Quotes About War

They carried their reputations. They carried the soldier's greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor. They died so as not to die of embarrassment.

A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done. If a story seems moral, do not believe it.

They carried the soldier's greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor. They died so as not to die of embarrassment.

They carried the soldier's greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor.

War makes you a man; war makes you dead.

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.

But the lieutenant knew that in war purpose is never paramount, neither purpose nor cause, and that battles are always fought among human beings, not purposes. He could not imagine dying for a purpose. Death was its own purpose, no qualification or restraint. He did not celebrate war. He did not believe in glory.

Lee Strunk made a funny ghost sound, a kind of moaning, yet very happy, and right then, when Strunk made that high happy moaning sound, when he went Ahhooooo, right then Ted Lavender was shot in the head on his way back from peeing. He lay with his mouth open. The teeth were broken. There was a swollen black bruise under his left eye. The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound - the guy's dead. I mean really.

They were signed Love, Martha, but Lieutenant Cross understood that Love was only a way of signing and did not mean what he sometimes pretended it meant. At

It was my view then, and still is, that you don't make war without knowing why. Knowledge, of course, is always imperfect, but it seemed to me that when a nation goes to war it must have reasonable confidence in the justice and imperative of its cause. You can't fix your mistakes. Once people are dead, you can't make them undead.

For the most part they carried themselves with poise, a kind of dignity. Now and then, however, there were times of panic, when they squealed or wanted to squeal but couldn't, when they twitched and made moaning sounds and covered their heads and said Dear Jesus and flopped around on the earth and fired their weapons blindly and cringed and sobbed and begged for the noise to stop and went wild and made stupid promises to themselves and to God and to their mothers and fathers, hoping not to die.

Afterward, when the firing ended, they would blink and peek up. They would touch their bodies, feelings shame, then quickly hiding it. They would force themselves to stand. As if in slow motion, frame by frame, the world would take on the old logic - absolute silence, then the wind, then sunlight, then voices. It was the burden of being alive.

Forty-three years old, and the war occurred half a lifetime ago, and yet the remembering makes it now. And sometimes remembering will lead to a story, which makes it forever.

They told stories about Ted Lavender's supply of tranquilizers, how the poor guy didn't feel a thing, how incredibly tranquil he was. There's a moral here, said Mitchell Sanders. They were waiting for Lavender's chopper, smoking the dead man's dope. The moral's pretty obvious, Sanders said, and winked. Stay away from drugs. No joke, they'll ruin your day every time. Cute, said Henry Dobbins. Mind blower, get it? Talk about wiggy. Nothing left, just blood and brains. They made themselves laugh.

And right then I submitted. I would go to the war—I would kill and maybe die—because I was embarrassed not to. That was the sad thing. And so I sat in the bow of the boat and cried. It was loud now. Loud, hard crying.

Garden of Evil. Over here, man, every sin's real fresh and original." (p80 Mitch Sanders in "How to Tell a True War Story")

On the morning after Ted Lavender died, First Lieutenant Jimmy Cross crouched at the bottom of his foxhole and burned Martha's letters. Then he burned the two photographs.

He was just a kid at war, in love. He was twenty-four years old. He couldn't help it.

He enjoyed not being dead. Lying there, Kiowa admired Lieutenant Jimmy Cross's capacity for grief. He wanted to share the man's pain, he wanted to care as Jimmy Cross cared. And yet when he closed his eyes, all he could think was Boom-down, and all he could feel was the pleasure of having his boots off and the fog curling in around him and the damp soil and the Bible smells and the plush comfort of night.

But listen. Even that story is made up. I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth. Here is the happening-truth. I was once a soldier. There were many bodies, real bodies with real faces, but I was young then and I was afraid to look. And now, twenty years later, I'm left with faceless responsibility and faceless grief.

Forty-three years old, and the war occurred half a lifetime ago, and yet the remembering makes it now. And sometimes remembering will lead to a story, which makes it forever. That's what stories are for. Stories are for joining the past to the future. Stories are for those late hours in the night when you can't remember how you got from where you were to where you are. Stories are for eternity, when memory is erased, when there is nothing to remember except the story.

If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil.

If you don't care for obscenity, you don't care for the truth; if you don't care for the truth, watch how you vote. Send guys to war, they come home talking dirty.

War is brutal. Civilians just suffer through it