President Putin made three foundational assumptions in launching his war against Ukraine that should have been correct but were not. First, Putin assumed the invasion of Ukraine would be a quick and easy fight. Second, he assumed the world would denounce the invasion but tacitly allow it. Third, Putin assumed the war would deter NATO expansion.
A design draws you in through color or shock; a title intrigues you. Heat + Pressure: Poems From War by Ben Weakley delivers on the initial interest brought about by its unique title that sits in bold letters over the melted green army figure on the cover. Heat + Pressure shows how today’s warriors can become poets and help veterans synthesize war and their reintegration into society.
Throughout the collection, the invisible forces that shape the speaker in Stice’s collection move in mysterious and yet predictable ways. The result is a world rich in detail and meaning that is nevertheless captive to the churning rituals of an often faceless and capricious military bureaucracy. Stice captures both the tension and beauty of these unseen forces in poems that celebrate quiet domestic moments and gently interrogate the hardships created by the itinerant lifestyle of a military family.
The line between poems and jokes runs thin in Randy Brown’s new collection, So Frag and So Bold—but in the best possible way. Brown, in a series of mostly very-short poems, quips, and aphorisms, brings the gallows humor of military life to the stage in a unique, funny, and moving way all at once. These poems feel both very real and also imaginative, almost like a Greek chorus calling out in intervals from stage left, telling you the real thing you need to know.
Military officers may not be inclined to reach for a book of poetry to bolster their understanding of warfare, but important lessons can be drawn from seemingly unusual sources. And while the Chief of Staff of the Air Force Professional Reading Program has been expanded to include cinema, photography, and even TED Talks, poetry in book or singular form appears to have never made the decades-old list. Similarly, poetry does not seem to be included on sister service recommended reading lists. Despite this, there is a place for poetry somewhere in the military leader’s piles of literature, history, and leadership books, one that puts a little heart into the science of war.
My initial reaction—if we can call two years of brooding initial —is exactly why we need more poetry about the experience of modern war. We need it for catharsis, communication, and reckoning. We need more poetry that forces us to wrestle in the cobwebs and the debris of the darkest corners of the attic. We need to reflect in the mirrors, be they clear, clouded, or cracked, that we find locked away in the trunk. Garcia gave me a key. Maybe it will work for you as well.
An interesting read, but it will not be sharing space on my shelf of favorites, alongside other war poets such as Brian Turner, Marvin Bell, and Wilfred Owens. The book may, however, appeal to the casual poetry reader or to those trying a cross sample of the writing generated by individuals who fought this century’s wars in Iraq and Afghanistan.
Writing provides one of the few venues available for leaders seeking to develop themselves through inward reflection, and, to that end, poetry is writing’s finest vehicle for cultivating empathy. Analytic prose is limited in that it can make self-knowledge explicit only by delineating one’s cause-and-effect reasoning. Poems, however, can go where prosaic essays cannot.
My first efforts were in high school and they were predictably trite, often to the point of tears. During college years, I was too busy with other, more important affairs to write, yet the times were too intense to ignore the innate power of a good poem; this was the 1960s. I hosted a radio show in college in which, between the music, I would read relevant English and American poetry: Cummings, Whitman, Dickinson, Jeffers, Stevens, Longfellow, and the like. I even created one show around Richard Burton’s readings of Wilfred Owen’s war poetry.
Poetry is an intensely individual experience—for the poet and for the reader of poetry—and begs for diversity because of it. Soldiers experience war differently from civilians and leaders differently from those they lead. The ancients experienced war differently from our contemporaries. Men experience war differently from women. We experience war differently from them and the living experience it differently from the dead. We propose that you—the readers and writers of war poetry—tell us what we’ve missed. Choose your favorite poem (not book, not poet... but poem) and tweet it or respond on Facebook with an author, a title, and the hashtag #TheBridgeReadsPoetry.
