by Tim O'Brien
In any other circumstance it might've ended there. But this was Vietnam, where guys carried guns, and Dave Jensen started to worry. It was mostly in his head. There were no threats, no vows of revenge, just a silent tension between them that made Jensen take special precautions. On patrol he was careful to keep track of Strunk's whereabouts. He dug his foxholes on the far side of the perimeter; he kept his back covered; he avoided situations that might put the two of them alone together. Eventually, after a week of this, the strain began to create problems. Jensen couldn't relax. Like fighting two different wars, he said. No safe ground: enemies everywhere. No front or rear. At night he had trouble sleeping—a skittish feeling—always on guard, hearing strange noises in the dark, imagining a grenade rolling into his foxhole or the tickle of a knife against his ear. The distinction between good guys and bad guys disappeared for him. Even in times of relative safety, while the rest of us took it easy, Jensen would be sitting with his back against a stone wall, weapon across his knees, watching Lee Strunk with quick, nervous eyes. It got to the point finally where he lost control. Something must've snapped. One afternoon he began firing his weapon into the air, yelling Strunk's name, just firing and yelling, and it didn't stop until he'd rattled off an entire magazine of ammunition. We were all flat on the ground. Nobody had the nerve to go near him. Jensen started to reload, but then suddenly he sat down and held his head in his arms and wouldn't move. For two or three hours he simply sat there.
But that wasn't the bizarre part.
Because late that same night he borrowed a pistol, gripped it by the barrel, and used it like a hammer to break his own nose.
Afterward, he crossed the perimeter to Lee Strunk's foxhole. He showed him what he'd done and asked if everything was square between them.
Strunk nodded and said, Sure, things were square.
But in the morning Lee Strunk couldn't stop laughing. "The man's crazy," he said. "I stole his fucking jackknife."
Friends
Dave Jensen and Lee Strunk did not become instant buddies, but they did learn to trust each other. Over the next month they often teamed up on ambushes. They covered each other on patrol, shared a foxhole, took turns pulling guard at night. In late August they made a pact that if one of them should ever get totally fucked up—a wheelchair wound—the other guy would automatically find a way to end it. As far as I could tell they were serious. They drew it up on paper, signing their names and asking a couple of guys to act as witnesses. And then in October Lee Strunk stepped on a rigged mortar round. It took off his right leg at the knee. He managed a funny little half step, like a hop, then he tilted sideways and dropped. "Oh, damn," he said. For a while he kept on saying it, "Damn oh damn," as if he'd stubbed a toe. Then he panicked. He tried to get up and run, but there was nothing left to run on. He fell hard. The stump of his right leg was twitching. There were slivers of bone, and the blood came in quick spurts like water from a pump. He seemed bewildered. He reached down as if to massage his missing leg, then he passed out, and Rat Kiley put on a tourniquet and administered morphine and ran plasma into him.
There was nothing much anybody could do except wait for the dustoff. After we'd secured an LZ, Dave Jensen went over and kneeled at Strunk's side. The stump had stopped twitching now. For a time there was some question as to whether Strunk was still alive, but then he opened his eyes and looked up at Dave Jensen. "Oh, Jesus," he said, and moaned, and tried to slide away and said, "Jesus, man, don't kill me."
"Relax," Jensen said.
Lee Strunk seemed groggy and confused. He lay still for a second and then motioned toward his leg. "Really, it's not so bad. Not terrible. Hey, really—they can sew it back on—really."
"Right, I'll bet they can."
"You think?"
"Sure I do."
Strunk frowned at the sky. He passed out again, then woke up and said, "Don't kill me."
"I won't," Jensen said.
"I'm serious."
"Sure."
"But you got to promise. Swear it to me—swear you won't kill me."
Jensen nodded and said, "I swear," and then a little later we carried Strunk to the dustoff chopper. Jensen reached out and touched the good leg. "Go on now," he said. Later we heard that Strunk died somewhere over Chu Lai, which seemed to relieve Dave Jensen of an enormous weight.
How to Tell a True War Story
This is true. I had a buddy in Vietnam. His name was Bob Kiley, but everybody called him Rat.
A friend of his gets killed, 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 badass 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 bitch. 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 killer 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 embarrasses 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 fuckin' 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—qua
druple 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, and 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 sucked 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 booby 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 City. 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 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 ever hear.
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 crazyass 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 fucking 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 cocktail party. That's what it sounds like, this big swank gook cocktail 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 glasses. 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 funky chanting and Buddha-Buddha stuff. And the whole time, in the background, there's still that cocktail 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 grass 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 fuckin' crash that cocktail 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 sucked 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 fatass colonel wants answers, he wants to know what the fuckin' 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 bastard, you'll never know—wrong frequency—you don't even want to hear this. Then they salute the fucker 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.
