is true. Almost nothing is true. At its core, perhaps, war is just another name for d**h, and yet any soldier will tell you, if he tells the truth, that proximity to d**h brings with it a corresponding proximity to life. After a firefight, there is always the immense pleasure of aliveness. The trees are alive. The gra**, the soil—everything. All around you things are purely living, and you among them, and the aliveness makes you tremble. You feel an intense, out-of-the-skin awareness of your living self—your truest self, the human being you want to be and then become by the force of wanting it. In the midst of evil you want to be a good man. You want decency. You want justice and courtesy and human concord, things you never knew you wanted. There is a kind of largeness to it, a kind of godliness. Though it's odd, you're never more alive than when you're almost dead. You recognize what's valuable. Freshly, as if for the first time, you love what's best in yourself and in the world, all that might be lost. At the hour of dusk you sit at your foxhole and look out on a wide river turning pinkish red, and at the mountains beyond, and although in the morning you must cross the river and go into the mountains and do terrible things and maybe die, even so, you find yourself studying the fine colors on the river, you feel wonder and awe at the setting of the sun, and you are filled with a hard, aching love for how the world could be and always should be, but now is not. Mitchell Sanders was right. For the common soldier, at least, war has the feel—the spiritual texture—of a great ghostly fog, thick and permanent. There is no clarity. Everything swirls. The old rules are no longer binding, the old truths no longer true. Right spills over into wrong. Order blends into chaos, love into hate, ugliness into beauty, law into anarchy, civility into savagery. The vapors s** you in. You can't tell where you are, or why you're there, and the only certainty is overwhelming ambiguity. In war you lose your sense of the definite, hence your sense of truth itself, and therefore it's safe to say that in a true war story nothing is ever absolutely true. Often in a true war story there is not even a point, or else the point doesn't hit you until twenty years later, in your sleep, and you wake up and shake your wife and start telling the story to her, except when you get to the end you've forgotten the point again. And then for a long time you lie there watching the story happen in your head. You listen to your wife's breathing. The war's over. You close your eyes. You smile and think, Christ, what's the point? This one wakes me up. In the mountains that day, I watched Lemon turn sideways. He laughed and said something to Rat Kiley. Then he took a peculiar half step, moving from shade into bright sunlight, and the b**by-trapped 105 round blew him into a tree. The parts were just hanging there, so Dave Jensen and I were ordered to shinny up and peel him off. I remember the white bone of an arm. I remember pieces of skin and something wet and yellow that must've been the intestines. The gore was horrible, and stays with me. But what wakes me up twenty years later is Dave Jensen singing "Lemon Tree" as we threw down the parts. You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, "Is it true?" and if the answer matters, you've got your answer. For example, we've all heard this one. Four guys go down a trail. A grenade sails out. One guy jumps on it and takes the blast and saves his three buddies. Is it true? The answer matters. You'd feel cheated if it never happened. Without the grounding reality, it's just a trite bit of puffery, pure Hollywood, untrue in the way all such stories are untrue. Yet even if it did happen—and maybe it did, anything's possible—even then you know it can't be true, because a true war story does not depend upon that kind of truth. Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth. For example: Four guys go down a trail. A grenade sails out. One guy jumps on it and takes the blast, but it's a k**er grenade and everybody dies anyway. Before they die, though, one of the dead guys says, "The f** you do that for?" and the jumper says, "Story of my life, man," and the other guy starts to smile but he's dead. That's a true story that never happened. Twenty years later, I can still see the sunlight on Lemon's face. I can see him turning, looking back at Rat Kiley, then he laughed and took that curious half step from shade into sunlight, his face suddenly brown and shining, and when his foot touched down, in that instant, he must've thought it was the sunlight that was k**ing him. It was not the sunlight. It was a rigged 105 round. But if I could ever get the story right, how the sun seemed to gather around him and pick him up and lift him high into a tree, if I could somehow re-create the fatal whiteness of that light, the quick glare, the obvious cause and effect, then you would believe the last thing Curt Lemon believed, which for him must've been the final truth. Now and then, when I tell this story, someone will come up to me afterward and say she liked it. It's always a woman. Usually it's an older woman of kindly temperament and humane politics. She'll explain that as a rule she hates war stories; she can't understand why people want to wallow in all the blood and gore. But this one she liked. The poor baby buffalo, it made her sad. Sometimes, even, there are little tears. What I should do, she'll say, is put it all behind me. Find new stories to tell. I won't say it but I'll think it. I'll picture Rat Kiley's face, his grief, and I'll think, You dumb cooze. Because she wasn't listening. It wasn't a war story. It was a love story. But you can't say that. All you can do is tell it one more time, patiently, adding and subtracting, making up a few things to get at the real truth. No Mitchell Sanders, you tell her. No Lemon, no Rat Kiley. No trail junction. No baby buffalo. No vines or moss or white blossoms. Beginning to end, you tell her, it's all made up. Every goddamn detail—the mountains and the river and especially that poor dumb baby buffalo. None of it happened. None of it. And even if it did happen, it didn't happen in the mountains, it happened in this little village on the Batangan Peninsula, and it was raining like crazy, and one night a guy named Stink Harris woke up screaming with a leech on his tongue. You can tell a true war story if you just keep on telling it. And in the end, of course, a true war story is never about war. It's about sunlight. It's about the special way that dawn spreads out on a river when you know you must cross the river and march into the mountains and do things you are afraid to do. It's about love and memory. It's about sorrow. It's about sisters who never write back and people who never listen.