In 1968, on today’s date, January 27, the Marines in the trenches at Khe Sanh were beginning to realize that what began on January 20-21, 1968, would turn into a period of horror and death and destruction which would become seared into the memories and psyches of all those who survived.

The 19th Century German philosopher and poet, Friedrich Nietzsche said: We have art in order not to die of the truth.

The truth of what happened at Khe Sanh often seems like a dose of reality so heinous that it is hard to swallow. We want to reject it as fantasy, as false memory, as fiction. But what happened there is truth with a bitter bouquet.

Down inside our minds, we try to figure a way to deal with that nasty truth and so, as Nietzsche probably would suggest, we often turn the truth into art. Over the last 2700 years and more, warriors have been memorializing their war experiences with poetry, which is certainly art.

Somewhere around the Eighth Century, BC, the Greek warrior poet, Archilochus wrote: “I long for a fight with you, just as a thirsty man longs for drink.”*

And in the intervening centuries, warriors have tried to reduce to poetry the profound impacts of combat through imagery be it sight, sound, smell, or the way the mist of a morning before battle gathers on the skin.

In the last one hundred years or so, war poets have been strong voices in articulating what they have witnessed as man has attacked and massacred his fellow man. A list of 20th and 21st Century war poets might include Siegfried Sassoon and Wilfred Owen from World War I, János Pilinszky and Randall Jarrell from World War II, Rolando Hinojosa and William Childress from the Korean War, Yusef Komunyakaa and Bruce Weigl from Vietnam, and Brian Turner and Jason Shelton from the wars in the middle east.

Although these poets have gained some fame, the efforts of trying to convert our wartime experiences into something we can look at on a page is a pretty common phenomena.

Skipper and poet, Ken Pipes, at Khe Sanh

Fear, horror and pain; what we’ve witnessed and endured in war sometimes acts as a muse and invites us, the warriors, to create, even those of us who aren’t professional poets.

In today’s rendition of the blog, we turn to one of our own, Lieutenant Colonel Ken Pipes, USMC Retired, who served as the company commander of Bravo Company, 1st Battalion, 26th Marines during the siege. Skipper Pipes is also featured in the documentary, BRAVO! COMMON MEN, UNCOMMON VALOR.

Skipper Pipes’ poem is written in classic form, rhyme and meter, and is published here with his permission. Please respect his copyright.

Tribute and Tribulation
Khe Sanh Remembered

To the men who scaled their mountains
and Seized that far flung plateau,
To the men who held the arena
Against the best the enemy could throw.

Who walked the jungle covered valleys
And waded the leach laden streams;
Who moved through the green shrouded alleys,
Till their muscles cramped and screamed.

To those who fell wounded and bleeding,
Yet arose to fight on ’til the end.
To those who fell wounded and bleeding,
Never to rise up again.

To our comrades who carried the rifle;
Who fired both cannon and gun.
To those who supplied and fought with us
We knew that they’d never run.

To the pilots who flew the fast movers,
And herded choppers all over the sky.
Who calmly watched the green tracers
As they went arching and howling by.

To Gentleman Jim, our commander,
And Jaques, Claire, Morris and Chief.
To Snake, Mike, Korkow and Rash,
And other heroes we respect and keep.

To Stubbe, our brave navy chaplain,
Who interceded for us as our link.
And to DeMaggd, our battalion surgeon,
Whose skilled hand drew us back from the brink.

To Blanchfield, and our navy corpsmen,
The finest and most courageous of all;
Who daily and nightly fought to reach us,
Refusing to succumb to the law.

So now as we move far from the valley,
And the years march away to the fore,
We and our families remember,
All those who made it happen; and more.

© Ken Pipes

Oorah for the Skipper! Ooorah! for poetry. Ooorah! for art.

If you have further interest in war poetry, you can find examples here from those mentioned earlier: Siegfried Sassoon contemplates a letter home to a mother here: Wilfred Owen muses on a gas attack here: ; János Pilinszky ponders prisoners of war here:
Randall Jarrell writes about the men who crew bombers here: Rolando Hinojosa contemplates friendly fire here: William Childress remembers the Korean War here: Yusef Komunyakaa at The Wall here: Bruce Weigl muses about the world between war and home here: Brian Turner on the bullet here: and Jason Shelton on Iraq here.

*From William Harris, Prof. Emeritus Classics, Middlebury College. (http://community.middlebury.edu/~harris/Archilochus.pdf).

Ken Pipes, The Skipper and poet

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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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