Steve Wiese was an American Hero. I think he would dispute that statement and would have said something like, “The real heroes are the dead, the ones who didn’t come home.”

But he was a hero.

Unlike so many of us who fought with Bravo Company, 1/26 at Khe Sanh, who did 12-month-and-twenty-day tours, Steve extended his time in country and served 18 Months. He joined up with his Bravo Marines when 1/26 was headquartered at Hill 55 southwest of Danang, and could have rotated home in late autumn of 1967, but chose to come back from his leave just in time to endure the Siege of Khe Sanh.

In many regards, I think, he was the Marine’s Marine, a leader and a warrior who loved his Bravo Company mates.

A lot of Khe Sanh vets knew Steve better than I did, but what we shared was special: intense and intimate in the ways combat veterans share. We’d been to war and we’d made it home and after decades of keeping our traps shut about our experiences, we opened up and told our stories, separately and together.

And boy, did Steve’s stories impact the message that, after thirty-plus years, went out to America and the world.

The things Steve said in BRAVO! COMMON MEN, UNCOMMON VALOR illuminated the service of all Vietnam Veterans. He said it like it needed to be said, blunt and bold and no-holds-barred. He bared his soul and revealed his vulnerabilities while edifying the men with whom he served.

There were a lot of tragedies in Steve’s life. In Vietnam, with Bravo, he was involved in every battle or firefight of any consequence that happened during his tour.

While I managed to not be in a number of the fights that Steve was in, I lived through enough to get an inkling what it was like for him.

On June 7, 1967, in what has lately been termed by historians to be the last clash in the Hill Fights segment of the Battle of Khe Sanh, Bravo went on a two-platoon patrol off the north end of Hill 881-S. Back then, we patrolled in soft covers and no flak jackets, and we generally ran patrols on the same routes every few days.

So, when the NVA ambushed Bravo out there that day, the casualties were devastating. I wasn’t out there. Our squad stayed on the lines but I heard it and I saw it, and how it felt to me then, sticks with me now: emptiness, like some part of me hightailed it and can’t come back. So with that in mind I can only imagine how those men who fought that day—like Steve Wiese—felt.

He gained some notoriety that day when, upon coming in the gate after the patrol returned to the combat base, he barked at a colonel, maybe, or a lieutenant colonel, or a major who tried to soothe the returning warriors with platitiudes. (A load of officers came up on the hill at the end of that fight.)

After returning to his squad area, he expected to be standing tall in front of The Man because of what he said, but instead he was approached by a general, whose name I don’t think he ever enlightened me with, who told Steve to not pay attention to anything that officer had said.

On July 21, 1967, First Platoon of Bravo went out on a patrol on Route 9, east of Khe Sanh, which was ambushed. Steve was out there that day, too, and men with whom he served and bonded, died.

And then there was the Siege and all that came with it.

Including the Ghost Patrol. Steve was a squad leader on that debacle and even though he survived, a lot of the men in his squad didn’t. He carried a ton of grief and guilt over that. His narrative about how he managed to escape and evade the NVA to return to the base is one hell of a story.

And then there was the savage Payback Patrol where he was a squad leader in First Platoon and again, lost a lot of good Marines.

After he came home, he put up with all the guff and lack of respect that came with being a Vietnam Vet, and he suffered tragedies that would break folks with less steel in their spine.

He loved his Marines and he cherished and honored them whether dead or alive.

IF you were one of his Marine Brothers, he supported you. He showed up when the manure hit the fan.

One of the strongest moments in BRAVO! Is when Steve says this, “I’ve had people say, ‘Well, that was 30, 40 years ago. Why don’t you get over it?’ You know, I wish I could. I wish I could get over it. But on the other hand, it’s like I don’t ever want to forget these guys. I don’t want to forget what I’ve seen, what I was witness to. And I don’t want to forget them and their memories.” And he never did.

Steve wouldn’t have called himself a hero, but I will.

***

We have art in order not to die of the truth.
Friedrich Nietzsche

Betty and I recently returned from a trip to California where we screened BRAVO!. On our way back to Boise we stopped in at the Living Memorial Sculpture Garden outside Weed, California, to look at the sculptures. The work exhibited here is the brainchild of a group of veterans from the Weed area who got together in 1988 and brought in sculptor Dennis Smith to create the work. Dennis Smith is a Marine who served with Bravo Company, 1/26, during the Siege of Khe Sanh.

Left to right: Ken Rodgers and Sculptor Dennis Smith.
© Betty Rodgers 2014

The sculptures at the Living Memorial Sculpture Garden are beautiful depictions of the human form as we might view it: engaged in war and yet at the same time reacting to the atrocities of war, or suffering from the aftermath. They are thought-provoking, expressive, and evocative of something more difficult to discover, the “Why” of war and it’s aftermath.

POW-MIA by Dennis Smith.
Photo © Ken Rodgers 2014

In Smith’s sculptures there is a distinct conflict between art and war. Humans often thrive on conflict, on the junction of fear and redemption, good versus evil. We want conflict in our novels, in our movies, in our visual art. We say we don’t like conflict, yet we crave it on more than one level.

Some of our finest art is based on the never ending conflict between us. Consider Stephen Crane’s novella, The Red Badge of Courage, or Eric Maria Remarque’s All Quiet on the Western Front. These stories are verbal works of art that capture the pure energy, the agony, the ecstasy of war and humanity’s propensity for creating war and conflict.

In more recent literature, Karl Marlantes’ Matterhorn and Nick Warr’s Phase Line Green are fine examples of stories written about the Vietnam War that expose the depth and breadth of war and humanity’s experience in that conflict.

And it is just not in story and sculpture, but in poetry, too, such as the Vietnam War poetry of Bruce Weigl and Yusef Komunyakaa. As an example of war poetry, check out the piece that follows by First World War British Officer Siegfried Sassoon. I like how it mixes the beauty of lyrical poetry with the horror of war:

Hero

‘Jack fell as he’d have wished,’ the Mother said,
And folded up the letter that she’d read.
‘The Colonel writes so nicely.’ Something broke
In the tired voice that quavered to a choke.
She half looked up. ‘We mothers are so proud
Of our dead soldiers.’ Then her face was bowed.

Quietly the Brother Officer went out.
He’d told the poor old dear some gallant lies
That she would nourish all her days, no doubt.
For while he coughed and mumbled, her weak eyes
Had shone with gentle triumph, brimmed with joy,
Because he’d been so brave, her glorious boy.

He thought how ‘Jack’, cold-footed, useless swine,
Had panicked down the trench that night the mine
Went up at Wicked Corner; how he’d tried
To get sent home, and how, at last, he died,
Blown to small bits. And no one seemed to care
Except that lonely woman with white hair.

(Siegfried Sassoon, “Hero,” from the website: http://www.poemhunter.com/poem/hero/.)

Another example of art applied to war in the form of poetry is Brian Turner’s “Here Bullet,” about the horrors of the war. Turner served in both Bosnia and in Iraq.

Here, Bullet

If a body is what you want,
then here is bone and gristle and flesh.
Here is the clavicle-snapped wish,
the aorta’s opened valves, the leap
thought makes at the synaptic gap.
Here is the adrenaline rush you crave,
that inexorable flight, that insane puncture
into heat and blood. And I dare you to finish
what you’ve started. Because here, Bullet,
here is where I complete the word you bring
hissing through the air, here is where I moan
the barrel’s cold esophagus, triggering
my tongue’s explosives for the rifling I have
inside of me, each twist of the round
spun deeper, because here, Bullet,
here is where the world ends, every time.

(Brian Turner, “Here, Bullet,” from the website: http://www.brianturner.org/poetry/.)

What about other examples of visual art? Below are two paintings created from events that occurred during the First World War. The initial painting, titled “Gassed,” is by the famous British artist John Singer Sargent, and the second, titled “A Battery Shelled, 1919” is by Wyndham Lewis. Both of these paintings depict the horrors of war via the beautiful tools of the painter, the tools of the mind, the memory and the painter’s genre.

Gassed, by John Singer Sergeant

(John Singer Sargent, “Gassed,” from the website: http://ind.pn/RksGnw.)

A Battery Shelled, 1919 by Wyndham Lewis

(Wyndham Lewis, “A Battery Shelled,” from the website: http://bit.ly/1mwza0q.)

The horrible glories that arise when art and war combine can also be portrayed through photography as in the following photo of Khe Sanh shot by the famous photographer, David Douglas Duncan, whose images are featured in BRAVO!.

Photo Courtesy of David Douglas Duncan and Harry Ransom Center, The University of Texas Austin

Having participated in war, I think something aesthetic intrudes into our minds as we retch at the carnage that man heaps on man. I think that is one way we can come to terms with all the horror: through the art that depicts it.

On a quiet night in the war zone, nothing is quite as arresting as the sight of Snoopy, or as some of us called it, Puff, firing at the enemy:

Puff the Magic Dragon

(An AC-47, Puff, from the website: http://cherrieswriter.wordpress.com/2013/10/09/when-puff-ruled-the-night-the-birth-of-gunships/.)

Or the terrible beauty of napalm dropped on human beings:

Dropping Napalm

(Napalm dropped on Vietcong targets, from the website: http://www.english.illinois.edu/maps/vietnam/photoessay.htm.)

Or the sight of concertina wire etched against muddy terrain:

Concertina Wire

(Concertina wire, from the website: http://bit.ly/1o0mAWF.)

I just finished reading the late war correspondent Ernie Pyle’s book about World War II, titled Brave Men. Pyle generally had a no-nonsense style of writing and describing, but when he really tried to get at the essence of how we kill each other in combat, he waxed poetic in a way that takes us away from the lists and statistics and into the human aspects of war, and not just the horrible, but the sublimely beautiful. Here is an excerpt from Pyle’s book that, to me, shows what I am trying to get at:

From the scattered green leaves and the fresh branches still lying in the road. From the coils of telephone wire, hanging brokenly from high poles and entwining across the roads. From the gray, burned-powder rims of the shell craters, their edges not yet smoothed by the pounding of military traffic. From the little pools of blood on the roadside, blood that had only begun to congeal and turn black, and the punctured steel helmets lying nearby…From the scattered heaps of personal gear around a gun. I don’t know why it was, but the Germans always seemed to take off their coats before they fled or died.

(Ernie Pile, from: Brave Men, Grosset and Dunlap, NY, NY, 1943 and 1944, Pp 309 and 310.)

I began this blog with a quote from the German philosopher, Friedrich Nietzsche that implies that we need art so that the truth of what we are doesn’t kill us. As horrible as war is—and believe me, anybody who has fought in one understands the essence of pure horror—we need to depict, portray and ponder how combat and its associated mayhem fit into who we are; and how can we best do that but through the beauty and truth we attain through art?

With that in mind, if you head in the direction of Weed, California, consider stopping in at the Living Memorial Sculpture Garden to see some of BRAVO! brother Dennis Smith’s beautiful sculpture that contemplates our horrible human endeavor, war.

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