America and Americans and Selected Nonfiction

by John Steinbeck

  It was a beautiful day, they said, a picture day with big clouds and a very blue sky. The kind of day you see in advertisements for air travel back at home. The formation was flying toward St. Nazaire and the air was very clear. They could see the little towns on the ground, they said. Then the flak came up, they said, and some Messerschmitts parked off out of range and began to pot at them with their cannon. They didn’t see where the Fortress up ahead was hit. Probably in the controls, because they did not see her break up at all.

  They all agree that what happened seemed to happen very slowly. The Fortress slowly nosed up and up until she tried to climb vertically and, of course, she couldn’t do that. Then she slipped in slow motion, backing like a falling leaf, and she balanced for a while and then her nose edged over and she started, nose down, for the ground.

  The blue sky and the white clouds made a picture of it. The crew could see the gunner trying to get out and then he did, and his parachute fluffed open. And the ball-turret gunner—they could see him flopping about. The bombardier and navigator blossomed out of the nose and the waist gunners followed them. Mary Ruth’s crew was yelling, “Get out, you pilots.” The ship was far down when the ball-turret gunner cleared. They thought the skipper and the copilot were lost. They stayed with the ship too long and then—the ship was so far down that they could hardly see it. It must have been almost to the ground when two little puffs of white, first one and then the second, shot out of her. And the crew yelled with relief. And then the ship hit the ground and exploded. Only the tail gunner and ball-turret man had seen the end. They explained it over the intercom.

  Beside the No. 1 hangar there is a little mound of earth covered with short, heavy grass. At 12:15 the ground men begin to congregate on it and sweat out the homecoming. Rumor comes with the crew chief that they have reported, but it is rumor. A small dog, which might be a gray Scottie if his ears didn’t hang down and his tail bend the wrong way, comes to sit on the little mound. He stretches out and puts his whiskery muzzle on his outstretched paws. He does not close his eyes and his ears twitch. All the ground crews are there now, waiting for their ships. It is the longest set of minutes imaginable.

  Suddenly the little dog raises his head. His body begins to tremble all over. The crew chief has a pair of field glasses. He looks down at the dog and then aims his glasses to the south. “Can’t see anything yet,” he says. The little dog continues to shudder and a high whine comes from him.

  And here they come. You can just see the dots far to the south. The formation is good, but one ship flies alone and ahead. “Can you see her number? Who is she?” The lead ship drops altitude and comes in straight for the field. From her side two little rockets break, a red one and a white one. The ambulance, they call it the meat wagon, starts down the runway. There is a hurt man on that ship.

  The main formation comes over the field and each ship peels to circle for a landing, but the lone ship drops and the wheels strike the ground and the Fortress lands like a great bug on the runway. But the moment her wheels are on the ground there is a sharp, crying bark and a streak of gray. The little dog seems hardly to touch the ground. He streaks across the field toward the landed ship. He knows his own ship. One by one the Fortresses land and the ground crews check off the numbers as they land. Mary Ruth is there. Only one ship is missing and she landed farther south, with short fuel tanks. There is a great sigh of relief on the mound. The mission is over.

  Stories of the Blitz

  London, July 10, 1943—

  PEOPLE WHO try to tell you what the blitz was like in London start with fire and explosion and then almost invariably end up with some very tiny detail which crept in and set and became the symbol of the whole thing for them. Again and again this happens in conversations. It is as though the mind could not take in the terror and the noise of the bombs and the general horror and so fastened on something small and comprehensible and ordinary. Everyone who was in London during the blitz wants to describe it, wants to solidify, if only for himself, something of that terrible time.

  “It’s the glass,” says one man, “the sound in the morning of the broken glass being swept up, the vicious, flat tinkle. That is the thing I remember more than anything else, that constant sound of broken glass being swept up on the pavements. My dog broke a window the other day and my wife swept up the glass and a cold shiver went over me. It was a moment before I could trace the reason for it.”

  You are going to dine at a small restaurant. There is a ruin across the street from the place, a jagged, destroyed stone house. Your companion says, “On one of the nights I had an engagement to have dinner with a lady at this very place. She was to meet me here. I got here early and then a bomb hit that one.” He points to the ruin. “I went out in the street. You could see plainly, the fires lighted the whole city. That front wall was spilled into the street. You could see the front of a cab sticking out from the pile of fallen stone. Thrown clear, right at my feet as I came out of the door, was one pale blue evening slipper. The toe of it was pointing right at me.”

  Another points up at a wall; the building is gone, but there are five fireplaces, one above another, straight up the wall. He points to the topmost fireplace. “This was a high-explosive bomb,” he says. “This is on my way to work. You know, for six months there was a pair of long stockings hanging in front of that fireplace. They must have been pinned up. They hung there for months, just as they had been put up to dry.”

  “I was passing Hyde Park,” says a man, “when a big raid came over. I went down into the gutter. Always did that when you couldn’t get a shelter. I saw a great tree, one like those, jump into the air and fall on its side not so far from me—right there where that scoop is in the ground. And then a sparrow fell in the gutter right beside me. It was dead all right. Concussion kills birds easily. For some reason I picked it up and held it for a long time. There was no blood on it or anything like that. I took it home with me. Funny thing, I had to throw it right away.”

  One night, when the bombs screamed and blatted, a refugee who had been driven from place to place and tortured in all of them until he finally reached London couldn’t stand it anymore. He cut his throat and jumped out of a high window. A girl, who was driving an ambulance that night, says, “I remember how angry I was with him. I understand it a little now, but that night I was furious with him. There were so many who got it that night and they couldn’t help it. I shouted at him I hoped he would die, and he did.

  “People save such strange things. One elderly man lost his whole house by fire. He saved an old rocking chair. He took it everywhere with him; wouldn’t leave it for a moment. His whole family was killed, but he hung on to that rocking chair. He wouldn’t sit in it. He sat on the ground beside it, but you couldn’t get it away from him.”

  Two reporters sat out the blitz in the Savoy Hotel, playing chess and fortifying themselves. When the bombs came near they went under the table. “One or the other of us always reached up and cheated a little,” the reporter says.

  Hundreds of stories, and all of them end with a little incident, a little simple thing that stays in your mind.

  “I remember the eyes of people going to work in the morning,” a man says. “There was a quality of tiredness in those eyes I haven’t forgotten. It was beyond a tiredness you can imagine—a desperate kind of weariness that never expected to be rested. The eyes of the people seemed to be deep, deep in their heads, and their voices seemed to come from a long distance. And I remember during a raid seeing a blind man standing on the curb, tapping with his stick and waiting for someone to take him across through the traffic. There wasn’t any traffic, and the air was full of fire, but he stood there and tapped until someone came along and took him to a shelter.”

  In all of the little stories it is the ordinary, the commonplace thing or incident against the background of the bombing, that leaves the indelible picture.

  “An old woman was selling little miserable sprays of sweet lavender. The city was
rocking under the bombs and the light of burning buildings made it like day. The air was just one big fat blasting roar. And in one little hole in the roar her voice got in—a squeaky voice. ‘Lavender!’ she said. ‘Buy lavender for luck.’ ”

  The bombing itself grows vague and dreamlike. The little pictures remain as sharp as they were when they were new.

  Lilli Marlene

  London, July 12, 1943—

  THIS IS THE STORY of a song. Its name is “Lilli Marlene” and it was written in Germany in 1938 by Norbert Schultze and Hans Leit. In due course they tried to publish it and it was rejected by about two dozen publishers. Finally it was taken up by a singer, Lala Anderson, a Swedish girl, who used it for her signature song. Lala Anderson has a husky voice and is what you might call the Hildegarde type.

  “Lilli Marlene” is a very simple song. The first verse of it goes: “Underneath the lanterns, by the barracks square, I used to meet Marlene and she was young and fair.” The song was as simple as that. It went on to tell about Marlene, who first liked stripes and then shoulder bars. Marlene met more and more people until, finally, she met a brigadier, which was what she wanted all along. We have a song with much the same amused cynicism.

  Eventually Lala made a record of the song and even it was not very popular. But one night the German station in Belgrade, which sent out programs to Rommel’s Afrika Korps, found that, due to a little bombing, it did not have many records left, but among a few uninjured disks was the song “Lilli Marlene.” It was put on the air to Africa and by the next morning it was being hummed by the Afrika Korps and letters were going in demanding that it be played again.

  The story of its popularity in Africa got back to Berlin, and Madame Goering, who used to be an opera singer, sang the song of the inconstant “Lilli Marlene” to a very select group of Nazis, if there is such a thing. Instantly the song was popular and it was played constantly over the German radio until Goering himself grew a little sick of it, and it is said that, since inconstancy is a subject which is not pleasant to certain high Nazi ears, it was suggested that the song be quietly assassinated. But meanwhile “Lilli Marlene” had got out of hand. Lala Anderson was by now known as the “Soldiers’ Sweetheart.” She was a pin-up girl. Her husky voice ground out of portable phonographs in the desert.

  So far, “Lilli” had been solely a German problem, but now the British Eighth Army began to take prisoners and among the spoils they got “Lilli Marlene.” And the song swept through the Eighth Army. Australians hummed it and fastened new words to it. The powers hesitated, considering whether it was a good idea to let a German song about a girl who did not have all the sterling virtues become the favorite song of the British Army, for by now the thing had crept into the First Army and the Americans were beginning to experiment with close harmony and were putting an off-beat into it. It wouldn’t have done the powers a bit of good if they had decided against the song.

  It was out of hand. The Eighth Army was doing all right in the field and it was decided to consider “Lilli Marlene” a prisoner of war, which would have happened anyway, no matter what the powers thought about it. Now “Lilli” is getting deeply into the American Forces in Africa. The Office of War Information took up the problem and decided to keep the melody, but to turn new words against the Germans. Whether this will work or not remains to be seen. “Lilli Marlene” is international. It is to be suspected that she will emerge beside the barrack walls—young and fair and incorruptly inconsistent.

  There is nothing you can do about a song like this except to let it go. War songs need not be about the war at all. Indeed, they rarely are. In the last war, “Madelon” and “Tipperary” had nothing to do with war. The great Australian song of this war, “Waltzing Matilda,” concerns itself with sheep-stealing. It is to be expected that some groups in America will attack “Lilli,” first, on the ground that she is an enemy alien, and, second, because she is no better than she should be. Such attacks will have little effect. “Lilli” is immortal. Her simple desire to meet a brigadier is hardly a German copyright. Politics may be dominated and nationalized, but songs have a way of leaping boundaries.

  And it would be amusing if, after all the fuss and heiling, all the marching and indoctrination, the only contribution to the world by the Nazis was “Lilli Marlene.”

  Bob Hope

  London, July 26, 1943—

  WHEN THE TIME for recognition of service to the nation in wartime comes to be considered, Bob Hope should be high on the list. This man drives himself and is driven. It is impossible to see how he can do so much, can cover so much ground, can work so hard, and can be so effective. He works month after month at a pace that would kill most people.

  Moving about the country in camps, airfields, billets, supply depots, and hospitals, you hear one thing consistently. Bob Hope is coming, or Bob Hope has been here. The Secretary of War is on an inspection tour, but it is Bob Hope who is expected and remembered.

  In some way he has caught the soldiers’ imagination. He gets laughter wherever he goes from men who need laughter. He has created a character for himself—that of the man who tries too hard and fails, and who boasts and is caught at it. His wit is caustic, but it is never aimed at people, but at conditions and at ideas, and where he goes men roar with laughter and repeat his cracks for days afterward.

  Hope does four, sometimes five, shows a day. In some camps the men must come in shifts because they cannot all hear him at the same time. Then he jumps into a car, rushes to the next post, and because he broadcasts and everyone listens to his broadcasts, he cannot use the same show more than a few times. He must, in the midst of his rushing and playing, build new shows constantly. If he did this for a while and then stopped and took a rest it would be remarkable, but he never rests. And he has been doing this ever since the war started. His energy is boundless.

  Hope takes his shows all over. It isn’t only to the big camps. In little groups on special duty you hear the same thing. Bob Hope is coming on Thursday. They know weeks in advance that he is coming. It would be rather a terrible thing if he did not show up. Perhaps that is some of his drive. He has made some kind of contract with himself and with the men that nobody, least of all Hope, could break. It is hard to overestimate the importance of this thing and the responsibility involved.

  The battalion of men who are moving half-tracks from one place to another, doing a job that gets no headlines, no public notice, and yet which must be done if there is to be a victory, are forgotten, and they feel forgotten. But Bob Hope is in the country. Will he come to them, or won’t he? And then one day they get a notice that he is coming. Then they feel remembered. This man in some way has become that kind of bridge. It goes beyond how funny he can be or how well Frances Langford sings. It has been interesting to see how he has become a symbol.

  This writer, not knowing Hope, can only conjecture what goes on inside the man. He has seen horrible things and has survived them with good humor and made them more bearable, but that doesn’t happen without putting a wound on a man. He is cut off from rest, and even from admitting weariness. Having become a symbol, he must lead a symbol life.

  Probably the most difficult, the most tearing thing of all is to be funny in a hospital. The long, low buildings are dispersed in case they should be attacked. Working in the gardens or reading in the lounge rooms are the ambulatory cases in maroon bathrobes. But in the wards, in the long aisles of pain the men lie, with eyes turned inward on themselves, and on their people. Some are convalescing with all the pain and itch of convalescence. Some work their fingers slowly, and some cling to the little trapezes which help them to move in bed.

  The immaculate nurses move silently in the aisles at the foot of the beds. The time hangs very long. Letters, even if they came every day, would seem weeks apart. Everything that can be done is done, but medicine cannot get at the lonesomeness and the weakness of men who have been strong. And nursing cannot shorten one single endless day in a hospital bed. And Bob Hope and h
is company must come into this quiet, inward, lonesome place, and gently pull the minds outward and catch the interest, and finally bring laughter up out of the black water. There is a job. It hurts many of the men to laugh, hurts knitting bones, strains at sutured incisions, and yet the laughter is a great medicine.

  This story is told in one of those nameless hospitals which must be kept safe from bombs. Hope and company had worked and gradually they got the leaden eyes to sparkling, had planted and nurtured and coaxed laughter to life. A gunner, who had a stomach wound, was gasping softly with laughter. A railroad casualty slapped the cast on his left hand with his right hand by way of applause. And once the laughter was alive, the men laughed before the punch line and it had to be repeated so they could laugh again.

  Finally it came time for Frances Langford to sing. The men asked for “As Time Goes By.” She stood up beside the little GI piano and started to sing. Her voice is a little hoarse and strained. She has been working too hard and too long. She got through eight bars and was into the bridge, when a boy with a head wound began to cry. She stopped, and then went on, but her voice wouldn’t work anymore, and she finished the song whispering and then she walked out, so no one could see her, and broke down. The ward was quiet and no one applauded. And then Hope walked into the aisle between the beds and he said seriously, “Fellows, the folks at home are having a terrible time about eggs. They can’t get any powdered eggs at all. They’ve got to use the old-fashioned kind that you break open.”

  There’s a man for you—there is really a man.

  Vietnam War: No Front, No Rear

  Saturday, January 14, 1967

  Saigon