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Responsibility and accountability is a big part of being in the military.
Phil Klay
There's a tradition of public service in my family. I'm one of three boys that joined the military. My father was in the Peace Corps.
The First Battle of Fallujah was called off in part because of the intensity of non-U.S. media coverage of civilian casualties from outlets like Al Jazeera.
I've been asked what differentiates war literature as a category, and I don't think there is anything.
Supposedly, going to war initiates you into this gnostic priesthood of people who've had a liminal experience forever separating them from civilians. Except... you go there, and it is what it is. A form of human activity as varied as any other.
In the Marine Corps, you meet this really broad segment of the country; you're working with people from all kinds of backgrounds. And it exposes you to the American military, particularly the American military at war.
War is an arena for the display of courage and virtue. Or war is politics by other means. War is a quasi-mystical experience where you get in touch with the real. There are millions of narratives we impose to try to make sense of war.
People should be able to tell stories that are important to them to try and understand what they mean. I don't think you figure anything out on your own. Certainly not war stories.
I have friends with post-traumatic stress - friends with post-traumatic stress who are, you know, highly successful, capable people.
People have a very political way of looking at war, and that's understandable.
It's not a problem to be surrounded by other writers if that's the craft that you're doing. I suppose if you get obsessed with the notion of being a writer more than the writing itself, that would be bad. But I live near really smart, thoughtful people who take writing very seriously, and I can meet them for breakfast and talk books.
We're told that when we remember, the same parts of our brain light up as when we experienced the event we're remembering. Your brain lives through it again.
I think that just because you've been through an experience doesn't make you the ultimate arbiter of what it means. We figure things out; we work things out through the help of other people who can engage with us but also be intelligently critical.
Though I continue to tell stories about Iraq, I sometimes fear this makes me a fraud. I feel guilty about the sorrow I feel because I know it is manufactured, and I feel guilty about the sorrow I do not feel because it is owed, it is the barest beginnings of what is owed to the fallen.
At least for me, writing a book is continual exposure to blind spots. There were things I wanted to be true and wanted to believe, but it always got more complicated in the fiction.
The wars in Iraq and Afghanistan are as much every U.S. citizen's wars as they are the veterans' wars. If we don't assume that civilians have just as much ownership and the moral responsibilities that we have as a nation when we embark on something like that, then we're in a very bad situation.
I'm not anti-war. I served in a war, and I served proudly. But just or not, necessary or not, war is the industrial-scale slaughter of other humans.
We have a tendency to think of war as this quasi-mystical thing, and that interpretation flattens the experience - by using different perspectives, I wanted to open a place for readers to compare and contrast, to make judgments, to engage.
I doubt there's anything you could say to Donald Rumsfeld that would puncture the armor of his narcissism.
I like the ethos of the military and the idea of joining an institution in which, at the very least, everyone who signs up believes in something.
If we fetishize trauma as incommunicable, then survivors are trapped - unable to feel truly known by their nonmilitary friends and family.
War is too strange to process alone.
Writing fiction was a way to take the ideas that troubled me or confused me and put them under pressure.
I love opera. I love jazz, especially Mingus. This makes me sound highbrow. I'm not.