Many years after the war Jimmy Cross came to visit me at my home in Massachusetts, and for a full day we drank coffee and smoked cigarettes and talked about everything we had seen and done so long ago, all the things we still carried through our lives. Spread out across the kitchen table were maybe a hundred old photographs. There were pictures of Rat Kiley and Kiowa and Mitchell Sanders, all of us, the faces incredibly soft and young. At one point, I remember, we paused over a snapshot of Ted Lavender, and after a while Jimmy rubbed his eyes and said he'd never forgiven himself for Lavender's death. It was something that would never go away, he said quietly, and I nodded and told him I felt the same about certain things. Then for a long time neither of us could think of much to say. The thing to do, we decided, was to forget the coffee and switch to gin, which improved the mood, and not much later we were laughing about some of the craziness that used to go on. The way Henry Dobbins carried his girlfriend's pantyhose around his neck like a comforter. Kiowa's moccasins and hunting hatchet. Rat Kiley's comic books. By midnight we were both a little high, and I decided there was no harm in asking about Martha. I'm not sure how I phrased it—just a general question—but Jimmy Cross looked up in surprise. "You writer types," he said, "you've got long memories." Then he smiled and excused himself and went up to the guest room and came back with a small framed photograph. It was the volleyball shot: Martha bent horizontal to the floor, reaching, the palms of her hands in sharp focus.
"Remember this?" he said.
I nodded and told him I was surprised. I thought he'd burned it.
Jimmy kept smiling. For a while he stared down at the photograph, his eyes very bright, then he shrugged and said, "Well, I did—I burned it. After Lavender died, I couldn't . . . This is a new one. Martha gave it to me herself."
They'd run into each other, he said, at a college reunion in 1979. Nothing had changed. He still loved her. For eight or nine hours, he said, they spent most of their time together. There was a banquet, and then a dance, and then afterward they took a walk across the campus and talked about their lives. Martha was a Lutheran missionary now. A trained nurse, although nursing wasn't the point, and she had done service in Ethiopia and Guatemala and Mexico. She had never married, she said, and probably never would. She didn't know why. But as she said this, her eyes seemed to slide sideways, and it occurred to him that there were things about her he would never know. Her eyes were gray and neutral. Later, when he took her hand, there was no pressure in return, and later still, when he told her he still loved her, she kept walking and didn't answer and then after several minutes looked at her wristwatch and said it was getting late. He walked her back to the dormitory. For a few moments he considered asking her to his room, but instead he laughed and told her how back in college he'd almost done something very brave. It was after seeing Bonnie and Clyde, he said, and on this same spot he'd almost picked her up and carried her to his room and tied her to the bed and put his hand on her knee and just held it there all night long. It came close, he told her—he'd almost done it. Martha shut her eyes. She crossed her arms at her chest, as if suddenly cold, rocking slightly, then after a time she looked at him and said she was glad he hadn't tried it. She didn't understand how men could do those things. What things? he asked, and Martha said, The things men do. Then he nodded. It began to form. Oh, he said, those things. At breakfast the next morning she told him she was sorry. She explained that there was nothing she could do about it, and he said he understood, and then she laughed and gave him the picture and told him not to burn this one up.
Jimmy shook his head. "It doesn't matter," he finally said. "I love her."
For the rest of his visit I steered the conversation away from Martha. At the end, though, as we were walking out to his car, I told him that I'd like to write a story about some of this. Jimmy thought it over and then gave me a little smile. "Why not?" he said. "Maybe she'll read it and come begging. There's always hope, right?"
"Right," I said.
He got into his car and rolled down the window. "Make me out to be a good guy, okay? Brave and handsome, all that stuff. Best platoon leader ever." He hesitated for a second. "And do me a favor. Don't mention anything about—"
"No," I said, "I won't."
The war wasn't all terror and violence.
Sometimes things could almost get sweet. For instance, I remember a little boy with a plastic leg. I remember how he hopped over to Azar and asked for a chocolate bar—"GI number one," the kid said—and Azar laughed and handed over the chocolate. When the boy hopped away, Azar clucked his tongue and said, "War's a bitch." He shook his head sadly. "One leg, for Chrissake. Some poor fucker ran out of ammo."
I remember Mitchell Sanders sitting quietly in the shade of an old banyan tree. He was using a thumbnail to pry off the body lice, working slowly, carefully depositing the lice in a blue USO envelope. His eyes were tired. It had been a long two weeks in the bush. After an hour or so he sealed up the envelope, wrote FREE in the upper right-hand corner, and addressed it to his draft board in Ohio.
On occasions the war was like a Ping-Pong ball. You could put fancy spin on it, you could make it dance.
I remember Norman Bowker and Henry Dobbins playing checkers every evening before dark. It was a ritual for them. They would dig a foxhole and get the board out and play long, silent games as the sky went from pink to purple. The rest of us would sometimes stop by to watch. There was something restful about it, something orderly and reassuring. There were red checkers and black checkers. The playing field was laid out in a strict grid, no tunnels or mountains or jungles. You knew where you stood. You knew the score. The pieces were out on the board, the enemy was visible, you could watch the tactics unfolding into larger strategies. There was a winner and a loser. There were rules.
I'm forty-three years old, and a writer now, and the war has been over for a long while. Much of it is hard to remember. I sit at this typewriter and stare through my words and watch Kiowa sinking into the deep muck of a shit field, or Curt Lemon hanging in pieces from a tree, and as I write about these things, the remembering is turned into a kind of rehappening. Kiowa yells at me. Curt Lemon steps from the shade into bright sunlight, his face brown and shining, and then he soars into a tree. The bad stuff never stops happening: it lives in its own dimension, replaying itself over and over.
But the war wasn't all that way.
Like when Ted Lavender went too heavy on the tranquilizers. "How's the war today?" somebody would say, and Ted Lavender would give a soft, spacey smile and say, "Mellow, man. We got ourselves a nice mellow war today."
And like the time we enlisted an old poppa-san to guide us through the mine fields out on the Batangan Peninsula. The old guy walked with a limp, slow and stooped over, but he knew where the safe spots were and where you had to be careful and where even if you were careful you could end up like popcorn. He had a tightrope walker's feel for the land beneath him—its surface tension, the give and take of things. Each morning we'd form up in a long column, the old poppa-san out front, and for the whole day we'd troop along after him, tracing his footsteps, playing an exact and ruthless game of follow the leader. Rat Kiley made up a rhyme that caught on, and we'd all be chanting it together: Step out of line, hit a mine; follow the dink, you're in the pink. All around us, the place was littered with Bouncing Betties and Toe Poppers and booby-trapped artillery rounds, but in those five days on the Batangan Peninsula nobody got hurt. We all learned to love the old man.
It was a sad scene when the choppers came to take us away. Jimmy Cross gave the old poppa-san a hug. Mitchell Sanders and Lee Strunk loaded him up with boxes of C rations.
There were actually tears in the old guy's eyes. "Follow dink," he said to each of us, "you go pink."
If you weren't humping, you were waiting. I remember the monotony. Digging foxholes. Slapping mosquitoes. The sun and the heat and the endless paddies. Even in the deep bush, where you could die in any number of ways, the war was nakedly and aggressively boring. But it was a strange boredom. It was boredom with a twist, the kind of boredom that caused stomach disorders. You'd be sitting at the top of a high hill, the flat paddies stretching out below, and the day would be calm and hot and utterly vacant, and you'd feel the boredom dripping inside you like a leaky faucet, except it wasn't water, it was a sort of acid, and with each little droplet you'd feel the stuff eating away at important organs. You'd try to relax. You'd uncurl your fists and let your thoughts go. Well, you'd think, this isn't so bad. And right then you'd hear gunfire behind you and your nuts would fly up into your throat and you'd be squealing pig squeals. That kind of boredom.
I feel guilty sometimes. Forty-three years old and I'm still writing war stories. My daughter Kathleen tells me it's an obsession, that I should write about a little girl who finds a million dollars and spends it all on a Shetland pony. In a way, I guess, she's right: I should forget it. But the thing about remembering is that you don't forget. You take your material where you find it, which is in your life, at the intersection of past and present. The memory-traffic feeds into a rotary up on your head, where it goes in circles for a while, then pretty soon imagination flows in and the traffic merges and shoots off down a thousand different streets. As a writer, all you can do is pick a street and go for the ride, putting things down as they come at you. That's the real obsession. All those stories.
Not bloody stories, necessarily. Happy stories, too, and even a few peace stories.
Here's a quick peace story:
A guy goes AWOL. Shacks up in Danang with a Red Cross nurse. It's a great time—the nurse loves him to death—the guy gets whatever he wants whenever he wants it. The war's over, he thinks. Just nookie and new angles. But then one day he rejoins his unit in the bush. Can't wait to get back into action. Finally one of his buddies asks what happened with the nurse, why so hot for combat, and the guy says, "All that peace, man, it felt so good it hurt. I want to hurt it back."
I remember Mitchell Sanders smiling as he told me that story. Most of it he made up, I'm sure, but even so it gave me a quick truth-goose. Because it's all relative. You're pinned down in some filthy hellhole of a paddy, getting your ass delivered to kingdom come, but then for a few seconds everything goes quiet and you look up and see the sun and a few puffy white clouds, and the immense serenity flashes against your eyeballs—the whole world gets rearranged—and even though you're pinned down by a war you never felt more at peace.
What sticks to memory, often, are those odd little fragments that have no beginning and no end:
Norman Bowker lying on his back one night, watching the stars, then whispering to me, "I'll tell you something, O'Brien. If I could have one wish, anything, I'd wish for my dad to write me a letter and say it's okay if I don't win any medals. That's all my old man talks about, nothing else. How he can't wait to see my goddamn medals."
Or Kiowa teaching a rain dance to Rat Kiley and Dave Jensen, the three of them whooping and leaping around barefoot while a bunch of villagers looked on with a mixture of fascination and giggly horror. Afterward, Rat said, "So where's the rain?" and Kiowa said, "The earth is slow, but the buffalo is patient," and Rat thought about it and said, "Yeah, but where's the rain?"
Or Ted Lavender adopting an orphan puppy—feeding it from a plastic spoon and carrying it in his rucksack until the day Azar strapped it to a Claymore antipersonnel mine and squeezed the firing device.
The average age in our platoon, I'd guess, was nineteen or twenty, and as a consequence things often took on a curiously playful atmosphere, like a sporting event at some exotic reform school. The competition could be lethal, yet there was a childlike exuberance to it all, lots of pranks and horseplay. Like when Azar blew away Ted Lavender's puppy. "What's everybody so upset about?" Azar said. "I mean, Christ, I'm just a boy."
I remember these things, too.
The damp, fungal scent of an empty body bag.
A quarter moon rising over the nighttime paddies.
Henry Dobbins sitting in the twilight, sewing on his new buck-sergeant stripes, quietly singing, "A tisket, a tasket, a green and yellow basket."
A field of elephant grass weighted with wind, bowing under the stir of a helicopter's blades, the grass dark and servile, bending low, but then rising straight again when the chopper went away.
A red clay trail outside the village of My Khe.
A hand grenade.
A slim, dead, dainty young man of about twenty.
Kiowa saying, "No choice, Tim. What else could you do?"
Kiowa saying, "Right?"
Kiowa saying, "Talk to me."
Forty-three years old, and the war occurred half a lifetime ago, and yet the remembering makes it now. And sometimes remembering will lead to a story, which makes it forever. That's what stories are for. Stories are for joining the past to the future. Stories are for those late hours in the night when you can't remember how you got from where you were to where you are. Stories are for eternity, when memory is erased, when there is nothing to remember except the story.