Fiction, maybe art in general, is a tentative, uncertain enterprise; it’s not science, it’s an exploration, but you never find much in the way of answers.
Red and green and silver flares, all colors, and the rain came down in Technicolor.
In the interests of truth, however, I want to make it clear that Norman Bowker was in no way responsible for what happened to Kiowa. Norman did not experience a failure of nerve that night. He did not freeze up or lose the Silver Star for valor. That part of the story is my own.
In some respects, though not many, the waiting was worse than the tunnel itself. Imagination was a killer.
They carried the soldier’s greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor.
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.
Courage was not always a matter of yes or no. Sometimes it came in degrees, like the cold; sometimes you were very brave up to a point and then beyond that point you were not so brave.
You hate it, yes, but your eyes do not. Like a killer 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.
I’m young and happy. I’ll never die.
On occasions the war was like a Ping-Pong ball. You could put fancy spin on it, you could make it dance.
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.
But this, too, was a performance.
That’s a true story that never happened.
I am forever astonished at the longevity of childhood. How it never ends. How we are what we were. How turtles and engines and stolen kisses leave their jet trail across our gaping lives.
Knowledge, of course, is always imperfect, but it seemed to me that when a nation goes to war it must have reasonable confidence in the justice and imperative of its cause. You can’t fix your mistakes. Once people are dead, you can’t make them undead.
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.
Sun and waves and gentle winds, all love and lightness.
We find truth inside, or not at all.
It’s about love and memory. It’s about sorrow. It’s about sisters who never write back and people who never listen.
If inner peace is the true objective, would I win it in exile?
Though it’s odd, you’re never more alive when you’re almost dead.