poetryfoundation.org
Foundation
Foundation: About
Foundation: Announcements
Foundation: Initiatives
Foundation: Awards
Foundation: Events
Features
Features: Articles
Features: Audio
Features: Children
Dispatches
Dispatches: News
Dispatches: Live Readings
Dispatches: Blog
Dispatches: journals
Dispatches: Gallery
Publishing
Publishing: Book Picks
Publishing: Best Sellers
Publishing: Around the Web
Archive
Archive: Poetry Tool
Archive: Reading Guides
Archive: Talk
Foundation
Foundation: About
Foundation: Announcements
Foundation: Initiatives
Foundation: Awards
Foundation: Events
Magazine
Magazine: Current Issue
Magazine: Past Issues
Magazine: Letters
Magazine: Books
Magazine: About

Dispatches: Journals

Brian Turner: 02.27.06-03.03.06


Wednesday 03.01.06

I'd like to share a few journal entries from when I was an infantry soldier in Iraq. The overall journal I have from that period in my life is fairly substantial and I won't try to reproduce it all here. I'd just like to give a few snippets so that one can get a feel for the difference between poem entries and straight journal ones . . .

24 Dec 2003

. . . We call the enemy Haji. the Hajj is a journey one takes to Mecca as a religious pilgrimmage, hopefully at least once in one's lifetime. In this faith, this is a tremendously important event. Some travel hundreds of miles, and more, simply to be in Mecca, the holiest of places for many, during Ramadan. Our Haji is the "Charlie" of Viet Nam. It is definitely a racial/religious slur and yet it doesn't seem to be said with that in mind. It's more a way to put a name to what is sort of faceless, and anonymous. For most soldiers, there are 'good' Haji's and there are 'bad' ones. . . .

. . . When we catch them we flex-cuff them and put 2 sand bags over their heads, 100-mile-per-hour tape wrapping around the eyes. They sit in humvees while we finish up our mission. People gather down the streets and watch. The wives and relatives of the men, mostly women and children, cry of course. Tragedy is in the air. They curse us in Arabic. Spit at us. Show us the bottoms of their feet, a huge insult here. A boy walks up and says, "My Father, no bad man. My Father no bad. Let free my Father." And we point to a pile of RPGs (Rocket Propelled Grenades) and machine guns and spring-loaded magazines that are often used to make C4 bombs with, as if to say, here is our proof. Still, no one knows what it means to be here until they've heard a woman cry for the man we take away from her.

7 Feb 2004

. . . I could've been killed yesterday. Someone, a stranger in a foreign land, tried to murder me with an RPG. Who was he? Or 'they', more likely. If we were to sit down, if he were to talk to me, to learn what happens in a life to bring me here, to hear of my thoughts on this land, its people, what I think of him even, would it make a ripple? Would he still want to kill me?
I want to believe not. I really do.

5 Mar 2004

. . . The bomb itself was a 155mm shell placed under a slab of concrete on a street corner. An assistant tied a white line to the back of the suit and unraveled it as the bomb guy moved forward. He looked like an astronaut walking in a combat zone, slow and labored.
When he got there he stepped from side to side studying the bomb, viewing it from all angles. I heard radio traffic call up that he'd decided they could defuse it—no need to blow it in place.
Watching him walk down the street toward that bomb—I thought, Man, this guy has got guts. Nothing could rattle this guy.
Once he began defusing it, some Iraqi bomb experts in flak vests joined him and they took it apart in short order. After it was loaded up and he'd removed the bomb suit, I saw him take a second to drink some water, with no flak on or any of the usual combat gear, just the standard brown t-shirt.
I thought: How do you let go of a year of stress like that?
[Later in that journal entry . . .]
Oh yeah—airburst and 82mm mortars are attacking us now. Again.

Here is one poem that came directly out of this particular experience and found its way to the page. This is often how it worked for me...I would journal about an event, keep mulling it over in my mind, and then the world of the poem would open up on the page.

Katyusha Rockets


The 107s have a crackling sound
of fire and electricity, of air-ruckled heat,
and when they pinwheel over the rooftops
of Hamman al Alil
they just keep going,
traveling for years over the horizon
to land in the meridians of Divisadero Street,
where I’m standing early one morning
on a Memorial Day in Fresno, California,
the veteran’s parade scattering at the impact,
mothers shielding their children by instinct,
old war vets crouching behind automobiles
as police set up an outer cordon
for the unexploded ordinance.
Rockets often fall
in the night sky of the skull, down long avenues
of the brain’s myelin sheathing, over synapses
and the rough structures of thought, they fall
into the hippocampus, into the seat of memory—
where lovers and strangers and old friends
entertain themselves, unaware of the dangers
headed their way, or that I will need to search
among them
the way the bomb disposal tech
walks tethered and alone down Divisadero Street,
suited-up as if walking on the moon’s surface
as the crowd watches just how determined he is
to dismantle death, to take it apart
piece by piece—the bravest thing I’ve ever seen.


Comments

On 03.01.06 Colleen Morgan wrote:

For me, reading the journal entries and these disquieting poems gives me a perspective of our troops in Iraq that is different than that given by reading the articles in the newspapers and news magazines and I welcome the personal viewpoint. I find these poems are pieces to read, mull over, and then read again.


On 03.02.06 CPL Shah, Peenesh wrote:

My wife is a poet, studying at U of O, and she pointed me at your poetry about a month ago. Today, she pointed me at this journal, nudging me to make an entry, joking,'He could be waiting at his computer right now for some soldier stationed in Baghdad to ask him a question about poetry.'

I pointed out to her that my Iraq is far different from yours. Our posture here is different from what it was in 2003-04, and further, I'm an aid station medic who hardly ever leaves the FOB, and hasn't left the Green Zone since my arrival (I tried to explain to her what a pogue is). To illustrate my point, I quoted your post here, 'Still, no one knows what it means to be here until they've heard a woman cry for the man we take away from her.'

And it occurs to me as I write this now, that my choice of that post is interesting, as I went on to remark that her experience is probably more familiar to you than is mine, because her shoes aren't so dissimilar from those of your loved ones when you were here, because they don't see the difference between your Iraq and mine.


On 03.02.06 elyse fenton wrote:

Thank you for the poetic precedent, writing poems from a contemporary war zone. As a poetry student in U of O's MFA program with a husband who is a medic in baghdad, I've been struggling for a few months to access the appropriate language to articulate my experience. Because I am not the one there, I find I do not have the rich imagistic material that you present in Here, Bullet.

Instead, I find myself turning my lens back on language itself, investigating how language works between lovers in wartime in an environment in which linguistic intimacy feels dangerous, and newscaster language subsumes personal experience.

How did you navigate this linguistic terrain? Did you find it difficult to begin to write? As Doug Anderson writes, "If it had not been for the war,/ would you have written?" ("Prospero"). I know that you were a poet before you became a soldier, but do you think your experience as a witness-- and indeed participant in-- atrocity has had an effect on how you view language itself?


On 03.02.06 Brian Turner wrote:

Cpl. Shaw,

I really appreciate your taking the time to sit down and consider the words here and to share your own. I hope you are safe and that you will be able to safely come home soon.

I completely know what you mean by 'pogue' and all of that; the unit I was in was very active outside the gate and wanted to be respected as an elite unit. I, however, realized that we all had to learn how to live where the mortars land. We all earn our stripes over there, if you know what I mean--one way or another.

We all have our stories to tell and I look forward, if it's in your nature to write of these things, to hearing your own.

Please feel free to contact me anytime--if this is too open of a forum, then please simply contact me through the UofO Creative Writing program.

As a side note: have you heard of www.booksforsoldiers.com? It's a pretty cool website I used while there to get great books donated by Americans back home.

I wish you a safe and speedy trip home and back to your life--

Brian


On 03.02.06 Brian Turner wrote:

Dear Elyse,

Thank you for the questions and for sharing what must be incredibly difficult and crucial.

I realize it's a tangent, but your final question leads me to consider...

Prior to deploying to Iraq, I felt that I had found my 'voice'--that elusive thing so often discussed in creative writing workshops and writing magazines. I wrote in a very musical, dense, and lengthy line. And I wrote this way for several years.

While in Iraq, that particular voice wouldn't work. I know this now, in retrospect. At the time, I felt it. It was an intuitive thing. The world of the poem was growing out of the witnessed world in front of me. It was something outside of me.

I was definitely a participant in the events taking place (well, many of them). But the book isn't centered around me. I knew that my own story wasn't that important in the larger scheme of things. In the larger scheme, incredibly tragic events were taking place all around me. I needed a language of witness. Something bare, something brutal. Something tender, when something tender was needed. I needed a language that was of the world I was living in and not one that I had honed and superimposed over the events taking place.

One of the questions I have for myself regarding language is this: what would this book look like had I chosen to wait 5 to 7 years in crafting and meditating upon it? I think the more imagistic and musical voice, the voice I had honed all those years, would have reappeared.

As far as difficulty in beginning to write...I didn't find it that difficult at all. I felt a pressure, an intense pressure, of time. That is, I could die tomorrow. If there was something which needed to be said today, well, I had to get it down on the page now--tonight--before dropping off to much needed sleep. The other tremendous problem to deal with was one of inclusiveness. What if I forget something? What if I don't write about what must be remembered? This book was not a cathartic experience for me. It relieved nothing from my soul. These were dispatches I felt needed to be sent back from the war. This was witness meant to add to the dialogue of war back home.

I'm very interested in your own work navigating the linguistic territory you've mentioned. You must be going through a very hard time and I send my very best wishes for the safe return of your husband in both body and soul. That same wish I send to you as well, as both of you may well be changed by this experience.



Post a comment




Tyehimba Jess
Brian Turner’s first book, Here Bullet, received the 2005 Beatrice Hawley Award and was published by Alice James Press. He earned an M.F.A. from the University of Oregon and served for seven years in the U.S. Army. He was an infantry team leader for a year in Iraq beginning November 2003, with the 3rd Stryker Brigade Combat Team, 2nd Infantry Division. His poetry has been published in Poetry Daily, the Georgia Review, and other journals, and in Voices in Wartime: The Anthology, published in conjunction with the feature-length documentary film of the same name. He lives in California.




 SEARCH
 
POETRY TOOL
Search for poems by poet, title, theme, and occasion.
Also, articles, audio, and works for children.
More
E-MAIL SIGN-UP
News, updates, events, and media releases by e-mail.
More

Copyright © 2006 Poetry Foundation    Contact: mail@poetryfoundation.org   Privacy Policy / Terms of Use