The Things They Carried

by Tim O'Brien

  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 fatass 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 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, and let out a short, throat-clearing sigh. 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 embarrassing. 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 analysis.

  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 booby-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 kill; 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 butt. 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, impassive 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 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 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 death, and yet any soldier will tell you, if he tells the truth, that proximity to death brings with it a corresponding proximity to life. After a fire-fight, there is always the immense pleasure of aliveness. The trees are alive. The grass, 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 suck 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 take a feeble swipe at the dark 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 booby-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 killer grenade and everybody dies anyway. Before they die, though, one of the dead guys says, "The fuck 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 killing 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 recreate 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.

  The Dentist

  When Curt Lemon was killed, I found it hard to mourn. I knew him only slightly, and what I did know was not impressive. He had a tendency to play the tough soldier role, always posturing, always puffing himself up, and on occasion he took it way too far. It's true that he pulled off some dangerous stunts, even a few that seemed plain crazy, like the time he painted up his body and put on a ghost mask and went out trick-or-treating on Halloween. But afterward he couldn't stop bragging. He kept replaying his own exploits, tacking on little flourishes that never happened. He had an opinion of himself, I think, that was too high for his own good. Or maybe it was the reverse. Maybe it was a low opinion that he kept trying to erase.

  In any case, it's easy to get sentimental about the dead, and to guard against that I want to tell a quick Curt Lemon story.

  In February we were working an area of operations called the Rocket Pocket, which got its name from the fact that the enemy sometimes used the place to launch rocket attacks on the airfield at Chu Lai. But for us it was like a two-week vacation. The AO lay along the South China Sea, where things had the feel of a resort, with white beaches and palm trees and friendly little villages. It was a quiet time. No casualties, no contact at all. As usual, though, the higher-ups couldn't leave well enough alone, and one afternoon an Army dentist was choppered in to check our teeth and do minor repair work. He was a tall, skinny young captain with bad breath. For a half hour he lectured us on oral hygiene, demonstrating the proper flossing and brushing techniques, then afterward he opened up shop in a small field tent and we all took turns going in for personal exams. At best it was a very primitive setup. There was a battery-powered drill, a canvas cot, a bucket of sea water for rinsing, a metal suitcase full of the various instruments. It amounted to assembly-line dentistry, quick and impersonal, and the young captain's main concern seemed to be the clock.

  As we sat waiting, Curt Lemon began to tense up. He kept fidgeting, playing with his dog tags. Finally somebody asked what the problem was, and Lemon looked down at his hands and said that back in high school he'd had a couple of bad experiences with dentists. Real sadism, he said. Torture chamber stuff. He didn't mind blood or pain—he actually enjoyed combat—but there was something about a dentist that just gave him the creeps. He glanced over at the field tent and said, "No way. Count me out. Nobody messes with these teeth."

  But a few minutes later, when the dentist called his name, Lemon stood up and walked into the tent.

  It was over fast. He fainted even before the man touched him.

  Four of us had to hoist him up and lay him on the cot. When he came to, there was a funny new look on his face, almost sheepish, as if he'd been caught committing some terrib
le crime. He wouldn't talk to anyone. For the rest of the day he stayed off by himself, sitting alone under a tree, just staring down at the field tent. He seemed a little dazed. Now and then we could hear him cussing, bawling himself out. Anyone else would've laughed it off, but for Curt Lemon it was too much. The embarrassment must've turned a screw in his head. Late that night he crept down to the dental tent. He switched on a flashlight, woke up the young captain, and told him he had a monster toothache. A killer, he said—like a nail in his jaw. The dentist couldn't find any problem, but Lemon kept insisting, so the man finally shrugged and shot in the Novocain and yanked out a perfectly good tooth. There was some pain, no doubt, but in the morning Curt Lemon was all smiles.

  Sweetheart of the Song Tra Bong

  Vietnam was full of strange stories, some improbable, some well beyond that, but the stories that will last forever are those that swirl back and forth across the border between trivia and bedlam, the mad and the mundane. This one keeps returning to me. I heard it from Rat Kiley, who swore up and down to its truth, although in the end, I'll admit, that doesn't amount to much of a warranty. Among the men in Alpha Company, Rat had a reputation for exaggeration and overstatement, a compulsion to rev up the facts, and for most of us it was normal procedure to discount sixty or seventy percent of anything he had to say. If Rat told you, for example, that he'd slept with four girls one night, you could figure it was about a girl and a half. It wasn't a question of deceit. Just the opposite: he wanted to heat up the truth, to make it burn so hot that you would feel exactly what he felt. For Rat Kiley, I think, facts were formed by sensation, not the other way around, and when you listened to one of his stories, you'd find yourself performing rapid calculations in your head, subtracting su perlatives, figuring the square root of an absolute and then multiplying by maybe.