Fifteen captivating tales of humor, horror, and other wartime experiences are presented in the forthcoming 250-page comics anthology "True War Stories." The 250-page hardcover, co-edited by Alex de Campi and Iraq War veteran Khai Krumbhaar, will be published by Z2 Comics in November 2020. However, a 30-day Kickstarter campaign launches today, Tues., Aug. 18, 2020. Through the crowd-funding effort, readers may preview and pre-order the book.
One of the featured "True War Stories" is related to the 2010-2011 deployment of the Iowa National Guard's 2nd Brigade Combat Team (B.C.T.), 34th Infantry "Red Bull" Division.
Written by former Iowa National Guard citizen-soldier Randy Brown, "In the Valley of Lions" originally appeared as an essay in Volume 2 of "Proud to Be: Writing by American Warriors." As "Charlie Sherpa," Brown writes about citizen-soldier culture at the Red Bull Rising blog; about modern war poetry at FOBhaiku.com, and about military writing at The Aiming Circle. He also edited a 2015 collection of U.S. Army public affairs journalism about the Iowa brigade's deployment, "Reporting for Duty: U.S. Citizen-Soldier Journalism from the Afghan Surge, 2010-2011."
"As far as I can tell, the last time the 'Red Bull' unit patch showed up in a comic book was in 'Combat Kelly' No. 21, published in 1954," says Brown. "Unlike that story, however, this 'Red Bull' tale is the non-fiction—the real deal. I hope it adequately portrays some of the strange context and significant sacrifices our citizen-soldier neighbors made for the United States, for the people of Panjshir Province, and for the Government of the Islamic Republic of Afghanistan (GIRoA).'"
Art on the 13-page comics story "In the Valley of Lions" is by Ryan Howe. Colors are by Kelly Fitzpatrick.
Brown's original essay contrasts a 2-day U.S. Department of State-sponsored "tourism conference" held in Pansjhir Province in June 2011, with a July 2011 insider attack that resulted in the deaths of Sgt. 1st Class Terryl Pasker, 39, of Cedar Rapids, Iowa, and civilian law enforcement advisor Paul Protzenko, 46, of Enfield, Mass. Also injured in the attack was Master Sgt. Todd Eipperle, 46, of Marshalltown, Iowa. Eipperle was recognized for his response to the attack.
Later in 2011, the Red Bull Rising blog posted additional information about the attack here.
Published annually published by Southeast Missouri State University Press, Cape Girardeau, Mo., the "Proud to Be" series is an anthology of military non-fiction, fiction, poetry, photography, and more. For a Red Bull Rising review of the 2013 volume in which "In the Valley of Lions" first appeared, click here.
For more information about "True War Stories," and to pre-order one or more copies—including editions autographed by the co-editors—visit the Kickstarter campaign here.
Showing posts with label nonfiction. Show all posts
Showing posts with label nonfiction. Show all posts
18 August 2020
17 March 2020
Mil-Writing Contest Expands to Include Family
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| Darron L. Wright PHOTO: Line of Advance |
Since 2016, the Wright Awards have annually recognized excellence in prose and poetry by U.S. military service members and veterans. With today's announcement, the Col. Darron L. Wright Memorial Writing Awards expands to four categories. Cash prizes of $250, $150, and $100 will be available in each of the following:
- Service Member/Veteran Prose (includes fiction, creative non-fiction, hybrid)
- Service Member/Veteran Poetry
- Family Member Prose (includes fiction, creative non-fiction, hybrid)
- Family Member Poetry
“Also, by expanding the contest to include family members, we hope to better recognize the scope of sacrifices military families make on our behalf, in war and peace,” Lyke says. “Some of today’s most insightful, inspiring literary engagement on themes of war and service is coming from military-adjacent writers.”
In February, Line of Advance announced that a forthcoming print and e-book anthology will collect the winning entries from the first five years (2016-2020) of the competition. The anthology will be published in October 2020. This year’s Darron L. Wright award finalists will be included in the anthology.
Submissions for the 2020 Darron L. Wright awards open May 1, 2020 and close May 31, 2020. Winners will be notified not later than Aug. 31, 2020. More details are forthcoming.
Administered by the journal since 2016, and underwritten by the Blake and Bailey Foundation, the awards commemorate a U.S. Army leader and author who was killed in a September 2013 parachute training accident. Darron L. Wright, 45, had deployed three times to Iraq, and was author of a 2012 memoir “Iraq Full Circle: From Shock and Awe to the Last Combat Patrol in Baghdad and Beyond.”
Middle West Press LLC is a Johnston, Iowa-based editor and publisher of non-fiction, fiction, journalism, and poetry, with projects that feature the unique voices of the American Midwest. As an independent micro-press, we publish one to four titles annually. The Line of Advance/Col. Darron L. Wright Awards anthology will be the sixth of our titles involving war and military themes.
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25 February 2020
Anthology to Celebrate Darron L. Wright Awards
Editors of Chicago-based non-profit literary journal Line of Advance have announced a forthcoming print and e-book anthology will collect the winning entries from the first five years (2016-2020) of the annual Col. Darron L. Wright Memorial Writing Awards.
The awards annually recognize excellence in prose and poetry by U.S. military service members and veterans. Cash prizes of $250, $150, and $100 are available in each category.
“The Line of Advance proudly serves as a leading venue for the best of ‘veterans-lit,’ with works by men and women who have served in all uniforms and in all eras,” says the journal’s editor-in-chief Christopher Lyke, who will also edit the anthology. “We are also grateful to the underwriters of our cash prizes, who, through their generosity, help promote creatively crafted veterans’ stories to wider audiences.”
This year’s Darron L. Wright award finalists will be included in the anthology. Submissions for the 2020 Darron L. Wright awards open May 1, 2020 and close May 31, 2020. Winners will be notified not later than Aug. 31, 2020. More details are forthcoming.
The projected release date for “Line of Advance: A Celebration of Darron L. Wright Memorial Awards Finalists, 2016-2020” is Oct. 13, 2020.
Administered by the journal since 2016, and underwritten by the Blake and Bailey Foundation, the awards commemorate a U.S. Army leader and author who was killed in a September 2013 parachute training accident. Darron L. Wright, 45, had deployed three times to Iraq, and was author of a 2012 memoir “Iraq Full Circle: From Shock and Awe to the Last Combat Patrol in Baghdad and Beyond.”
Middle West Press LLC is a Johnston, Iowa-based editor and publisher of non-fiction, fiction, journalism, and poetry, with projects that feature the unique voices of the American Midwest. As an independent micro-press, we publish one to four titles annually. The Line of Advance Darron L. Wright Awards anthology will be the sixth of our titles involving war and military themes.
The awards annually recognize excellence in prose and poetry by U.S. military service members and veterans. Cash prizes of $250, $150, and $100 are available in each category.
“The Line of Advance proudly serves as a leading venue for the best of ‘veterans-lit,’ with works by men and women who have served in all uniforms and in all eras,” says the journal’s editor-in-chief Christopher Lyke, who will also edit the anthology. “We are also grateful to the underwriters of our cash prizes, who, through their generosity, help promote creatively crafted veterans’ stories to wider audiences.”
This year’s Darron L. Wright award finalists will be included in the anthology. Submissions for the 2020 Darron L. Wright awards open May 1, 2020 and close May 31, 2020. Winners will be notified not later than Aug. 31, 2020. More details are forthcoming.
The projected release date for “Line of Advance: A Celebration of Darron L. Wright Memorial Awards Finalists, 2016-2020” is Oct. 13, 2020.
Administered by the journal since 2016, and underwritten by the Blake and Bailey Foundation, the awards commemorate a U.S. Army leader and author who was killed in a September 2013 parachute training accident. Darron L. Wright, 45, had deployed three times to Iraq, and was author of a 2012 memoir “Iraq Full Circle: From Shock and Awe to the Last Combat Patrol in Baghdad and Beyond.”
Middle West Press LLC is a Johnston, Iowa-based editor and publisher of non-fiction, fiction, journalism, and poetry, with projects that feature the unique voices of the American Midwest. As an independent micro-press, we publish one to four titles annually. The Line of Advance Darron L. Wright Awards anthology will be the sixth of our titles involving war and military themes.
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21 January 2020
'Red Bull' Author to Speak in Iowa City & Des Moines
Author Steven L. Moore, a former Iowa National Guard citizen-soldier who deployed with the 2nd Brigade Combat Team (B.C.T.), 34th Infantry "Red Bull" Division (2-34th BCT) to Afghanistan in 2010-2011, will conduct book talks in Iowa City and Des Moines, Iowa, Jan. 23 and Jan. 24, 2020.
A 2010 graduate of the University of Iowa and now a resident of Oregon, Moore wrote "The Longer We Were There: A Memoir of a Part-Time Soldier," a collection of essays that won the 2018 award in non-fiction from the Association of Writers and Writing Programs (A.W.P.).
Widely published in literary magazines and journals, Moore was recently featured in the Military Writers Guild-sponsored anthology, "Why We Write: Craft Essays on Writing War." A selection of his work can be sampled FREE on-line at the author's website here.
In 2018, AWP awards judge Dinty W. Moore wrote about Steven Moore's work:
A 2010 graduate of the University of Iowa and now a resident of Oregon, Moore wrote "The Longer We Were There: A Memoir of a Part-Time Soldier," a collection of essays that won the 2018 award in non-fiction from the Association of Writers and Writing Programs (A.W.P.).
Widely published in literary magazines and journals, Moore was recently featured in the Military Writers Guild-sponsored anthology, "Why We Write: Craft Essays on Writing War." A selection of his work can be sampled FREE on-line at the author's website here.
In 2018, AWP awards judge Dinty W. Moore wrote about Steven Moore's work:
"The Longer We Were There" is both a tale of our longest war and an astute coming of age memoir, the story of an English major who finds himself filling sandbags as an Iowa National Guardsman one day and deployed on the Afghanistan-Pakistan border the next. The prose is marked throughout by his compelling voice and precise description, and like Heller, Herr, and O’Brien before him, he understands that war can often be most hellish in its tedium. The Longer We Were There is an honest, absorbing, sharply-observed narrative that questions both the nature of war and the nature of the stories we tell ourselves.Moore will speak at the following times and places:
Thurs., Jan. 23, 2020 at 7 p.m.
Prairie Lights Bookstore
15 South Dubuque St.
Iowa City, IA 52240
Fri., Jan. 24, 2020 at 6:30 p.m.
Beaverdale Books
2629 Beaver Ave. #S1
Des Moines, IA 50310
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15 October 2019
Mil-Writers Anthology to be Published December 2019
In a one-of-a-kind anthology, more than 60 leading and emerging writers—novelists, essayists, journalists, poets, podcasters, playwrights, and more—offer their professional how-to secrets, techniques, and inspirations around themes of war and the military.
Published in partnership with the non-profit Military Writers Guild, “Why We Write: Craft Essays about Writing War” is projected to be published Dec. 10, 2019. The line-up of notable and best-selling authors includes, in no particular order:
“To some, the term ‘military writing’ evokes images of orders, annexes, and stacks of memorandums feeding the bureaucratic machine,” notes Christopher G. Ingram, the current president of the organization. “However, our members are intellectually curious, professionally engaged, and widely published across a range of creative and professional writing.”
“Most importantly, we’re always motivated to exchange lessons and insights with others,” Ingram says. “Partnering with best-selling authors and Middle West Press has been an ideal force-multiplier, in our organization’s inaugural publishing project.”
Middle West Press LLC (www.MiddleWestPress.com) is a Johnston, Iowa-based editor and publisher of non-fiction, fiction, journalism, and poetry. As an independent micro-press, we publish one to four titles annually. “Why We Write” is the first of its projects conducted in partnership with an association, and the fifth of its titles involving war and military themes.
Published in partnership with the non-profit Military Writers Guild, “Why We Write: Craft Essays about Writing War” is projected to be published Dec. 10, 2019. The line-up of notable and best-selling authors includes, in no particular order:
- Phil Klay
- Vanya Eftimova Bellinger
- David Abrams
- Alex Finley
- Gayle Tzemach Lemmon
- Thomas E. Ricks
- Kate Germano
- Peter Van Buren
- Kori Schake
- Max Brooks
- Jessica Scott
- Carmen Gentile
- Hugh Martin
- Robert L. Bateman
- P.W. Singer & August Cole
“To some, the term ‘military writing’ evokes images of orders, annexes, and stacks of memorandums feeding the bureaucratic machine,” notes Christopher G. Ingram, the current president of the organization. “However, our members are intellectually curious, professionally engaged, and widely published across a range of creative and professional writing.”
“Most importantly, we’re always motivated to exchange lessons and insights with others,” Ingram says. “Partnering with best-selling authors and Middle West Press has been an ideal force-multiplier, in our organization’s inaugural publishing project.”
Middle West Press LLC (www.MiddleWestPress.com) is a Johnston, Iowa-based editor and publisher of non-fiction, fiction, journalism, and poetry. As an independent micro-press, we publish one to four titles annually. “Why We Write” is the first of its projects conducted in partnership with an association, and the fifth of its titles involving war and military themes.
28 September 2018
Notes from a War, Literature & the Arts Conference
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| Author, actor, and former U.S. Marine Benjamin Busch signs a copy of his 2012 memoir "Dust to Dust" at the 2018 War, Literature & the Arts conference conducted September 20 and 21 at the U.S. Air Force Academy. Photo: Jesse Goolsby |
More than 600 academics, students, creators, and others attended the 2018 War, Literature & the Arts conference September 20 and 21 on the campus of the U.S. Air Force Academy, Colorado Springs, Colo. This year's event coincided with the 30th anniversary of the War, Literature & the Arts Journal, an annual multidisciplinary publication curated by the institution's English faculty, students, and alumni.
While an annual lecture series regularly brings literary talent to campus, the full conference tends to appear with the regularity of Brigadoon. The last such conference, for example, was apparently conducted in 2010.
The schedule was jam-packed, with three keynote speakers, and four seminar and performance blocks each day. (Two in the morning, and two in the afternoon.) Hosted in the over-21 cadet lounge, a social hour with cash bar was conducted Thursday afternoon. Lunches were "on the economy"—the cadet student union features a small food court, with sandwich, salad, and pizza options.
While it was impossible to do and see everything and everyone, I hope to illustrate the depth and breadth of the event by re-posting here some observations from my notebook and Twitter account:
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Melissa Parrish, presenting on the work of Sebastian Junger (including "War"): “Junger usefully blurs the line between participant & spectator [slipping between “we” & “I”]—combatant & non-combatant—to usefully interrogate civil-military interactions.”
One personal highlight of the conference: Getting a chance to use Q&A time to thank USAF Vietnam War veteran Dr. Dean F. Echenberg for including the works of 21st century soldier-poets (including my own) in his collection, which he recently donated to Harry Ransom Center! Here's a list of such 21st century war poetry.
Much to my shock, Echenberg's fellow panelist, Lisa Silvestri of Gonzaga University's "Telling War" project, then reflected some love back, telling the audience her students really enjoyed my book! ("Welcome to FOB Haiku: War Stories from Inside the Wire.") That exemplified the vibe at the conference–lots of inspiring, affirming energy!
More quotes from the WLA conference: Oliver Jones on “Weaponized Poetics: The Avant-Gardes of the Revolution in Military Affairs": “Design Thinking has become so indoctrinated [in mil-planning], it seems now to be doing the very things that it was intended to disrupt.”
Not going to share all the WLA18 barroom hilarity & wisdom, but I still think this quote from Colin D. Halloran deserves its own T-shirt: “Whenever I feel down, I read ‘Ozymandias.’” Buy his books here and here.
Lightning-bolt insight that came to me via Toby Herzog’s WLA18 talk, “The Thing He Carried & the Story He Told”: Tim O’Brien was an Radio-Telephone Operator "R.T.O.")—a battalion radio guy, who helped maintain commo logs. A privileged position of blended participation/observation within an organization!
Speaking of Tim O’Brien at WLA18, Rolf Yngve took us on wonderfully nuanced journey, connecting the Magical Realism of O’Brien’s “Going After Cacciato” with the presenter’s real-world work of helping homeless veterans write resumés.
Elsewhere, in the same presentation regarding “Maps, Charts, Cartography, and Memory in the Battlespace of Fiction, Poetry & Memoir” WLA18 , Elizabeth T. Gray Jr. and Mark D. Larabee each explored how graphical & textual descriptions of terrain both affect & effect memory ...
... which led me to remember: In U.S. Army operations orders, we brief weather and terrain under “Situation, Enemy.” At some level, that almost suggests that we grant the terrain agency. That “even the ground is out to get us.”
Bonus from Mark D. Larabee’s talk: World War I was a “Golden Age of Cartography,” with many technologies coming together: trigonometric survey, multicolor lithography, etc. British teams produced 34+ million maps—365,000 per (linear?) battlefront mile!
Bonus from poet Elizabeth T. Gray Jr.: A quadranted taxonomy of terrain as either “real”/“imaginary” (think “Ypres” vs. “Mordor”) and “background”/“agented” (bet the latter includes Fangom Forest?). She also mentioned how some Tibetan Buddhists believe that evil spirits can inhabit the ground. Based on that, I later shared with her this poem: "leaving empty."
More Sherpa notes and personal high points from WLA18. Discovering a mutual interest in serious regard for military humor apparent in Lydia Wilkes‘ “Laughing about War with [David Abrams'] ‘Fobbit’”!
Lydia Wilkes quoted U.S. Army Chief of Staff Gen. Mark Milley in her WLA18 presentation on military humor: “It's not ‘Forever War.’ It’s ‘Forever Train-and-Advise.’” I was reminded of Sherpatude No. 26: "Humor is a combat multiplier …"
Sherpa’s takeaway from Lt. Gen. (USAF, Ret.) Christopher Miller’s (U.S. Air Force Academy Class of 1980) WLA18 talk “Yesterday at War with Tomorrow: Language as a Strategic Variable”: As a military (and society?), we need to reconcile with “strategic value” as greater or equal to “battlefield valor.”
Sherpa’s takeaway from David Eisler's WLA18 talk “Influence of the Shift to an All-Volunteer Force on American War Fiction”: As quantifiably compared to Vietnam War novels, OIF/OEF novels may be increasingly generated by non-veterans!
Sherpa’s takeaway from Caleb Cage‘s WLA18 talk “The All-Volunteer Force and the Civil-Military Divide”: There are 4 binary “master narratives” at play in every OIF/OEF story/debate:
Sherpa’s takeaway from combat medic (& future physician assistant) John Howell Jr.’s WLA18 talk “Building Resilience through a [pre-deployment!] Literature-based Discussion Program”: Try talking about movies, rather than books! Also: “Logan” (2017) may resonate with troops.
A full conference schedule is available as a PDF here.
Want to receive exclusive early-bird notice of military-themed writing opportunities, events, and markets? Join our community of practice for as little as $1 a month! Details here: www.patreon.com/aimingcircle.
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... which led me to remember: In U.S. Army operations orders, we brief weather and terrain under “Situation, Enemy.” At some level, that almost suggests that we grant the terrain agency. That “even the ground is out to get us.”
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1. “War of Choice”
2. “The Prez is a Cowboy”
3. “What’s Phase 4?”/“No Plan”
4. “The Surge”
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Want to receive exclusive early-bird notice of military-themed writing opportunities, events, and markets? Join our community of practice for as little as $1 a month! Details here: www.patreon.com/aimingcircle.
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19 April 2018
Iowa Review's Writing Contest for Vets Opens May 1
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| Jeff Sharlet during service in Vietnam |
The contest is hosted by The Iowa Review and made possible by the family of Jeff Sharlet (1942–1969), a Vietnam veteran and anti-war writer and activist.
Unlike the first two iterations of the contest, there is no entry fee for the contest.
Prize is $1,000 and publication in The Iowa Review. Second place is $750. Up to three runners-up will receive $500 each.
Entrants should submit an original double-spaced manuscript in any genre (poetry, fiction, creative non-fiction) of up to 20 pages. Simultaneous submissions are acceptable, although the editors request timely notification if the work is later accepted elsewhere.
Submissions may be made either on-line or via postal mail.
A webpage with full details and specifications for the Jeff Sharlet Memorial Award for Veterans can be found here. A Submittable page for on-line submissions is here.
Historically, this is an extremely competitive contest. The Aiming Circle strongly recommends that potential participants review examples of works previously recognized through this contest. Materials from previous iterations of the Jeff Sharlet Memorial contest have been collected on-line here. Or read the previous issues containing Jeff Sharlet contest awardees:
- Iowa Review Spring 2013 --- FREE on-line!
- Iowa Review Spring 2015
- Iowa Review Spring 2017
A Facebook page for The Iowa Review is here.
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14 February 2018
War-writing Events at AWP 2018, Tampa, Fla.
The annual Association of Writers & Writing Programs (A.W.P.) national conference is March 7-10, 2018. It will be the 51st anniversary of the event. This year, it's being held in Tampa, Fla.
The annual event brings together approximately 12,000 writers, educators, students, editors, and publishers, and travels to different cities each year. A concurrent bookfair showcases more than 800 exhibitors.
A searchable, on-line schedule for the event appears here.
While the motivational value of networking with fellow travelers and cocktails with friends should never be discounted, much of the intellectual energy of the conference is to be found in panel discussions and presentations. Good topics challenge our perspectives and presumptions, and AWP includes any number of potential conversations about war and conflict, veterans issues, population displacement, and related topics:
In the spirit of Sherpatudes Nos. 1 and 15, here's what we know so far about "war writing" panels, presentations, and readings at AWP2018: Please direct corrections and suggested edits/additions to: sherpa AT redbullrising.com.
9:00 a.m. to 10:15 a.m.
Room 13, Tampa Convention Center, First Floor
R126. Silenced Dimensions in Crisis and Conflict. (Catherine Parnell, Jasmin Darznik, Martha (Max) Frazier, Monica Sok, Danuta Ewa Hinc)
In narratives about international conflict, women writers, and those identifying as women, are marginalized and grossly underrepresented. Exposing their lack of visibility and peeling back the layers of privilege is the goal of Consequence magazine’s tenth anniversary issue, and we’ve dedicated our Spring 2018 issue to women writers. In this panel, we’ll talk to four writers who write about the culture and consequences of war and activism, and how they see writing as a path to peace.
12 noon to 1:15 p.m.
Room 1, Tampa Convention Center, First Floor
R182. Arab & Muslim Writers Surviving Trump's America: A Reading and Discussion Presented by Mizna. (Lana Barkawi, Glenn Shaheen, Sagirah Shaheed, Jess Rizkallah, Tariq Luthun)
Heeding Edward Said’s call for cultural resistance to “write back” against forces seeking to marginalize and vilify Arabs and Muslims, Mizna, the only Arab American lit journal, presents its issue themed “Surviving” with readings and discussion about our communities’ latest bouts with xenophobia and Islamophobia. Acclaimed and important emerging authors will discuss the maneuvers the Trump era has us making—resisting, dodging, bearing, and more—surviving.
3:00 p.m. to 4:15 p.m.
Grand Salon C, Marriott Waterside, Second Floor
R234. Writing Toward the Margins: When the Stereotypes Are Also Your Story. (Monica Prince, Mike McClelland, Penny Dearmin, Natalie Sharp, Adam Sirgany)
Submission calls strive to include voices of marginalized identities, but many do this by requesting work that pigeonholes writers. Writers of intersecting marginalized identities balance writing what an audience “expects” and real life. How do writers address the stereotypical markers of their work (as women, POC, veterans, LGBT+ community, etc.) while also honoring their life stories? This panel explores stereotypes for marginalized writers while navigating expectation and truth.
3:00 p.m. to 4:15 p.m.
Grand Salon D, Marriott Waterside, Second Floor
R235. Humanizing “the Enemy”: Veterans Share Poetry of Reconciliation. (Toni Topps, Kevin Basl, Anthony Torres, Aaron Hughes) Veterans and service members have received a lot of attention over the past decade, with politicians and media focusing on themes of sacrifice, heroism, and trauma. But what about those countries attacked and occupied by the US? Inspired by the work of Maxine Hong Kingston, Warrior Writers and others representing the Veteran Art Movement will read original poetry of reconciliation and cross-cultural understanding, turning the focus towards Iraqis, Afghans, and others affected by US militarism.
4:30 p.m. to 5:45 p.m.
Room 5 & 6, Tampa Convention Center, First Floor
R279. Hometown Nocturnes: A Reading by Arab American Writers. (Leila Chatti, George Abraham, Zaina Arafat, Hazem Fahmy)
Five award-winning Arab American writers will present rich, multilayered poems and essays. This is an engaging and electric intergenerational reading from texts as varied as chapbooks, spoken word, Buzzfeed essays, and poetry collections. The writers explore topics such as the pain of diasporic existence; the political undercurrent of everyday life; and cultural taboos of sexuality and death.
4:30 p.m. to 5:45 p.m.
Room 13, Tampa Convention Center, First Floor
R283. Reimagining America: Reading by Children of Vietnamese Refugees. (Lauren Bullock, Nghiem Tran, Cathy Che, Vt Hung, Paul Tran)
Forty-three years after the Vietnam War, exile to the United States continues to haunt life for children of Vietnamese refugees. Five nationally award-winning poets and fiction writers will perform new work investigating how imperialism, migration, sexual violence, queerness, and our families’ silence about the War shapes our craft decisions and community activism. We’ll specifically examine the collision of longing and belonging, nostalgia, and the imperative to imagine new definitions of home.
9:00 a.m. to 10:15 a.m.
Room 1, Tampa Convention Center, First Floor
F120. Women, War, and the Military: How to Tell the Story. (Mariana Grohowski, Helen Benedict, Tracy Crow, Mary (M.L.) Doyle, Jerri Bell)
Five writers—three military veterans and two civilians—weigh the pros and cons of telling military women’s stories through fiction versus memoir. Is the novel still better, as Virginia Woolf argued, at representing the private discourses of women’s lives to the public? Or does the memoir better afford women the opportunity to write themselves into history? What can a novel do that a memoir cannot, and vice versa? Is there a reason why more women veterans have turned to memoir than to fiction?
10:30 a.m. to 11:45 a.m.
Ballroom A, Tampa Convention Center, First Floor
F149. Strong Medicine: The Poetry of Addiction. (Dawn McGuire, Kaveh Akbar, Lynn Emanuel, Owen Lewis, Nick Flynn)
From Horace to Hass, poets have both lauded and vilified getting high. The “milk of paradise” can lead to masterworks, while addiction deserts ambition and destroys lives. In this panel, five award-winning poets, including two physician-poets, explore the swerve from inspiration to ruination from different perspectives and diverse writing styles. Themes of addiction in self, family, mentors, patients—e.g., post-9/11 veterans—as well as the seductive intimacy of shared intoxication, are featured.
1:30 p.m. to 2:45 p.m.
Room 11, Tampa Convention Center, First Floor
F222. Go Home! Asian American Writers Imagine Home Beyond a Place. (Rowan Hisayo Buchanan, Gina Apostol, Karissa Chen, Rajiv Mohabir, Esmé Weijun Wang)
For many immigrant writers, home is more and less than a place. Home might be found in a language that one is losing one’s grasp of. Home might have been lost in the aftermath of war. Home might be an impossibility. The writers on this panel, all contributors to the new anthology Go Home!, discuss how they navigate ideas of home in their writing. How can fiction, nonfiction, and poetry approach home? What does it mean to write for people with different ideas of home?
1:30 p.m. to 2:45 p.m.
Room 17, Tampa Convention Center, First Floor
F228. Above, Beyond, and After Duty: Teaching Creative Writing to Veterans. (Steve Kistulentz, Jesse Goolsby, Seema Raza, Lovella Calica, Matt Young)
Working artists across multiple genres discuss the challenges and rewards of teaching writing to veterans and active duty service members. In our panel discussion, we will cover institutional and individual approaches to pedagogy, why this work is worth doing, and how to do this emotionally exhausting and occasionally triggering work sustainably in university and community settings. Panelists will also discuss how their own writing has been influenced by working with this unique population.
3:00 p.m. to 4:15 p.m.
Room 23, Tampa Convention Center, First Floor
F266. The Role of the Expatriate Writer in Times of Political Upheaval. (Connie May Fowler, Xu Xi, Donald Quist, Abayomi Animashaun)
During periods of deep political turmoil, do expatriate writers bear special responsibilities? Do we return home and resist or do we, from our perches abroad, seek to create a more nuanced, globally informed narrative? Our panelists live in far flung reaches—Hong Kong, Mexico, Paris, Southeast Asia—and will discuss how they deal with urgent issues such as dissent, war, American policy, terror, and climate change as both writer and other in a world in which being neutral is not an option.
9 a.m. to 10:15 a.m.
Florida Salon 5, Marriott Waterside, Second Floor
S114. Conflict, Crisis, Verse: Four Poets in Conversation. (Peter Molin, Jehanne Dubrow, Dunya Mikhail, Benjamin Busch, Brian Turner)
During a period of political exigency and social anxiety, how can poets and poetry teach, inspire, connect, and heal? Four widely published and celebrated poets—two military combat veterans, an Iraqi-American emigre, and the spouse of a military officer—draw on the urgency and insight born of their experience of war to trace the dynamic relationship of poetic voice and technique, personal circumstance and perspective, and turbulent national and global events.
10:30 a.m. to 11:45 a.m.
Meeting Room 1, Marriott Waterside, Second Floor
S144. The Value of Redemption When Writing YA Literature About Protest and Violence. (Ann Angel, Debra Brenegan, Heather Lee Schroeder, Artress Bethany White)
Recognizing the conflict inherent in protest and how protest ignored can lead to violence and war, writers instinctively examine the redemptive qualities found in protest and transform their communities by opening readers to diverse ideas and challenges. This panel of writers and writing teachers provides a powerful opportunity to help participants recognize the many ways that protest can effect redemptive resolutions through the written word.
10:30 a.m. to 11:45 a.m.
Meeting Room 9 & 10, Marriott Waterside, Third Floor
S146. Crossings and Crosses: Caribbean Women Writers on Immigration, Deportation, and Identity . (Jennifer McCauley, Donna Aza Weir-Soley, Fabienne Josaphat, Anjanette Delgado, Katia D. Ulysse)
Long before the Trump era, Caribbean writers have long been concerned with issues surrounding immigration. As subjects of colonial powers "crossing the sea" has long been our preoccupation whether it was to seek out opportunities for economic advancement, to pursue higher education or to fight in various wars for our colonial "Mother country." Our writing, like that of Junot DÃaz or Ana Menendez, addresses immigration including assimilation, acculturation, nostalgia, identity, and deportation.
10:30 a.m. to 11:45 a.m.
Room 1, Tampa Convention Center, First Floor
S151. Giving Voice to Nontraditional Populations Through Storytelling. (Deborah Finkelstein, Robert McKenzie, Alfonso Ramirez, Charles Rice-Gonzalez)
How do we give voice to nontraditional populations? Through storytelling. We will discuss successful methods of working one-on-one or in groups with members of nontraditional populations including the elderly, veterans, the incarcerated, young adults with special needs, and multilingual speakers. We’ll demonstrate exercises for sharing stories with actors to create a collaborative piece as well as methods for individuals to write their stories as short stories, monologues, poetry, and plays.
10:30 a.m. to 11:45 a.m.
Room 11, Tampa Convention Center, First Floor
S155. Subverting the Stereotypes: Performances by Warrior Writers and Combat Hippies. (Lovella Calica, Nicole Goodwin, Hipolito Arriaga, Allen Minor) Military veterans and service members are often used as commercial and political props. This reading will offer performances by two veteran-focused literary organizations challenging veteran stereotypes that not only stifle constructive dialogue about war and its consequences, but also fuel US militarism. These poetic performances will present veterans as the diverse social group they are, while also encouraging other veterans to speak truth to power.
12 noon to 1:15 p.m.
Room 14, Tampa Convention Center, First Floor
S188. Not Heartwarming: Beyond Military and Feminine Tropes in Veterans’ Stories. (Dorothy Hasson, Krista Tucker, Sonya Lea)
How do we create new narratives in a culture dominated by conventional war stories? Stories of women veterans are less emphasized in our culture, and are often challenging to write and teach, due to the fragmentation resulting from military sexual trauma and PTS. Two mentors discuss working with under-represented populations alongside two of their students—a young veteran forced to alter her gender to survive a war, and a mature veteran who broke traditional female roles to survive the military.
The annual event brings together approximately 12,000 writers, educators, students, editors, and publishers, and travels to different cities each year. A concurrent bookfair showcases more than 800 exhibitors.
A searchable, on-line schedule for the event appears here.
While the motivational value of networking with fellow travelers and cocktails with friends should never be discounted, much of the intellectual energy of the conference is to be found in panel discussions and presentations. Good topics challenge our perspectives and presumptions, and AWP includes any number of potential conversations about war and conflict, veterans issues, population displacement, and related topics:
In the spirit of Sherpatudes Nos. 1 and 15, here's what we know so far about "war writing" panels, presentations, and readings at AWP2018: Please direct corrections and suggested edits/additions to: sherpa AT redbullrising.com.
***** THURSDAY, March 8, 2018 *****
9:00 a.m. to 10:15 a.m.
Room 13, Tampa Convention Center, First Floor
R126. Silenced Dimensions in Crisis and Conflict. (Catherine Parnell, Jasmin Darznik, Martha (Max) Frazier, Monica Sok, Danuta Ewa Hinc)
In narratives about international conflict, women writers, and those identifying as women, are marginalized and grossly underrepresented. Exposing their lack of visibility and peeling back the layers of privilege is the goal of Consequence magazine’s tenth anniversary issue, and we’ve dedicated our Spring 2018 issue to women writers. In this panel, we’ll talk to four writers who write about the culture and consequences of war and activism, and how they see writing as a path to peace.
12 noon to 1:15 p.m.
Room 1, Tampa Convention Center, First Floor
R182. Arab & Muslim Writers Surviving Trump's America: A Reading and Discussion Presented by Mizna. (Lana Barkawi, Glenn Shaheen, Sagirah Shaheed, Jess Rizkallah, Tariq Luthun)
Heeding Edward Said’s call for cultural resistance to “write back” against forces seeking to marginalize and vilify Arabs and Muslims, Mizna, the only Arab American lit journal, presents its issue themed “Surviving” with readings and discussion about our communities’ latest bouts with xenophobia and Islamophobia. Acclaimed and important emerging authors will discuss the maneuvers the Trump era has us making—resisting, dodging, bearing, and more—surviving.
3:00 p.m. to 4:15 p.m.
Grand Salon C, Marriott Waterside, Second Floor
R234. Writing Toward the Margins: When the Stereotypes Are Also Your Story. (Monica Prince, Mike McClelland, Penny Dearmin, Natalie Sharp, Adam Sirgany)
Submission calls strive to include voices of marginalized identities, but many do this by requesting work that pigeonholes writers. Writers of intersecting marginalized identities balance writing what an audience “expects” and real life. How do writers address the stereotypical markers of their work (as women, POC, veterans, LGBT+ community, etc.) while also honoring their life stories? This panel explores stereotypes for marginalized writers while navigating expectation and truth.
3:00 p.m. to 4:15 p.m.
Grand Salon D, Marriott Waterside, Second Floor
R235. Humanizing “the Enemy”: Veterans Share Poetry of Reconciliation. (Toni Topps, Kevin Basl, Anthony Torres, Aaron Hughes) Veterans and service members have received a lot of attention over the past decade, with politicians and media focusing on themes of sacrifice, heroism, and trauma. But what about those countries attacked and occupied by the US? Inspired by the work of Maxine Hong Kingston, Warrior Writers and others representing the Veteran Art Movement will read original poetry of reconciliation and cross-cultural understanding, turning the focus towards Iraqis, Afghans, and others affected by US militarism.
4:30 p.m. to 5:45 p.m.
Room 5 & 6, Tampa Convention Center, First Floor
R279. Hometown Nocturnes: A Reading by Arab American Writers. (Leila Chatti, George Abraham, Zaina Arafat, Hazem Fahmy)
Five award-winning Arab American writers will present rich, multilayered poems and essays. This is an engaging and electric intergenerational reading from texts as varied as chapbooks, spoken word, Buzzfeed essays, and poetry collections. The writers explore topics such as the pain of diasporic existence; the political undercurrent of everyday life; and cultural taboos of sexuality and death.
4:30 p.m. to 5:45 p.m.
Room 13, Tampa Convention Center, First Floor
R283. Reimagining America: Reading by Children of Vietnamese Refugees. (Lauren Bullock, Nghiem Tran, Cathy Che, Vt Hung, Paul Tran)
Forty-three years after the Vietnam War, exile to the United States continues to haunt life for children of Vietnamese refugees. Five nationally award-winning poets and fiction writers will perform new work investigating how imperialism, migration, sexual violence, queerness, and our families’ silence about the War shapes our craft decisions and community activism. We’ll specifically examine the collision of longing and belonging, nostalgia, and the imperative to imagine new definitions of home.
***** FRIDAY, March 9, 2018 *****
9:00 a.m. to 10:15 a.m.
Room 1, Tampa Convention Center, First Floor
F120. Women, War, and the Military: How to Tell the Story. (Mariana Grohowski, Helen Benedict, Tracy Crow, Mary (M.L.) Doyle, Jerri Bell)
Five writers—three military veterans and two civilians—weigh the pros and cons of telling military women’s stories through fiction versus memoir. Is the novel still better, as Virginia Woolf argued, at representing the private discourses of women’s lives to the public? Or does the memoir better afford women the opportunity to write themselves into history? What can a novel do that a memoir cannot, and vice versa? Is there a reason why more women veterans have turned to memoir than to fiction?
10:30 a.m. to 11:45 a.m.
Ballroom A, Tampa Convention Center, First Floor
F149. Strong Medicine: The Poetry of Addiction. (Dawn McGuire, Kaveh Akbar, Lynn Emanuel, Owen Lewis, Nick Flynn)
From Horace to Hass, poets have both lauded and vilified getting high. The “milk of paradise” can lead to masterworks, while addiction deserts ambition and destroys lives. In this panel, five award-winning poets, including two physician-poets, explore the swerve from inspiration to ruination from different perspectives and diverse writing styles. Themes of addiction in self, family, mentors, patients—e.g., post-9/11 veterans—as well as the seductive intimacy of shared intoxication, are featured.
1:30 p.m. to 2:45 p.m.
Room 11, Tampa Convention Center, First Floor
F222. Go Home! Asian American Writers Imagine Home Beyond a Place. (Rowan Hisayo Buchanan, Gina Apostol, Karissa Chen, Rajiv Mohabir, Esmé Weijun Wang)
For many immigrant writers, home is more and less than a place. Home might be found in a language that one is losing one’s grasp of. Home might have been lost in the aftermath of war. Home might be an impossibility. The writers on this panel, all contributors to the new anthology Go Home!, discuss how they navigate ideas of home in their writing. How can fiction, nonfiction, and poetry approach home? What does it mean to write for people with different ideas of home?
1:30 p.m. to 2:45 p.m.
Room 17, Tampa Convention Center, First Floor
F228. Above, Beyond, and After Duty: Teaching Creative Writing to Veterans. (Steve Kistulentz, Jesse Goolsby, Seema Raza, Lovella Calica, Matt Young)
Working artists across multiple genres discuss the challenges and rewards of teaching writing to veterans and active duty service members. In our panel discussion, we will cover institutional and individual approaches to pedagogy, why this work is worth doing, and how to do this emotionally exhausting and occasionally triggering work sustainably in university and community settings. Panelists will also discuss how their own writing has been influenced by working with this unique population.
3:00 p.m. to 4:15 p.m.
Room 23, Tampa Convention Center, First Floor
F266. The Role of the Expatriate Writer in Times of Political Upheaval. (Connie May Fowler, Xu Xi, Donald Quist, Abayomi Animashaun)
During periods of deep political turmoil, do expatriate writers bear special responsibilities? Do we return home and resist or do we, from our perches abroad, seek to create a more nuanced, globally informed narrative? Our panelists live in far flung reaches—Hong Kong, Mexico, Paris, Southeast Asia—and will discuss how they deal with urgent issues such as dissent, war, American policy, terror, and climate change as both writer and other in a world in which being neutral is not an option.
***** SATURDAY, March 10, 2018 *****
9 a.m. to 10:15 a.m.
Florida Salon 5, Marriott Waterside, Second Floor
S114. Conflict, Crisis, Verse: Four Poets in Conversation. (Peter Molin, Jehanne Dubrow, Dunya Mikhail, Benjamin Busch, Brian Turner)
During a period of political exigency and social anxiety, how can poets and poetry teach, inspire, connect, and heal? Four widely published and celebrated poets—two military combat veterans, an Iraqi-American emigre, and the spouse of a military officer—draw on the urgency and insight born of their experience of war to trace the dynamic relationship of poetic voice and technique, personal circumstance and perspective, and turbulent national and global events.
10:30 a.m. to 11:45 a.m.
Meeting Room 1, Marriott Waterside, Second Floor
S144. The Value of Redemption When Writing YA Literature About Protest and Violence. (Ann Angel, Debra Brenegan, Heather Lee Schroeder, Artress Bethany White)
Recognizing the conflict inherent in protest and how protest ignored can lead to violence and war, writers instinctively examine the redemptive qualities found in protest and transform their communities by opening readers to diverse ideas and challenges. This panel of writers and writing teachers provides a powerful opportunity to help participants recognize the many ways that protest can effect redemptive resolutions through the written word.
10:30 a.m. to 11:45 a.m.
Meeting Room 9 & 10, Marriott Waterside, Third Floor
S146. Crossings and Crosses: Caribbean Women Writers on Immigration, Deportation, and Identity . (Jennifer McCauley, Donna Aza Weir-Soley, Fabienne Josaphat, Anjanette Delgado, Katia D. Ulysse)
Long before the Trump era, Caribbean writers have long been concerned with issues surrounding immigration. As subjects of colonial powers "crossing the sea" has long been our preoccupation whether it was to seek out opportunities for economic advancement, to pursue higher education or to fight in various wars for our colonial "Mother country." Our writing, like that of Junot DÃaz or Ana Menendez, addresses immigration including assimilation, acculturation, nostalgia, identity, and deportation.
10:30 a.m. to 11:45 a.m.
Room 1, Tampa Convention Center, First Floor
S151. Giving Voice to Nontraditional Populations Through Storytelling. (Deborah Finkelstein, Robert McKenzie, Alfonso Ramirez, Charles Rice-Gonzalez)
How do we give voice to nontraditional populations? Through storytelling. We will discuss successful methods of working one-on-one or in groups with members of nontraditional populations including the elderly, veterans, the incarcerated, young adults with special needs, and multilingual speakers. We’ll demonstrate exercises for sharing stories with actors to create a collaborative piece as well as methods for individuals to write their stories as short stories, monologues, poetry, and plays.
10:30 a.m. to 11:45 a.m.
Room 11, Tampa Convention Center, First Floor
S155. Subverting the Stereotypes: Performances by Warrior Writers and Combat Hippies. (Lovella Calica, Nicole Goodwin, Hipolito Arriaga, Allen Minor) Military veterans and service members are often used as commercial and political props. This reading will offer performances by two veteran-focused literary organizations challenging veteran stereotypes that not only stifle constructive dialogue about war and its consequences, but also fuel US militarism. These poetic performances will present veterans as the diverse social group they are, while also encouraging other veterans to speak truth to power.
12 noon to 1:15 p.m.
Room 14, Tampa Convention Center, First Floor
S188. Not Heartwarming: Beyond Military and Feminine Tropes in Veterans’ Stories. (Dorothy Hasson, Krista Tucker, Sonya Lea)
How do we create new narratives in a culture dominated by conventional war stories? Stories of women veterans are less emphasized in our culture, and are often challenging to write and teach, due to the fragmentation resulting from military sexual trauma and PTS. Two mentors discuss working with under-represented populations alongside two of their students—a young veteran forced to alter her gender to survive a war, and a mature veteran who broke traditional female roles to survive the military.
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31 January 2018
Darron L. Wright Awards Deadline is March 15, 2018
![]() |
| Darron L. Wright PHOTO: Line of Advance |
Line of Advance Editor Chris Lyke writes:
Thanks to a generous donation from the Blake and Bailey Foundation, Line of Advance is presenting the Col. Darron L. Wright Award. Like us, Darron Wright was a soldier: a larger than life infantry commander with several tours under his belt. And also like us, Col. Wright was a writer: a thoughtful, reflective artist, eager to tell the truth about his men with compassion and a commander’s eye. This award is presented in his name in an effort to honor his memory.The contest is currently accepting both prose (category includes both fiction and non-fiction) and poetry. Deadline is March 15, 2018. Contest is open to military service members and veterans.
Three finalists will be named, with $250, $150, and $100 prizes each to be awarded. Submissions may be made via the journal's website here. Make sure to specify "contest" at the end of the title field.
According to a corresponding note on the publication's Facebook page, all contest submissions will be published on the website, and winners will be chosen by a panel of veteran and non-veteran writers and poets.
In addition to other assignments, Darron Wright served as battalion operations officer for 1st Battalion, 8th Infantry Regiment, 3rd Brigade, 4th Infantry Division, Fort Carson, Colo., with whom he deployed to Iraq from 2003 to 2004. Wright was next assigned as brigade executive officer with 4th Brigade, 4th Inf. Div., Fort Hood, Texas, with whom he deployed to Iraq from 2005 to 2006. He commanded the 1st Battalion, 509th Parachute Inf. Reg. at the Joint Readiness Training Center, Fort Polk, La. in 2007. From 2009 to 2013, Wright was assigned as deputy brigade commander for the 4th Stryker Brigade, 2nd Inf. Div., with whom he deployed to Iraq from 2009 to 2010.
A graduate of the U.S. Naval War College, Wright authored "Iraq Full Circle: From Shock and Awe to the Last Combat Patrol in Baghdad and Beyond."
Wright's full biography appears here.
"Darron L. Wright was a larger than life Soldier’s Soldier. He was a physically imposing, direct, and skilled warrior," the Line of Advance editors write.
He was also witty, hilarious, generous, kind, and wholly consumed with love for his family. He will certainly be missed but he will never be forgotten. His intellectual curiosity, boundless optimism, and untiring work ethic, allowed him to reach heights he could only dream of as a young boy growing up in Mesquite, Texas. It is in this spirit that the Darron L. Wright Award was created, to inspire fellow military writers and poets to aspire to become better and more accomplished at their craft and at telling their story.
24 January 2018
7th Veterans-Lit Anthology Deadline: June 1, 2018!
Deadline for submissions to a seventh volume titled "Proud to Be: Writing by American Warriors"—an anthology of military-themed fiction, non-fiction, poetry, essays, oral histories, and photography—is June 1, 2018. The project is open to all military personnel, veterans, and family members.
According to the call for submissions, each category carries a first-prize of $250. All entries will be considered for the anthology. There is no entry fee to the contest or publication.
Through the efforts of the Warriors Arts Alliance, the Missouri Humanities Council, and Southeast Missouri State University Press, the first "Proud to Be"
volume was published in November 2012.
"[T]his series of anthologies preserves and shares the perspectives of our military and veterans of all conflicts and of their families," reads the Southeast Missouri State University Press contest page. "It is not only an outlet for artistic expression but also a document of the unique aspects of wartime in our nation’s history."
With second, third, and fourth issues, the press established itself as a leading venue for "veterans-lit," consistent in both quality and quantity. In 2014, the press also published "The Shape of our Faces No Longer Matters," a poetry collection by U.S. Marine veteran Gerardo "Tony" Mena.
The tradition of excellence continued with the fifth and sixth issues.
Red Bull Rising blog reviews of past issues of the "Proud to Be" anthology appear here and here.
For a 2012 Red Bull Rising interview with original series editor Susan Swartwout, click here.
Submissions must be made through the Southeast Missouri State University Press Submittable page here. According to guidelines:
According to the call for submissions, each category carries a first-prize of $250. All entries will be considered for the anthology. There is no entry fee to the contest or publication.
Through the efforts of the Warriors Arts Alliance, the Missouri Humanities Council, and Southeast Missouri State University Press, the first "Proud to Be"
"[T]his series of anthologies preserves and shares the perspectives of our military and veterans of all conflicts and of their families," reads the Southeast Missouri State University Press contest page. "It is not only an outlet for artistic expression but also a document of the unique aspects of wartime in our nation’s history."
With second, third, and fourth issues, the press established itself as a leading venue for "veterans-lit," consistent in both quality and quantity. In 2014, the press also published "The Shape of our Faces No Longer Matters," a poetry collection by U.S. Marine veteran Gerardo "Tony" Mena.
The tradition of excellence continued with the fifth and sixth issues.
Red Bull Rising blog reviews of past issues of the "Proud to Be" anthology appear here and here.
For a 2012 Red Bull Rising interview with original series editor Susan Swartwout, click here.
Submissions must be made through the Southeast Missouri State University Press Submittable page here. According to guidelines:
- Put your name and contact info on first page and nowhere else on the manuscript.
- Limit one submission in each category per person.
- Poetry: up to 3 poems (5 pages maximum). Keep poems in one document (with 1st poem as title).
- Fiction, essay, or interview: 5,000-word limit.
- Photography: up to 3 good-quality photos (will be printed in the book as black and white).
- Submissions exceeding the limits will be disqualified.
- Include a biography of 75 words or less with each submission. Explicitly mention author's connection to military.
- Winners and contributors will be notified by Nov. 1, 2018.
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06 December 2017
New Essay Reveals the Origins of the 'Red Bull' Patch!
From the writer of the Red Bull Rising blog! New work includes "10 haiku about Operation Desert Storm," appears in the latest volume of "Proud to Be: Writing by American Warriors" anthology series, released earlier this week! Written in the snarky spirit of "Welcome to FOB Haiku: War Poems from Inside the Wire," the work includes such gems as:
Published by the Southeast Missouri State University Press, the book can be purchased via Amazon here.
Other recently published books about the 34th Inf. "Red Bull" Division can be found at this link.
Saddam promisesAlso appearing in the 230-page anthology is "Marvin Cone Goes to War," a 3,000-word essay about how artist Marvin Cone, then a U.S. National Guard private first class from Cedar Rapids, Iowa, came to design the 34th Infantry "Red Bull" Division insignia. The story involves trips that Cone took with his unit's officers, into the New Mexico desert, seeking out treasures from archeological dig sites first established by Smithsonian Institution scientists. Think of it as ... "Raiders of the Lost Bowl"!
the “Mother of All Battles”
if we take Kuwait.
Voice of Darth Vader
adds commercial gravitas:
“This ... is C.N.N.”
Laser-guided gaze
reveals war is really just
Super Nintendo.
Published by the Southeast Missouri State University Press, the book can be purchased via Amazon here.
Other recently published books about the 34th Inf. "Red Bull" Division can be found at this link.
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11 October 2017
Same Mission, Different Verse: The Aiming Circle
When I first started writing the Red Bull Rising blog in December 2009, it was partly because I needed to learn about blogging technology and practice for a then-upcoming full-time Army job, and partly to document for my very young children what had been so gosh-darn important that I had to leave home for a year.
Later, when I got dropped off the deployment list for Afghanistan, I found myself writing in order to translate and document the experience for my buddies' families.
I eventually traveled to Afghanistan on my own dime (and my wife's airline miles), and embedded with my former unit as civilian media in May-June 2011.
In each and all of these endeavors, I've followed the same mission statements:
I wrote an award-winning book, "Welcome to FOB Haiku: War Poems from Inside the Wire," which was published in 2015.
I also helped collect and edit a 668-page book of news articles and photographs generated by the 2nd Brigade Combat Team (B.C.T.), 34th Infantry "Red Bull" Division during its deployment. That book is "Reporting for Duty: U.S. Citizen-Soldier Journalism from the Afghan Surge, 2010-2011," published in 2016.
As I've continued to generate poetry, essays, and other military-themed writing, I've sought to encourage and enable others do to the same. I regularly signal-boost publishing opportunities via a special "Get Published" page on the Red Bull Rising blog. I conduct how-to workshops and seminars. I edit the poetry section of the non-profit Military Experience & the Arts' "As You Were" literary journal. I peer-mentor via conversations with my fellow members of the Military Writers Guild.
Having grown beyond military blogs, "Veterans Lit" is now a vital and vibrant field of practice. I'll include in this label any man or woman, military or civilian, who attempts to build community and mutual understanding through art and writing. This is not just writing to express one's feelings (as it is so often dismissively regarded)—this is doing the hard work of stitching society back together.
It may be time to expand the effort to include more fronts, and to ask for more active engagement by my fellow practitioners.
You can continue to read about citizen-soldiers and how to support them at the Red Bull Rising blog here, and at the related Facebook page here. That includes occasional humor, news, events, and reviews of books, movies, and other media of potential interest to military service members and their families.
You can continue to read about my adventures as citizen-soldier-poet at the FOB Haiku blog here, and at the related Facebook page here.
And now, if you are a fellow practitioner of military writing—poetry, fiction, non-fiction, essay, you name it—you can help support and explore a growing amount of how-to coverage at The Aiming Circle blog here, and at the related Patreon page here.
Later, when I got dropped off the deployment list for Afghanistan, I found myself writing in order to translate and document the experience for my buddies' families.
I eventually traveled to Afghanistan on my own dime (and my wife's airline miles), and embedded with my former unit as civilian media in May-June 2011.
In each and all of these endeavors, I've followed the same mission statements:
- To explain in plain language the roles, responsibilities, and routines of the U.S. citizen-soldier, with particular focus on the U.S. 34th Infantry "Red Bull" Division.
- To illuminate ways in which citizen-soldiers past and present--as well as their families--can be remembered, supported, and celebrated.
I wrote an award-winning book, "Welcome to FOB Haiku: War Poems from Inside the Wire," which was published in 2015.
I also helped collect and edit a 668-page book of news articles and photographs generated by the 2nd Brigade Combat Team (B.C.T.), 34th Infantry "Red Bull" Division during its deployment. That book is "Reporting for Duty: U.S. Citizen-Soldier Journalism from the Afghan Surge, 2010-2011," published in 2016.
As I've continued to generate poetry, essays, and other military-themed writing, I've sought to encourage and enable others do to the same. I regularly signal-boost publishing opportunities via a special "Get Published" page on the Red Bull Rising blog. I conduct how-to workshops and seminars. I edit the poetry section of the non-profit Military Experience & the Arts' "As You Were" literary journal. I peer-mentor via conversations with my fellow members of the Military Writers Guild.
Having grown beyond military blogs, "Veterans Lit" is now a vital and vibrant field of practice. I'll include in this label any man or woman, military or civilian, who attempts to build community and mutual understanding through art and writing. This is not just writing to express one's feelings (as it is so often dismissively regarded)—this is doing the hard work of stitching society back together.
It may be time to expand the effort to include more fronts, and to ask for more active engagement by my fellow practitioners.
You can continue to read about citizen-soldiers and how to support them at the Red Bull Rising blog here, and at the related Facebook page here. That includes occasional humor, news, events, and reviews of books, movies, and other media of potential interest to military service members and their families.
You can continue to read about my adventures as citizen-soldier-poet at the FOB Haiku blog here, and at the related Facebook page here.
And now, if you are a fellow practitioner of military writing—poetry, fiction, non-fiction, essay, you name it—you can help support and explore a growing amount of how-to coverage at The Aiming Circle blog here, and at the related Patreon page here.
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02 August 2017
Comics Journalism Book Review: "Rolling Blackouts"
Book Review: "Rolling Blackouts: Dispatches from Turkey, Syria, and Iraq" by Sarah Glidden
Sarah Glidden's "Rolling Blackouts" is an essential exploration of what it means to ask questions and tell stories. You should experience it.
I say "experience," rather than "read." Or "view." Because "Rolling Blackouts" is what other people might dismiss as a comic book.
What should one call, however, a 304-page illustrated navigation of national identities and communications theory, one that crosses borders and shares private experiences, and that seeks concrete answers while also celebrating ambiguity and complexity? Is the preferred term "graphic non-fiction novel"? A work of "Comics journalism"? To the uninitiated, these terms seem dismissive, inadequate to the artistic and rhetorical accomplishments at hand.
Although it defies easy labeling, Sarah Glidden's second book is imminently accessible. Each page is designed on a 9-panel grid, and filled with elegantly drawn pictures, warmly colored with watercolors. Action and exposition is primarily driven by dialogue—interactions among characters—rather than by authorial narration. To put it another way: There more word-balloons more than text boxes.
The illustrations offer setting and mood, giving readers a more-immersive experience than what might be possible via text, or even photo.
The book relates the 2010 story of four friends who make up a Washington-based non-profit journalism enterprise called The Seattle Globalist, who travel to Turkey, Syria, and Iraq in search of stories regarding the Iraqi refugee experience.
Glidden goes along for the ride, intending to observe and report on the process itself. Dialogue and events depicted in the book are based on her recordings, impressions, and memories of events. She notably and explicitly avoids labeling the work as memoir.
Multimedia journalists Sarah Stuteville and Jessica Partnow are life-long friends, who also knew former Marine artilleryman Dan O'Brien from high school days. As a military veteran, O'Brien goes along to file occasional video impressions of what it's like to return to Iraq, having deployed with Kilo Company, 3rd Battalion, 4th Marines to Ramadi in 2007. Alex Stonehill is the team's photographer.
Via Stuteville and others, Glidden learns about nuts-and-bolts journalism terms like "lav-mics" and "B-roll," and experiences first-hand the embarrassing, excruciating pain of transcribing interviews from digital recordings. Meeting other journalists in the field, she explores the limitations and advantages of embedding civilian journalists with U.S. military personnel, and how various types of sources are sometimes limited in their abilities to directly tell the stories of the refugees they're trying to help. Language is sometimes a barrier to effective reporting, a problem that Glidden's own visual, sequential medium seems uniquely able to depict.
Stuteville's standards of journalism are appropriate to all forms of non-fiction storytelling, whether blogging or Tweeting or writing for an old-school print publication. As such, "Rolling Blackouts" would be a useful text in journalism and communications classes:
For the most part, Stuteville and her team are pragmatically idealistic, recognizing the freelance realities of marketing stories to editors. Some stories are necessary, because they'll help pay the bills. Other stories just won't sell.
Some of the dramatic tensions lay between individual team members as characters. Stuteville, for example, openly wants to leverage the powers of journalism to document a narrative change in her Marine friend O'Brien, but is repeatedly frustrated by her professional and personal inability to make that connection:
That's not just story-telling. That's art.
"Rolling Blackouts: Dispatches from Turkey, Syria, and Iraq" is available in hard cover via Amazon and other booksellers.
Sarah Glidden's "Rolling Blackouts" is an essential exploration of what it means to ask questions and tell stories. You should experience it.
I say "experience," rather than "read." Or "view." Because "Rolling Blackouts" is what other people might dismiss as a comic book.
What should one call, however, a 304-page illustrated navigation of national identities and communications theory, one that crosses borders and shares private experiences, and that seeks concrete answers while also celebrating ambiguity and complexity? Is the preferred term "graphic non-fiction novel"? A work of "Comics journalism"? To the uninitiated, these terms seem dismissive, inadequate to the artistic and rhetorical accomplishments at hand.
Although it defies easy labeling, Sarah Glidden's second book is imminently accessible. Each page is designed on a 9-panel grid, and filled with elegantly drawn pictures, warmly colored with watercolors. Action and exposition is primarily driven by dialogue—interactions among characters—rather than by authorial narration. To put it another way: There more word-balloons more than text boxes.
The illustrations offer setting and mood, giving readers a more-immersive experience than what might be possible via text, or even photo.
The book relates the 2010 story of four friends who make up a Washington-based non-profit journalism enterprise called The Seattle Globalist, who travel to Turkey, Syria, and Iraq in search of stories regarding the Iraqi refugee experience.
Glidden goes along for the ride, intending to observe and report on the process itself. Dialogue and events depicted in the book are based on her recordings, impressions, and memories of events. She notably and explicitly avoids labeling the work as memoir.
Multimedia journalists Sarah Stuteville and Jessica Partnow are life-long friends, who also knew former Marine artilleryman Dan O'Brien from high school days. As a military veteran, O'Brien goes along to file occasional video impressions of what it's like to return to Iraq, having deployed with Kilo Company, 3rd Battalion, 4th Marines to Ramadi in 2007. Alex Stonehill is the team's photographer.
Via Stuteville and others, Glidden learns about nuts-and-bolts journalism terms like "lav-mics" and "B-roll," and experiences first-hand the embarrassing, excruciating pain of transcribing interviews from digital recordings. Meeting other journalists in the field, she explores the limitations and advantages of embedding civilian journalists with U.S. military personnel, and how various types of sources are sometimes limited in their abilities to directly tell the stories of the refugees they're trying to help. Language is sometimes a barrier to effective reporting, a problem that Glidden's own visual, sequential medium seems uniquely able to depict.
Stuteville's standards of journalism are appropriate to all forms of non-fiction storytelling, whether blogging or Tweeting or writing for an old-school print publication. As such, "Rolling Blackouts" would be a useful text in journalism and communications classes:
- Is it informative? Is it trying to inform people about a topic or a time or a person?
- Is it reliable? Is it true and can we find out that it's true?
- Is is accountable? Do we know who did it, and if we find out that something was untrue, will they take responsibility for it?
- And is it independent? So did the person report this for no reason beyond getting to the truth, or did they do it because they were paid by an interested party?
For the most part, Stuteville and her team are pragmatically idealistic, recognizing the freelance realities of marketing stories to editors. Some stories are necessary, because they'll help pay the bills. Other stories just won't sell.
Some of the dramatic tensions lay between individual team members as characters. Stuteville, for example, openly wants to leverage the powers of journalism to document a narrative change in her Marine friend O'Brien, but is repeatedly frustrated by her professional and personal inability to make that connection:
Dan O'Brien: "I feel a lot of pressure to give you good sound bites right now. I feel like the fate of your entire project is resting on me and I'm just blowing it and you guys are like, 'This guy hasn't said anything cool yet.'"Contrast this statement of editorial zen, however, with a later conversation between Stuteville and Alex Stonehill, the photographer:
Sarah Stuteville: "Not at all. A good journalist doesn't go into a story already knowing the conclusion. People never say the stuff you want them to say … and the revelation that happens is never the revelation you were expecting. The story never goes the way it's supposed to. Which makes it kind of fun!"
Stuteville: "To me, the story of Dan is in the things he asserts that aren't true. The louder he says, 'I'm not that f---ed up veteran, the war didn't define me, I don't have bad dreams or anxiety …' the more I know it's true." […]In a work full of professional trade secrets, clear-eyed self-examinations, and celebrations of ambiguity, Glidden has told a series of stories that is simultaneously behind-the-scenes, and insightful meta-commentary. She has effective captured the journalistic yin-yang by showing, not telling. As a non-fiction storyteller and as a military veteran, Stuteville's struggle is my own, as is O'Brien's. Glidden has provided a bridge, which privileges each perspective without judgement.
Stonehill: "Yeah, the best way for this to go from an editor's perspective is for Dan to meet some Iraqis and then have a nervous breakdown and be like, 'Oh, I'm so f---ed up over what I did and I have PTSD and war is so terrible.' That's the Hollywood narrative they want. But that's so f---ed up!" […]
Stuteville: "Dan was a little hippie kid from Seattle who was completely seduced by the bravado and romance of the military. He went in and he felt like he became a man, and some guys died, but he's glad he did it. And I don't get the sense that he will ever be un-glad that he did it. And you're not supposed to tell that story. No editor wants that story."
That's not just story-telling. That's art.
"Rolling Blackouts: Dispatches from Turkey, Syria, and Iraq" is available in hard cover via Amazon and other booksellers.
at
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Charlie Sherpa
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19 July 2017
'As You Were' Now Open to Writing & Art Submissions
Editors at the literary journal "As You Were," published by the 501(c)3 non-profit organization Military Experience & the Arts, have opened the window for submitting poetry, fiction, and non-fiction until Aug. 14, 2017. Submissions will be considered for the journal's upcoming seventh issue, to be published FREE on-line in November 2017.
According to a website page describing the organization's publishing history and philosophy:
Military service members, veterans, family members, and others may submit writing and art. Works must previously unpublished, either in print or on-line, although they may be simultaneously submitted to other journals.
For poetry submissions guidelines, click here.
For fiction submissions guidelines, click here.
For non-fiction submissions guidelines, click here.
For visual arts submissions guidelines, click here.
Disclosure: The writer of the Red Bull Rising blog is also the poetry editor of "As You Were" literary journal.
According to a website page describing the organization's publishing history and philosophy:
Our title ["As You Were"] also connotes a harkening back, an exploration of the self and the past. We’re interested in those words and works of art that are brave enough to cut through rank and time, presenting military experience honestly, free of the white-washing that can appear in today’s war literature and art. We’ve published numerous volumes since 2011, providing each contributor–regardless of whether that contributor has published 25 words or 25 books–with some form of one-on-one consultation if they wanted it.As previously reviewed on the Red Bull Rising blog, the journal "As You Were" uniquely packages its submissions process as something akin to a virtual writing workshop. Unlike the thumbs-up-or-down approach of other journals, writers of all experience levels may engage in multiple drafts with peer editors and readers, while preparing pieces for publication. Regardless of whether a piece is accepted after one edit or many, however, the objective, however, is always the same: Help writers find new ways to document and communicate the military experience.
Military service members, veterans, family members, and others may submit writing and art. Works must previously unpublished, either in print or on-line, although they may be simultaneously submitted to other journals.
For poetry submissions guidelines, click here.
For fiction submissions guidelines, click here.
For non-fiction submissions guidelines, click here.
For visual arts submissions guidelines, click here.
Disclosure: The writer of the Red Bull Rising blog is also the poetry editor of "As You Were" literary journal.
07 June 2017
Book Review: 'The Warbird' by Tara Copp
Book Review: "The Warbird: Three Heroes, Two Wars, One Story" by Tara Copp
In a fast-reading 240-page book, journalist Tara Copp weaves together her own war narratives with those of her World War II fly-boy grandfather, who flew B-24 "Liberator" bombers out of England and Italy, and her Band of Brothers paratrooper great-uncle, who was among the first to parachute into France on D-day.
Along the way, readers are introduced to the U.S. Air Force security team with whom she shared as a newspaper reporter her first battlefield experiences in Iraq, and to the behind-the-scenes reality of the Rose Will Monroe, a civilian industrial worker who was one of the inspirations for the iconographic Rosie the Riveter.
Conceptually, the whole thing seems so heavily laden with editorial ordnance, you might wonder at it's ability to take flight. In Copp's sure hands, however, the book quickly achieves both speed and altitude, and cruises on to deliver bombshell after bombshell. It's an entertaining, insightful read. There are punchy anecdotes about student-pilots falling out of planes, for example, and bombing missions gone wrong. ("We Bombed Switzerland"?!) There's even a little infidelity tossed around. Nothing salacious. Just the facts. And more true to the military experience than other war stories currently on bookstore shelves.
Copp is a memoirist's memoirist. While still sentimental enough to address her grandfather's ghost directly in her ongoing internal monologue, she also casts an unblinking, realistic eye toward both familial faults and her own actions. The tone is conversational—at times, confessional. There's sex and bombs and divorce and death, but it's straightforwardly reported, rather than sensationalized.
During the initial U.S. invasion of Iraq in 2003, Copp was a Washington, D.C.-based reporter for Scripps Howard News Service newspapers in Texas. In 2011, she returned to Iraq as a Government Accountability Office employee. (She's now returned to journalism, a Pentagon correspondent for Stars and Stripes.) From these bookend experiences, she derives both a personal and philosophical response to war:
Available in trade paperback, hardcover, Kindle, iBooks, and other formats.
In a fast-reading 240-page book, journalist Tara Copp weaves together her own war narratives with those of her World War II fly-boy grandfather, who flew B-24 "Liberator" bombers out of England and Italy, and her Band of Brothers paratrooper great-uncle, who was among the first to parachute into France on D-day.
Along the way, readers are introduced to the U.S. Air Force security team with whom she shared as a newspaper reporter her first battlefield experiences in Iraq, and to the behind-the-scenes reality of the Rose Will Monroe, a civilian industrial worker who was one of the inspirations for the iconographic Rosie the Riveter.
Conceptually, the whole thing seems so heavily laden with editorial ordnance, you might wonder at it's ability to take flight. In Copp's sure hands, however, the book quickly achieves both speed and altitude, and cruises on to deliver bombshell after bombshell. It's an entertaining, insightful read. There are punchy anecdotes about student-pilots falling out of planes, for example, and bombing missions gone wrong. ("We Bombed Switzerland"?!) There's even a little infidelity tossed around. Nothing salacious. Just the facts. And more true to the military experience than other war stories currently on bookstore shelves.
Copp is a memoirist's memoirist. While still sentimental enough to address her grandfather's ghost directly in her ongoing internal monologue, she also casts an unblinking, realistic eye toward both familial faults and her own actions. The tone is conversational—at times, confessional. There's sex and bombs and divorce and death, but it's straightforwardly reported, rather than sensationalized.
During the initial U.S. invasion of Iraq in 2003, Copp was a Washington, D.C.-based reporter for Scripps Howard News Service newspapers in Texas. In 2011, she returned to Iraq as a Government Accountability Office employee. (She's now returned to journalism, a Pentagon correspondent for Stars and Stripes.) From these bookend experiences, she derives both a personal and philosophical response to war:
The allure of war took an early, fast grip upon me in 2003. It was though wiser eyes that I watched that same spell be cast […] eight years later at U.S. Embassy-Baghdad. The embassy was fortress America, a pressurized pit of high policy stakes with thoughts of men and women, so far from home. The excitement of war enveloped them too. The trysts that launched that fall, as they had every year before, became the tight-lipped fodder of friendships to last forever, because the people who went through this assumed no one back home would understand.On the ground, the B-24 Liberator is an ungainly, swollen-looking craft. In the air, however, and in the right hands, it delivers its payload, right on target. Tara Copp's "Warbird" is a great potential summer read, a fine Father's Day gift, or a unique find for the World War II aviation enthusiast who thinks they've already read it all.
I finally understood it, and I didn't want to begrudge them the experience. But I still didn't want to go to dinner on those nights of steak and lobster, under festive bunting and enormous American flags. I wanted to honor war and the men and women who fought it for what it was, not how we wanted it to look. I knew that 2011 was no different than 2003 was not different than 1944. There was still cheating and drama, deaths and injury, greed and heroism. […]
Available in trade paperback, hardcover, Kindle, iBooks, and other formats.
10 May 2017
Is Midwestern Military Writing Officially a Thing?
Whether you call it "war writing," or "military writing," or "writing about military experience," the literary terrain of the American Middle West is an increasingly fertile frontier in which to grow civil-military discourse.
Although I was born on the West Coast into an active-duty Air Force family, I claim Iowa as a home state. I graduated from high school here. I'm raising a family here. In journalism jargon, I'm a bit of a booster. I write poetry and edit books about Midwesterners in the military. I've even, with a little help from friends and colleagues, presented a panel discussion in Washington, D.C. about how "flyover country" responds to war. Unnumbered Sherpatude: "In writing about war, everyone grinds their own axe." Mine is the American Middle West, and how good people who serve our country are often overlooked by cultural and political power centers.
There are many, many different ways to describe and conscribe the Middle West as a region. If you want to start a quasi-religious debate, just ask what states other people include in "Midwest." My personal blend includes all the area between the Ohio and Missouri Rivers, and even the southern states whose territories were acquired in the Louisiana Purchase. I further note with pride that, of the many conflicting maps that are available of the Midwest, the inclusion of Iowa is never questioned.
Still, the old journalist in me adheres to the even-older rule: A single example could just be wishful thinking. Two examples could be coincidence. Three examples, however, equals a trend.
I am writing today to declare that Midwestern military writing is officially a thing.
Example No. 1: Now in its sixth cycle of production, the "Proud to Be: Writing by American Warriors" series from Southeast Missouri State University Press, with the support of the Missouri Humanities Council, is the established flagship anthology of military writing. While there have been and will be other anthology projects, none has yet achieved the consistent quality and quantity of the "Proud to Be" series.
(There's still time to submit fiction, non-fiction, poetry, photography, and more before the "Proud to Be, Vol. 6" deadline of June 1, 2017. Click here for details.)
Example No. 2: The Chicago-based on-line literary journal Line of Advance recently announced the results of its 2nd Annual Darron L. Wright military writing award. Underwritten by the Blake and Bailey Foundation, the contest serves as a living memorial for a fallen soldier, by incubating fresh words and stories on war.
Example No. 3: The Deadly Writers Patrol, headquartered in Madison, Wis. has successfully evolved from a community of Vietnam War-era writers into an engaged, inclusive community that stretches to 21st century veterans. The group has published 11 editions of its print journal since 2006. With its just-released issue No. 12, the annual publication will increase production frequency to twice a year. There is also a new website design, and submissions to the publications are now made via Submittable.
(Order the latest Deadly Writers Patrol issue here!)
There are other, supporting indicators of a growing population and presence of military-writing voices from the Midwest. In 2015, the second Military Experience & the Arts Symposium was hosted in Lawton, Okla. Based at the University of Wisconsin at Stevens Point, David Chrisinger ("See Me for Who I Am") incorporates writing workshops in his programming efforts both on campus and via non-profits such as Team RWB and The War Horse.
And, because some literary critics focus solely on book-length work and nothing else, there are palletsful of Midwestern war books. Matthew Hefti's "Hard and Heavy Thing" has its heart in Wisconsin. Susanne Aspley's "Granola, MN" is full of the quirky humor of the region. Journalist Whitney Terrell, based in Kansas City, Mo., gave us "The Good Lieutenant." And genre-jumper M.L. Doyle, who grew up in Minnesota, has delivered a number of titles—mystery, urban fantasy, and more—each infused with war themes.
Memoirist Anglea Ricketts ("No Man's War") speaks with plain-spoken insight and humor of Indiana, while Iraq War veteran Kayla Williams ("Love My Rifle More than You" and "Plenty of Time When We Get Home") and does the same from her Ohio origins. And, while Andria Williams set her first novel "The Longest Night") in Idaho for historical reasons, I'd argue the work illuminates and radiates a particular familiarity with the archetypical Midwesterner's emotional landscape. She got her MFA in creative writing at the University of Minnesota, you know.
Finally, writer Roy Scranton ("War Porn") is now faculty at the University of Notre Dame, South Bend, Ind. He grew up in Oregon, but, like many people, perhaps he's decided the Middle West is as good a place as any to wait out the Anthropocene.
The bottom line, for right now? Midwestern military writing is a thing. And, with all this Midwestern sense and sensibility brought to bear, I'm certain that we'll soon have this whole Forever War thing figured out in a jiffy. You'll find that we're full of practical, polite solutions and highly accomplished at barely suppressing timeless reservoirs of rage and aspiration. We have been since "The Great Gatsby."
In the meantime, please enjoy this pending new Sherpatude: "War may be hell, but we'll bring hotdish."
*****
Full disclosure: The writer of the Red Bull Rising blog was a poetry finalist in this year's Darron L. Wright writing awards, administered by Line of Advance. He been previously published in the Deadly Writers Patrol journal, and in the "Proud to Be" anthology series.
Although I was born on the West Coast into an active-duty Air Force family, I claim Iowa as a home state. I graduated from high school here. I'm raising a family here. In journalism jargon, I'm a bit of a booster. I write poetry and edit books about Midwesterners in the military. I've even, with a little help from friends and colleagues, presented a panel discussion in Washington, D.C. about how "flyover country" responds to war. Unnumbered Sherpatude: "In writing about war, everyone grinds their own axe." Mine is the American Middle West, and how good people who serve our country are often overlooked by cultural and political power centers.
There are many, many different ways to describe and conscribe the Middle West as a region. If you want to start a quasi-religious debate, just ask what states other people include in "Midwest." My personal blend includes all the area between the Ohio and Missouri Rivers, and even the southern states whose territories were acquired in the Louisiana Purchase. I further note with pride that, of the many conflicting maps that are available of the Midwest, the inclusion of Iowa is never questioned.
Still, the old journalist in me adheres to the even-older rule: A single example could just be wishful thinking. Two examples could be coincidence. Three examples, however, equals a trend.
I am writing today to declare that Midwestern military writing is officially a thing.
Example No. 1: Now in its sixth cycle of production, the "Proud to Be: Writing by American Warriors" series from Southeast Missouri State University Press, with the support of the Missouri Humanities Council, is the established flagship anthology of military writing. While there have been and will be other anthology projects, none has yet achieved the consistent quality and quantity of the "Proud to Be" series.
(There's still time to submit fiction, non-fiction, poetry, photography, and more before the "Proud to Be, Vol. 6" deadline of June 1, 2017. Click here for details.)
Example No. 2: The Chicago-based on-line literary journal Line of Advance recently announced the results of its 2nd Annual Darron L. Wright military writing award. Underwritten by the Blake and Bailey Foundation, the contest serves as a living memorial for a fallen soldier, by incubating fresh words and stories on war.
Example No. 3: The Deadly Writers Patrol, headquartered in Madison, Wis. has successfully evolved from a community of Vietnam War-era writers into an engaged, inclusive community that stretches to 21st century veterans. The group has published 11 editions of its print journal since 2006. With its just-released issue No. 12, the annual publication will increase production frequency to twice a year. There is also a new website design, and submissions to the publications are now made via Submittable.
(Order the latest Deadly Writers Patrol issue here!)
There are other, supporting indicators of a growing population and presence of military-writing voices from the Midwest. In 2015, the second Military Experience & the Arts Symposium was hosted in Lawton, Okla. Based at the University of Wisconsin at Stevens Point, David Chrisinger ("See Me for Who I Am") incorporates writing workshops in his programming efforts both on campus and via non-profits such as Team RWB and The War Horse.
And, because some literary critics focus solely on book-length work and nothing else, there are palletsful of Midwestern war books. Matthew Hefti's "Hard and Heavy Thing" has its heart in Wisconsin. Susanne Aspley's "Granola, MN" is full of the quirky humor of the region. Journalist Whitney Terrell, based in Kansas City, Mo., gave us "The Good Lieutenant." And genre-jumper M.L. Doyle, who grew up in Minnesota, has delivered a number of titles—mystery, urban fantasy, and more—each infused with war themes.
Memoirist Anglea Ricketts ("No Man's War") speaks with plain-spoken insight and humor of Indiana, while Iraq War veteran Kayla Williams ("Love My Rifle More than You" and "Plenty of Time When We Get Home") and does the same from her Ohio origins. And, while Andria Williams set her first novel "The Longest Night") in Idaho for historical reasons, I'd argue the work illuminates and radiates a particular familiarity with the archetypical Midwesterner's emotional landscape. She got her MFA in creative writing at the University of Minnesota, you know.
Finally, writer Roy Scranton ("War Porn") is now faculty at the University of Notre Dame, South Bend, Ind. He grew up in Oregon, but, like many people, perhaps he's decided the Middle West is as good a place as any to wait out the Anthropocene.
The bottom line, for right now? Midwestern military writing is a thing. And, with all this Midwestern sense and sensibility brought to bear, I'm certain that we'll soon have this whole Forever War thing figured out in a jiffy. You'll find that we're full of practical, polite solutions and highly accomplished at barely suppressing timeless reservoirs of rage and aspiration. We have been since "The Great Gatsby."
In the meantime, please enjoy this pending new Sherpatude: "War may be hell, but we'll bring hotdish."
*****
Full disclosure: The writer of the Red Bull Rising blog was a poetry finalist in this year's Darron L. Wright writing awards, administered by Line of Advance. He been previously published in the Deadly Writers Patrol journal, and in the "Proud to Be" anthology series.
at
05:00
Posted by
Charlie Sherpa
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Labels:
indiana,
iowa,
kansas,
minnesota,
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