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Friday, April 24, 2015

English 9 (Creative Nonfiction) Schedule

This schedule is tentative.
It might be updated, 
so check it twice daily.

Mon. 3/23
Revision Due: Profile of Place/Person #2
Student Manuscript Readings
Best American Essay groups meet
Wed. 3/25
Brian Turner Readings (find them on English with McCabe). 
For Turner: review the whole post on English with McCabe, but read the two excerpts from his memoir, My Life as a Foreign Country, the New York Times Book Review, and the article from the Telegraph.
Best American Essay group essays and dates assigned
Mon. 3/30
CN: Pearson (45)
Brian Turner Readings
Tue. 3/31
PCC closed - Cesar Chavez Holiday
Wed. 4/1
Best American Essay group (Art, Victoria, Augusto)
Best: Baxter's "What Happens in Hell" (142)
In-class: Brian Turner Readings
Thurs. 4/2
Borders of Diversity Conference with Brian Turner
Mon. 4/6
CN: Dillard (357)
See Creative Nonfiction's Issue #55, Spring 2015, The Memoir Issue.
Wed. 4/8
Best American Essay group (Eva, Graham, Nick Serki): Sullivan's "Ghost Estates" (236)
Best American Essay group (Jessica, Marissa, Nick Sanchez): Yang's "Field Notes on Hair" (217)
Mon. 4/13
Class Canceled
Due: Memoir Draft (Typed 7-8 pages.) Leave one copy with the English Dept., C245, by Monday April 13th, 5:00PM. Get it time-stamped. Be sure your name and my name is on your draft.

Wed. 4/15

Class visit with Tracy Dolezal Macrum of South Pasadena Review, The Quarterly Magazine &
SouthPasadenaNow.com
Review SouthPasadenaNow.com and copies of The Quarterly distributed earlier in the semester.
Best American Essay group (Mavi, Acacia): Mirsky's "Epilogue" (266). Everyone reads essay.
Bring one copy of your Memoir Draft to class


Mon. 4/20
BRING A COPY OF YOUR MEMOIR TO CLASS
Best American Essay group (Mavi, Acacia): Mirsky's "Epilogue" (266). 
Best American Essay group (Casey, Alex, Andrew): Munro's "Night" (17)

Wed. 4/22
BRING A CLEAN COPY OF YOUR MEMOIR TO CLASS
Best: Daniels (225)
Best: Gilb (254)

Mon. 4/27
Revision Due: Memoir (Typed 7-8 pages)
This is the FINAL REVISION.
I will collect it and grade it.
Student Manuscript Readings

Wed. 4/29
Student Manuscript Readings
Best: Smith (188)

Monday, May 4th, 10:15 AM—12:15 PM
Final Exam Meeting
Inscape Submissions Due today by 9:00 A.M.
It must be perfectly edited, proofread and follow submission guidelines. See Inscape submission guidelines for details.
Send it to me at cjmccabe@pasadena.edu
You must attend class--be there by 10:15 AM--today and verify that I have received your submission. If, however, you fear not being able to attend this meeting, send your work days earlier--Friday, May 1st, by midnight--and await my email reply that I have received it. If you don't get an email response from me, I didn't receive it.
This submission counts towards 10% of your course grade.


Follow-up: Writings about Rape on College Campuses

On Monday, 4/6/15, Alex initiated a discussion and others joined in, raising questions about the Rolling Stone article about the alleged gang rape at the University of Virginia. The New Yorker's George Packer writes about the topic in "Rolling Stone and the Temptations of Narrative Journalism", an April 6, 2015 column. Also, in The New Yorker, April 24, 2015, is Margaret Talbot's "Going to Court in Jon Krakauer’s "Missoula'" about Jon Krakuer's book Missoula, which "remind[s] us of what a brave and risky thing it still is for a woman to report a rape."

Sunday, April 19, 2015

"Trash Food," a brilliant essay by Chris Offutt.

from Oxford American, April 10. 2015

"The term 'white trash" is an epithet of bigotry that equates human worth with garbage. It implies a dismissal of the group as stupid, violent, lazy, and untrustworthy—the same negative descriptors of racial minorities, of anyone outside of the mainstream. At every stage of American history, various groups of people have endured such personal attacks. Language is used as a weapon: divisive, cruel, enciphered. Today is no different. For example, here in Mississippi, the term 'Democrats' is code for 'African Americans.' Throughout the U.S.A., 'family values' is code for 'no homosexuals.' The term 'trash food' is not about food, it’s coded language for social class. It’s about poor people and what they can afford to eat."


Read the whole essay here. Or below: 

Over the years I’ve known many people with nicknames, including Lucky, Big O, Haywire, Turtle Eggs, Hercules, two guys named Hollywood, and three guys called Booger. I’ve had my own nicknames as well. In college people called me “Arf” because of a dog on a t-shirt. Back home a few of my best buddies call me “Shit-for-Brains,” because our teachers thought I was smart.

Three years ago, shortly after moving to Oxford, someone introduced me to John T. Edge. He goes by his first name and middle initial, but I understood it as a nickname—Jaunty. The word “jaunty” means lively and cheerful, someone always merry and bright. The name seemed to suit him perfectly. Each time I called him Jaunty he gave me a quick sharp look of suspicion. He wondered if I was making fun of his name—and of him. The matter was resolved when I suggested he call me “Chrissie O.”

Last spring John T. asked me to join him at an Oxford restaurant. My wife dropped me off and drove to a nearby secondhand store. Our plan was for me to meet her later and find a couple of cheap lamps. During lunch John T. asked me to give a presentation at the Southern Foodways Alliance symposium over which he presided every fall.

I reminded him that I lacked the necessary qualifications. At the time I’d only published a few humorous essays that dealt with food. Other writers were more knowledgeable and wrote with a historical context, from a scholarly perspective. All I did was write personal essays inspired by old community cookbooks I found in secondhand stores. Strictly speaking, my food writing wasn’t technically about food.

John T. said that didn’t matter. He wanted me to explore “trash food,” because, as he put it, “you write about class.”

I sat without speaking, my food getting cold on my plate. Three thoughts ran through my mind fast as flipping an egg. First, I couldn’t see the connection between social class and garbage. Second, I didn’t like having my thirty-year career reduced to a single subject matter. Third, I’d never heard of anything called “trash food.”

I write about my friends, my family, and my experiences, but never with a socio-political agenda such as class. My goal was always art first, combined with an attempt at rigorous self-examination. Facing John T., I found myself in a professional and social pickle, not unusual for a country boy who’s clawed his way out of the hills of eastern Kentucky, one of the steepest social climbs in America. I’ve never mastered the high-born art of concealing my emotions. My feelings are always readily apparent.

Recognizing my turmoil, John T. asked if I was pissed off. I nodded and he apologized immediately. I told him I was overly sensitive to matters of social class. I explained that people from the hills of Appalachia have always had to fight to prove they were smart, diligent, and trustworthy. It’s the same for people who grew up in the Mississippi Delta, the barrios of Los Angeles and Texas, or the black neighborhoods in New York, Chicago, and Memphis. His request reminded me that due to social class I’d been refused dates, bank loans, and even jobs. I’ve been called hillbilly, stumpjumper, cracker, weedsucker, redneck, and white trash—mean-spirited terms designed to hurt me and make me feel bad about myself.

As a young man, I used to laugh awkwardly at remarks about sex with my sister or the perceived novelty of my wearing shoes. As I got older I quit laughing. When strangers thought I was stupid because of where I grew up, I understood that they were granting me the high ground. I learned to patiently wait in ambush for the chance to utterly demolish them intellectually. Later I realized that this particular battle strategy was a waste of energy. It was easier to simply stop talking to that person—forever.

But I didn’t want to do that with a guy whose name sounds like “jaunty.” A guy who’d inadvertently triggered an old emotional response. A guy who liked my work well enough to pay me for it.

By this time our lunch had a tension to it that draped over us both like a lead vest for an X-ray. We just looked at each other, neither of us knowing what to do. John T. suggested I think about it, then graciously offered me a lift to meet my wife. But a funny thing had happened. Our conversation had left me inexplicably ashamed of shopping at a thrift store. I wanted to walk to hide my destination, but refusing a ride might make John T. think I was angry with him. I wasn’t. I was upset. But not with him.

My solution was a verbal compromise, a term politicians use to mean a blatant lie. I told him to drop me at a restaurant where I was meeting my wife for cocktails. He did so and I waited until his red Italian sports car sped away. As soon as he was out of sight I walked to the junk store. I sat out front like a man with not a care in the world, ensconced in a battered patio chair staring at clouds above the parking lot. When I was a kid my mother bought baked goods at the day-old bread store and hoped no one would see her car. Now I was embarrassed for shopping secondhand.

My behavior was class-based twice over: buying used goods to save a buck and feeling ashamed of it. I’d behaved in strict accordance with my social station, then evaluated myself in a negative fashion. Even my anger was classic self-oppression, a learned behavior of lower-class people. I was transforming outward shame into inner fury. Without a clear target, I aimed that rage at myself.

My thoughts and feelings were completely irrational. I knew they made no sense. Most of what I owned had belonged to someone else—cars, clothes, shoes, furniture, dishware, cookbooks. I liked old and battered things. They reminded me of myself, still capable and functioning despite the wear and tear. I enjoyed the idea that my belongings had a previous history before coming my way. It was very satisfying to repair a broken lamp made of popsicle sticks and transform it to a lovely source of illumination. A writer’s livelihood is weak at best, and I’d become adept at operating in a secondhand economy. I was comfortable with it.

Still, I sat in that chair getting madder and madder. After careful examination I concluded that the core of my anger was fear—in this case fear that John T. would judge me for shopping secondhand. I knew it was absurd since he is not judgmental in the least. Anyone can see that he’s an open-hearted guy willing to embrace anything and everyone—even me.

Nevertheless I’d felt compelled to mislead him based on class stigma. I was ashamed—of my fifteen-year-old Mazda, my income, and my rented home. I felt ashamed of the very clothes I was wearing, the shoes on my feet. Abruptly, with the force of being struck in the face, I understood it wasn’t his judgment I feared. It was my own. I’d judged myself and found failure. I wanted a car like his. I wanted to dress like him and have a house like his. I wanted to be in a position to offer other people jobs.

The flip side of shame is pride. All I had was the pride of refusal. I could say no to his offer. I did not have to write about trash food and class. No, I decided, no, no, no. Later, it occurred to me that my reluctance was evidence that maybe I should say yes. I resolved to do some research before refusing his offer.

John T. had been a little shaky on the label of “trash food,” mentioning mullet and possum as examples. At one time this list included crawfish because Cajun people ate it, and catfish because it was favored by African Americans and poor Southern whites. As these cuisines gained popularity, the food itself became culturally upgraded. Crawfish and catfish stopped being “trash food” when the people eating it in restaurants were the same ones who felt superior to the lower classes. Elite white diners had to redefine the food to justify eating it. Otherwise they were voluntarily lowering their own social status—something nobody wants to do.

It should be noted that carp and gar still remain reputationally compromised. In other words—poor folks eat it and rich folks don’t. I predict that one day wealthy white people will pay thirty-five dollars for a tiny portion of carp with a rich sauce—and congratulate themselves for doing so.

I ran a multitude of various searches on library databases and the Internet in general, typing in permutations of the words “trash” and “food.” Surprisingly, every single reference was to “white trash food.” Within certain communities, it’s become popular to host “white trash parties” where people are urged to bring Cheetos, pork rinds, Vienna sausages, Jell-O with marshmallows, fried baloney, corndogs, RC cola, Slim Jims, Fritos, Twinkies, and cottage cheese with jelly. In short—the food I ate as a kid in the hills.

Participating in such a feast is considered proof of being very cool and very hip. But it’s not. Implicit in the menu is a vicious ridicule of the people who eat such food on a regular basis. People who attend these “white trash parties” are cuisinally slumming, temporarily visiting a place they never want to live. They are the worst sort of tourists—they want to see the Mississippi Delta and the hills of Appalachia but are afraid to get off the bus.

The term “white trash” is an epithet of bigotry that equates human worth with garbage. It implies a dismissal of the group as stupid, violent, lazy, and untrustworthy—the same negative descriptors of racial minorities, of anyone outside of the mainstream. At every stage of American history, various groups of people have endured such personal attacks. Language is used as a weapon: divisive, cruel, enciphered. Today is no different. For example, here in Mississippi, the term “Democrats” is code for “African Americans.” Throughout the U.S.A., “family values” is code for “no homosexuals.” The term “trash food” is not about food, it’s coded language for social class. It’s about poor people and what they can afford to eat.

In America, class lines run parallel to racial lines. At the very bottom are people of color. The Caucasian equivalent is me—an Appalachian. As a male Caucasian in America, I am supposed to have an inherent advantage in every possible way. It’s true. I can pass more easily in society. I have better access to education, health care, and employment. But if I insist on behaving like a poor white person—shopping at secondhand shops and eating mullet—I not only earn the epithet of “trash,” I somehow deserve it.

The term “white trash” is class disparagement due to economics. Polite society regards me as stupid, lazy, ignorant, violent and untrustworthy.

I am trash because of where I’m from.

I am trash because of where I shop.

I am trash because of what I eat.

But human beings are not trash. We are the civilizing force on the planet. We produce great art, great music, great food, and great technology. It’s not the opposable thumb that separates us from the beasts, it’s our facility with language. We are able to communicate with great precision. Nevertheless, history is fraught with the persistence of treating fellow humans as garbage, which means collection and transport for destruction. The most efficient management of humans as trash occurred when the Third Reich systematically murdered people by the millions. People they didn’t like. People they were afraid of. Jews, Romanis, Catholics, gays and lesbians, Jehovah’s Witnesses, and the disabled.

In World War II, my father-in-law was captured by the Nazis and placed on a train car so crammed with people that everyone had to stand for days. Arthur hadn’t eaten in a week. He was close to starvation. A Romani man gave him half a turnip, which saved his life. That Romani man later died. Arthur survived the war. He had been raised to look down on Romani people as stupid, lazy, violent, and untrustworthy—the ubiquitous language of class discrimination. He subsequently revised his view of Romanis. For Arthur, the stakes of starvation were high enough that he changed his view of a group of people. But the wealthy elite in this country are not starving. When they changed their eating habits, they didn’t change their view of people. They just upgraded crawfish and catfish.

Economic status dictates class and diet. We arrange food in a hierarchy based on who originally ate it until we reach mullet, gar, possum, and squirrel—the diet of the poor. The food is called trash, and then the people are.

When the white elite take an interest in the food poor people eat, the price goes up. The result is a cost that prohibits poor families from eating the very food they’ve been condemned for eating. It happened with salmon and tuna years ago. When I was a kid and money was tight, my mother mixed a can of tuna with pasta and vegetables. Our family of six ate it for two days. Gone are the days of subsisting on cheap fish patties at the end of the month. The status of the food rose but not the people. They just had less to eat.

What is trash food? I say all food is trash without human intervention. Cattle, sheep, hogs, and chickens would die unless slaughtered for the table. If humans didn’t harvest vegetables, they would rot in the field. Food is a disposable commodity until we accumulate the raw material, blend ingredients, and apply heat, cold, and pressure. Then our bodies extract nutrients and convert it into waste, which must be disposed of. The act of eating produces trash.

In the hills of Kentucky we all looked alike—scruffy white people with squinty eyes and cowlicks. We shared the same economic class, the same religion, the same values and loyalties. Even our enemy was mutual: people who lived in town. Appalachians are suspicious of their neighbors, distrustful of strangers, and uncertain about third cousins. It’s a culture that operates under a very simple principle: you leave me alone, and I’ll leave you alone. After moving away from the hills I developed a different way of interacting with people. I still get cantankerous and defensive—ask John T.— but I’m better with human relations than I used to be. I’ve learned to observe and listen.

As an adult I have lived and worked in eleven different states—New York, Massachusetts, Florida, New Mexico, Montana, California, Tennessee, Georgia, Iowa, Arizona, and now Mississippi. These circumstances often placed me in contact with African Americans as neighbors, members of the same labor crew, working in restaurants, and now university colleagues. The first interaction between a black man and a white man is one of mutual evaluation: does the other guy hate my guts? The white guy—me—is worried that after generations of repression and mistreatment, will this black guy take his anger out on me because I’m white? And the black guy is wondering if I am one more racist asshole he can’t turn his back on. This period of reconnaissance typically doesn’t last long because both parties know the covert codes the other uses—the avoidance of touch, the averted eyes, a posture of hostility. Once each man is satisfied that the other guy is all right, connections begin to occur. Those connections are always based on class. And class translates to food.

Last year my mother and I were in the hardware store buying parts to fix a toilet. The first thing we learned was that the apparatus inside commodes has gotten pretty fancy over the years. Like breakfast cereal, there were dozens of types to choose from. Toilet parts were made of plastic, copper, and cheap metal. Some were silent and some saved water and some looked as if they came from an alien spacecraft.

A store clerk, an African-American man in his sixties, offered to help us. I told him I was overwhelmed, that plumbing had gotten too complicated. I tried to make a joke by saying it was a lot simpler when everyone used an outhouse. He gave me a quick sharp look of suspicion. I recognized his expression. It’s the same one John T. gave me when I mispronounced his name, the same look I gave John T. when he mentioned “trash food” and social class. The same one I unleashed on people who called me a hillbilly or a redneck.

I understood the clerk’s concern. He wondered if I was making a veiled comment about race, economics, and the lack of plumbing. I told him that back in Kentucky when the hole filled up with waste, we dug a new hole and moved the outhouse to it. Then we’d plant a fruit tree where the old outhouse had been.

“Man,” I said, “that tree would bear. Big old peaches.”

He looked at me differently then, a serious expression. His earlier suspicion was gone.

“You know some things,” he said. “Yes you do.”

“I know one thing,” I said. “When I was a kid I wouldn’t eat those peaches.”

The two of us began laughing at the same time. We stood there and laughed until the mirth trailed away, reignited, and brought forth another bout of laughter. Eventually we wound down to a final chuckle. We stood in the aisle and studied the toilet repair kits on the pegboard wall. They were like books in a foreign language.

“Well,” I said to him. “What do you think?”

“What do I think?” he said.

I nodded.

“I think I won’t eat those peaches.”

We started laughing again, this time longer, slapping each other’s arms. Pretty soon one of us just had to mutter “peaches” to start all over again. Race was no more important to us than plumbing parts or shopping at a secondhand store. We were two Southern men laughing together in an easy way, linked by class and food.

On the surface, John T. and I should have been able to laugh in a similar way last spring. We have more in common than the store clerk and I do. John T. and I share race, status, and regional origin. We are close to the same age. We are sons of the South. We’re both writers, married with families. John T. and I have cooked for each other, gotten drunk together, and told each other stories. We live in the same town, have the same friends.

But none of that mattered in the face of social class, an invisible and permanent division. It’s the boundary John T. had the courage to ask me to write about. The boundary that made me lie about the secondhand store last spring. The boundary that still fills me with shame and anger. A boundary that only food can cross.

Chris Offutt grew up in Haldeman, Kentucky. He is the author of Kentucky Straight, Out of the Woods, The Same River Twice, No Heroes,  and The Good Brother. He has written screenplays for True Blood, Weeds, and Treme,  and TV pilots for Fox, Lionsgate, and CBS. He lives in Oxford, Mississippi. 

Wednesday, April 1, 2015

GUSTAVO DUDAMEL: The One, True Dude!



Some readers of English with McCabe, especially some new fans of Gustavo Dudamel from English 1A--and I know there are some old friends of The Dude himself, out there, too--who might want to know more about him and even see him live, on the podium. 

The Los Angeles Philharmonic has put together a page (or is it pages?) on Dudamel. The overwhelming Dudamel website can be found here..  Hunt around on the site, get information about concerts, Dudamel's recording history, video interviews with him, and music, music, music. He does conduct concerts during the summer at the Hollywood Bowl  and, of course, he conducts the Los Angeles Philharmonic at Disney Hall, which was designed by architect Frank Gehry.  It is not uncommon for additional tickets to be released the day of that night's concert, even for performances previously announced as "sold out."

Tickets go fast for his performances, but with some planning and persistence you can get in without having to pay ransom prices to a scalper.

KAIRO ORTEZ POSTED THAT STUDENT TICKETS FOR DISNEY HALL ARE AVAILABLE FOR PERFORMANCES.  SEE THE COMMENTS SECTION.  THANKS, KAIRO!

On Sunday May 16th, 2010 Dudamel was profiled once more on 60 Minutes. See this other 60 Minutes page about him too. The program follows his first year as the music director of the L.A. Philharmonic and work with Los Angeles youth orchestras.

Guess whose in the news, again?  Do I need to tell you?  Didn't think so. Search "Gustavo Dudamel" on Google. You'll find plenty. Read about LA Phil Live and how Dudamel and the  Los Angeles Philharmonic perform concerts that are HD broadcast in movie theaters.


Saturday, March 28, 2015

Alec and Adelaide Hixon Teacher Preparation Scholarships


Are you interested in teaching? Need some money to help you along? The Hixon Teacher Preparation Scholarships might be something to consider. David McCabe, (we're colleagues, not related) is the coordinator of the Teacher Preparation Program at PCC and he has some great news. There is scholarship money available to help future teachers support their dream. If you wish to learn more, go to this site. You can also check with me.

Alec and Adelaide Hixon Teacher Preparation Scholarships

Writer & Veteran BRIAN TURNER & PCC Borders of Diversity Conference, April 2, 2015 (Thurs.)


UPDATE March 28th: Program Schedule
from my colleague Prof. Kuroki,
coordinator of the day's events

2015 Borders of Diversity Conference
Crossing Boundaries:  Finding Home
Creveling Lounge.
 at west end of quad, next to L Bldg.

On Thursday, April 2, 2015, the Cross-Cultural Center, College Diversity Initiative, and the English Department will be hosting the 2015 Borders of Diversity Conference in Creveling Lounge.  This year’s theme is “Crossing Boundaries:  Finding Home.”

We hope that you will find the time to attend one of the panels to hear our very own students share their scholarship with the larger PCC community.  Brian Turner - a writer, poet, and veteran - will also be reading from his memoir and talking about his writing.  If you are an instructor, we encourage you to bring your students!  

10-11:30 
Being: at Home (Student Panel)

11:30-12:45 PM
          Unifying a Diverse Landscape:  A Mixed Media Presentation (Student Group Presentations)

1-3 PM
  Keynote Speaker, Brian Turner

3:15-4:45 PM
American (In)tolerance

5-6:30 PM
     Identity, Agency, and Individuality:
A Cultural Bouillabaisse

Books will be available for sale and signing after Mr. Turner’s talk.  Refreshments will also be served.  All events are free and open to the public (bring a friend!).




BRIAN TURNER
  Veteran, Poet, and Essayist
PCC Borders of Diversity Student Conference
 keynote speaker
He will read his work and sign his books
Creveling Lounge
 at west end of quad, next to L Bldg.


Thurs., Apr. 2, 2015
 from 1:00-3:00 PM


The Poetry Foundation reports that "Turner earned an MFA from the University of Oregon and lived abroad in South Korea for a year before serving for seven years in the U.S. Army. He was deployed to Bosnia-Herzegovina in 1999-2000 with the 10th Mountain Division. Then in November 2003 he was an infantry team leader for a year in Iraq with the 3rd Stryker Brigade Combat Team, 2nd Infantry Division."  

Turner has published two collections of poetry and a memoir, My Life as a Foreign Country, about his experience in the United States Army. He is the director of the MFA program at Sierra Nevada College, in Incline Village, Nevada. 

***
Read his poem
"Here, Bullet" 
at his website
www.brianturner.org


Watch and listen to Turner read "Here Bullet"


Turner reads his poetry on NPR

***
Other sites re: Brian Turner

***

Turner reads his poem "The Hurt Locker"


Turner's "The Hurt Locker" poem is not connected to Bigelow's The Hurt Locker film. Read this blog at The Washington Post for clarification.

***


***
"In his memoir My Life as a Foreign Country, Army sergeant and award-winning poet Brian Turner retraces his war experience, combining recollection with the imagination’s efforts to make reality comprehensible to paint a devastating portrait of what it means to be a soldier and a human being. What follows [are two excerpts] from his book." -- source: https://medium.com/@wwnorton/the-soldiers-enter-the-house-ad973237dd54:

+The first excerpt from Turner's memoir follows. You can read it below or at Newsmax.


“Here’s the situation,” Sergeant First Class Fredrickson said, gesturing to the tiny plastic red and blue flags driven into the ground on thin metal poles. There must have been thirty or forty of them arrayed in the grass around us, in no discernible pattern. It was September 2003, and, like some of the others gathered around SFC Fredrickson on that clipped green field outside our classroom, I’d been scanning the scene to gauge what the flags might represent. On the big-screen television in the company dayroom, the war waited for us. Fighters who shot at American soldiers in Baghdad and Samarra and Tikrit were perfecting their trigger squeeze for us.

“We are surrounded by the dead. And by parts of the dead,” Fredrickson said, emphasizing the word parts. “Your unit has come upon the scene of a possible ambush. Everybody’s dead. This is not a mass casualty exercise. So. What’s the first thing we should do?"

One of the students in the back said, “We better start scrounging up a shitload of body bags."

Fredrickson smiled.

“No. Like everything else, the first thing you do, the *first thing: set up security. Create a perimeter, and then you can get to work.” He went on to explain that a certain number of soldiers would be needed to deal with the task at hand, especially if time was of the essence, as it always was in these situations. “You’ll want to photograph the scene from several angles, if you have a digital camera and if you have the time. That’s why the flags are here. You have to place one flag at the spot of each body, or body part, that you find. If you don’t have a camera, do a field sketch.” We practice drawing hasty field sketches in our pocket notebooks, creating small legends in the margins, crossed lines with tiny arrowheads: a rough guide to the cardinal directions.

He tells us to use a certain Department of Defense form to label and keep track of the dead sealed up in their body bags. “And remember, this is very important: never place two separated parts into the same bag.” He pauses. “I’ll give you an example.” He points to the nearest soldier and tells him to lie down and act like he’s dead.

Sgt. Gordon kneels on the damp grass and then lies down prostrate, with his right arm stretched out from his side, as if pointing to something beyond us. His mouth is open and at first he stares blankly at the few clouds above. Then, he closes his eyes and assumes the role of the dead.

A few of us joke about Gordon and his ability to sham, to loaf, no matter the circumstances as Fredrickson steps closer to the body. “Imagine that this arm,” he says, gesturing toward Gordon’s outstretched limb, “has been blown off, here at the armpit. And there’s no other body nearby, and you can plainly see that it’s the same uniform and everything. Still, you have to put his body in one bag and give it a number and then you have to put this arm in another bag with a different number.” He looks across our faces. “Don’t assume anything. They’ll figure it out back home. They’ll test for DNA and all that jazz.” A pause, and then he continues: “Let me tell you something—you don’t want to be the one who makes some poor family bury their soldier with somebody else’s body part. Roger that?” As he carries on explaining the work at hand, my eyes wander over the grassy field and the bright flags stationed in the earth around us. It’s a rare day of sun in Fort Lewis, Washington State, and the early morning light illuminates the translucent nature of the grass in its subtle gesture toward infinity. The dead assume their positions. Some of them lie on their sides, others rest on their backs, their faces lifted toward the sky. Each with a numbered flag beside him. Some turn their heads slowly toward me, their eyes crossed over into the landscape of clouds as they call out with hoarse voices, quietly, asking for a drink of water. A small sip, they say. Just a sip of water.

The 1st Platoon of Blackhorse Company sits on the tile floor of the weight room cleaning weapons with CLP and bore snakes and dental tools after running lanes in the woods and conducting live-fire exercises. The men are dirty and exhausted. They laugh and shout out their orders as bags of burritos are delivered from the twenty-four-hour Taco Bell off post. I’m in the adjacent room with my squad leader, Staff Sergeant Bruzik, and Sergeant Zapata, my fellow team leader. We watch more of the war on television. Several Marines rush under fire to a bridge in Nasiriyah, Iraq.

They crawl on the concrete and asphalt of the roadway as the invisible trails of bullets zip past them from the far shore of the river. They return fire, shooting at what I’ve been trained to think of as known and suspected enemy targets. The Marines rush the bridge over and over as the newscast replays the scene.

The television is on mute. I don’t know what Bruzik and Zapata are thinking, but I’m looking at the far shore and trying to make out the muzzle flashes. Those on the other side of the river are honing the same fundamentals of marksman-ship we’ve studied at the rifle ranges of Fort Lewis. It isn’t something I mention to Bruzik and Zapata. I feel remote, somewhat cold, my mind working out the possible trajectories that might bring me home. I’m Sgt. Turner and I’m a team leader preparing to deploy to combat. But there’s something echoing through the branches and channels of my central nervous system.

On the other side of that river, Iraqis continue to crouch along walls and lie on rooftops in the prone. Even when I fall asleep tonight, they’ll continue to fire their weapons. The news anchor will narrate the action. On replay. Figures in the distance. Soldiers running toward the bridge. The sight picture placed over them as I dream and sleep in the state of Washington. The Iraqi men, again and again, pulling the trigger. Once the plane comes to a stop in the dry waves of heat and the orange night air of Kuwait, we’re bused north to one of the many camps along the border with Iraq. The military supply system begins delivering a staggering amount of new equipment to my unit. We shuffle through three different sight systems for our carbines until settling on a sight we’re told Special Forces use, too. Among other things, I am given a coil of metal with an eyepiece at one end and a tiny optical instrument at the other—for snaking under a door and peering into a room. Journalists report of units lacking the proper gear, like body armor for flak vests and slat armor for Humvees or five-ton trucks; we are given so much new and expensive equipment that our unit has to stow much of it away in metal connexes, the large cargo boxes used by the military to ship much of its inventory. I am in the first Stryker brigade to deploy to combat and the path of a number of careers depends upon how lethal and how durable this unit will be during its time in country—maybe that’s why we’re getting special attention. Our Strykers weigh nine-teen tons and are fitted with wheels rather than the tracks of traditional armored personnel carriers; soon local Iraqis will refer to us as “the ghosts” because of the speed and silence of our approach. When we learn about this, our platoon sergeant, SFC Daigle, changes our platoon nickname from “The Bonecrushers” to “The Ghostriders.” My new call sign: Ghost1–3 Alpha.

SSG Kaha, who will later go AWOL, packs away some of this equipment when I pass him on my way to the showers. He’s been fired from his job as squad leader due to perceived incompetence. I nod as he continues to sing “Rain-drops Keep Falling on My Head.” Long after dusk has shifted to stars, I lie back on my bunk and think about the divorce paperwork signed a few months earlier, the few addresses where I might mail a letter if I were to write one, and it occurs to me that if I were to die in the country north of our camp during the year ahead, my death wouldn’t irreparably alter the life of another. My address is now my Name, Rank, Unit, and the last four digits of my Social Security number are stenciled in black spray paint onto the duffel bag containing my worldly goods. It doesn’t seem possible that in the years to come, in the years after the war, I’ll get married and move across country and start my life over. Why should it seem plausible? No one stood at the unit staging area in Fort Lewis to wish me goodbye and, however I make it home, in a body bag, on a gurney, or stepping off onto the tarmac with my duffel in the belly of the plane, no one will be there to welcome me home. I step outside the tent to get a breath of air and quiet. A slight breeze lifts fine grains of sand from the landscape of the desert as if a white gossamer veil were slowly being drawn over the surface of the earth. There is a distinct sense of the past and the future being erased at the horizon’s edge. The circumference of the world retracts itself until it comes to a rest beneath the nightfall of stars within my field of vision.

Later tonight, I will read a book, a translation of Meditations by Marcus Aurelius. I will think about the idea of home, what the country before me might have in store, and know that I have become, as Aurelius had quoted centuries before, one of the many “leaves that the wind drives earthward.”



+The second excerpt from Turner's memoir  follows. It is known as "The Soldiers Enter the House" You can read it below or at medium.com.


The soldiers enter the house, the soldiers enter the house.

Soldiers, determined and bored and searing with adrenaline, enter the house with shouting and curses and muzzle flash, det cord and 5.56mm ball ammunition. The soldiers enter the house with pixelated camouflage, flex-cuffs, chem lights, door markings, duct tape. The soldiers enter the house with ghillie suits and Remington sniper rifles, phoenix beacons and night-vision goggles, lasers invisible to the naked eye, rotorblades, Hellfire missiles, bandoliers strapped across their chests. The soldiers enter the house one fire team after another, and they fight brutal, dirty, nasty, the only way to fight. The soldiers enter the house with the flag of their nation sewn onto the sleeves of their uniforms. They enter the house with Toledo and Baton Rouge imprinted on the rubber soles of their desert combat boots. They enter the house and shout ‘Honey, I’m home!’ and ‘Heeeeeeere’s Johnny!’ The soldiers enter the house with conversations of Monday Night Football and the bouncing tits of the Dallas Cowboys’ cheerleaders. The soldiers enter the house with cunt and cooch, cock wallet and butcher’s bin on their tongues. The soldiers enter the house with paperbacks in their cargo pockets, Starship Troopers and Black Hawk Down, We Were Soldiers Once and Young. The soldiers enter the house Straight Outta Compton or with Eminem saying, ‘Look, if you had one shot, or one opportunity’. They enter the house with their left foot, they enter the house the way one enters cemeteries or unclean places. The soldiers enter the house with their insurance policies filled out, signed, beneficiaries named, last will and testaments sealed in manila envelopes half a world away. The soldiers enter the house having just ordered a new set of chrome mufflers on eBay for the Mustang stored under blankets in a garage north of San Francisco. The soldiers enter the house with only nine credits earned toward an associate’s degree in history from the University of Maryland. They kick in the door and enter the house with the memory of backyard barbecues on their minds. They kick in the door while cradling their little sisters in their arms. They kick in the door and pull in the toboggans and canoes from the hillsides and lakes of Minnesota. They kick in the door and bring in the horses from the barn, hitching them to the kitchen table inside. The soldiers enter the house with Mrs Ingram from the 2nd grade at Vinland Elementary School. The soldiers enter the house with Mrs Garoupa from Senior English at Madera High. The soldiers kick in the door and enter the house with their arms filled with all the homework they ever did. They enter the house and sit down to consider the quadratic equation, the Socratic Method. The soldiers enter the house to sit cross-legged on the floor as the family inside watches on, watches how the soldiers interrogate them, saying, How do I say the word for ‘friend’ in Arabic? How do I say the word ‘love’? How do I tell you that Pvt Miller is dead, that Pvt Miller has holes in the top of his head? And what is the word for ghosts in Arabic? And how many live here? And are the ghosts Baath Party supporters? Are the ghosts in favor of the coalition forces? Are the ghosts here with us now? Can you tell us where the ghosts are hiding? And where the ghosts keep their weapons cache and where they sleep at night? And what can you tell us about Ali Baba? Is Ali Baba in the neighborhood? The soldiers enter the house and take off their dusty combat boots and pull out an anthology of poetry from an assault pack, Iraqi Poetry Today, and commence reading poems aloud. The soldiers say, ‘This is war then: All is well.’ They say, ‘The missiles bomb the cities, and the airplanes bid the clouds farewell.’ The soldiers remove their flak vests and turn off their radios. The soldiers smile and stretch their arms, one of them yawning, another asking for a second cup of chai. The soldiers give chocolates to the frightened little children in the shadows of the house. The soldiers give chocolates to the frightened little children and teach them how to say fuck you and how to flip off the world. The soldiers recite poetry as trays of chai and tea and cigarettes are brought into the room. The soldiers, there in the candlelight of the front room, with the Iraqi men of military age zip-tied with flex-cuffs, kneeling, sandbags over their heads, read verses from Iraqi Poetry Today. The soldiers switch off their night-vision goggles and set their padded helmets on the floor while the frightened little children pretend to eat the chocolate they’ve been given, their mothers shushing them when they begin to cry. And the soldiers, men from Kansas and California, Tacoma and College Station — these soldiers remove the black gloves from their hands to show the frightened little children how they mean no harm, how American the soldiers are, how they might bring in a pitcher of water for the bound and blinded men to drink from soon, perhaps, if there’s time, and how they read poetry for them, their own poetry, in English, saying, ‘Between time and time, between blood and blood. All is well.’ All is well, the soldiers say. The soldiers kick in the doors and enter the house and zip-tie the men of military age and shush the women and the frightened little children and drink the spooned sugar stirred into the hot chai and remove their stinking boots and take off their flak vests and stack their weapons and turn off their night-vision goggles and say to the frightened little children, softly, with their palms held out in the most tender of gestures they can offer, their eyes as brown as the hills that lead to the mountains, or as blue as the rivers that lead to the sea — ‘All is well, little ones, all is well.’


These excerpts, above, are from MY LIFE AS A FOREIGN COUNTRY: A MEMOIR by Brian Turner. Copyright (C) 2014 by Brian Turner. First American Edition 2014. With permission of the publisher, W. W. Norton & Company, Inc. All rights reserved.


from The Telegraph, June 22, 2014
My Life as a Foreign Country by Brian Turner, review: 'war made into a poem': A soldier with the soul of a poet has written a remarkable Iraq memoir
by Joanna Burke


When American sergeant Brian Turner was deployed to Iraq in 2003,
he took with him an anthology of Iraqi poetry Photo: Tom Bosch

You can read the following review here or click on this.

In 2003, an earnest American army sergeant called Brian Turner was deployed to fight in Iraq. Unusually, he stuffed an anthology of Iraqi poems into his rucksack. One of the poems was titled “Every Morning the War Gets Up from Sleep” by Fadhil al-Azzawi, a highly acclaimed Iraqi poet and novelist.

In the early hours of the morning, Turner recalls how he and his fellow soldiers would kick in the doors of suspected Iraqi insurgents; they would force the men to kneel; they would zip-tie them with flexi-cuffs and pull sandbags over their heads; they would offer chocolates to the terrified children. They would then turn off their night-vision goggles and read al-Azzawi’s poem:

Every morning the war gets up from sleep.

So I place it in a poem, make the poem into a boat,
 which I throw into the Tigris.

This is war, then.

This extraordinary image of heavily armed soldiers reciting the exquisitely sensitive poetry of an Arab intellectual appears about a third of the way through Turner’s memoir of military service in Iraq, My Life as a Foreign Country. Turner doesn’t mention al-Azzawi by name, but he does cite parts of his poem.

In an interview al-Azzawi gave last year, he recalled that his mother had not been impressed when he confessed that his ambition in life was to become a writer. “What is the real job of the Arab poets?” she scoffed. Surely it was “nothing but selling their praise poems full of lies, to this sheikh or that governor, to this vizier or that king”. The young al-Azzawi solemnly replied: “I promise you, I will not be like these people.”


That is the reason a soldier like Turner reads his poems. Like al-Azzawi, Turner also refuses to write “praise poems full of lies”. His memoir is an uncompromising story of violence and beauty, searing trauma and a dreamlike circulation between the past and the present. There is no future.


In many ways, Turner was destined for combat. His great-grandfather was gassed in the Argonne in 1918, his grandfather served as a marine in Bougainville, Guam and Iwo Jima, and his uncle could evoke the pungent odours of Vietnam. He is steeped in war films; at the age of 14, he learnt how to make napalm.


Even as a 12-year-old child, he recognised how easy it was to confuse sickening cruelty and heroic fantasy. He recalls his grandfather telling him a story about patrolling the jungles of Bougainville during the Second World War. Unexpectedly coming upon a Japanese soldier, his grandfather slashed his enemy with his machete, stumbled on some roots, and then dealt a second deathblow.


The young Turner fantasized about a different option: the two men could simply have paused “in the shock of the moment before slowly stepping back” from violence. But that wasn’t what happened. The young Turner reverentially cradled the machete memento that his grandfather handed him, and observed it as a boy would a sacred object.


This memoir is full of such stories. They are told simply, with a poet’s sensitivity for language and a soldier’s abhorrence of sentimentality. His comrades masturbate in the showers, “lovers transported by their own touch”, and discuss sex with passionate vulgarity. Turner explores dream-worlds with a startling vividness. The spirits of the dead haunt him; they perch like owls atop graves, crying out “water, water”. The bodies of the dead accompany him. Their caskets are lined up in the back of the plane that takes him home. He keeps them company. He is a man; he is afraid.


He is also a poet. One day, he sees a sign taped to the doors of the army chow-hall: it reads “Wednesday Nite/Open Mic/Poetry Nite!” He recoils from this invitation to share his writings because reading and writing poetry helps to “forge an internal space within me, a space that didn’t belong to the army”. Perhaps, though, the real reason is that he “just didn’t want to show how vulnerable and sensitive and afraid I was, how deeply the word 'beauty’ intertwines with the word 'love’ and 'loss’.” Like al-Azzawi, he struggles to make war into a poem that he could then “throw into the Tigris”. This marvelous memoir is his poetic message, floating gently towards us.