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War Representations and Their Influence on Future Soldiers Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 8-7-2018 The Past Informs the Future: War Representations and Their Influence on uturF e Soldiers Danielle Rhodes Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Rhodes, Danielle, "The Past Informs the Future: War Representations and Their Influence on uturF e Soldiers." Dissertation, Georgia State University, 2018. https://scholarworks.gsu.edu/english_diss/202 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE PAST INFORMS THE FUTURE: PAST WARS AND THEIR INFLUENCE ON FUTURE SOLDIERS by DANIELLE RHODES Under the Direction of Chris Kocela, PhD ABSTRACT Scholars of the postmodern war narrative have examined the connections between past war representations, which rely heavily on myths of the “ideal soldier,” and their effects on the following generation’s perception of war. It is clear that these depictions inadequately prepare a new soldier due to the fact that each war fought since World War I has differed significantly. My dissertation examines the link between past war representations and soldier expectations, and expands on this phenomenon. I argue that because soldiers are ill prepared, they must quickly create methods to cope with their actual reality, which as I show are also effects of past media. Each war’s literature has presented its own unique method that characters use to create spaces of agency. Their control over the situation is temporary, and they do not truly gain complete agency, because the characters create coping strategies as a reaction to those same representations that prepared them for the wrong war. Examining novels by Joseph Heller, Kurt Vonnegut, Tim O’Brien, Denis Johnson, David Abrams, and Ben Fountain, I trace the media’s influence and consequences through World War II, Vietnam, and the second Iraq War and will map how the novels from each war period share similarities. It is not only these common coping mechanisms the protagonists share, but also at the end of each novels the men never truly gain control over their experiences, due to the fact that the previous representations and perpetuated myths still influence and control their behaviors. INDEX WORDS: World War II, Vietnam War, Iraq War, Joseph Heller, Kurt Vonnegut, Tim O’Brien, Denis Johnson, David Abrams, Ben Fountain, War Narrative THE PAST INFORMS THE FUTURE: PAST WARS AND THEIR INFLUENCE ON FUTURE SOLDIERS by DANIELLE RHODES A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2018 Copyright by Danielle Lauren Rhodes 2018 THE PAST INFORMS THE FUTURE: PAST WARS AND THEIR INFLUENCE ON FUTURE SOLDIERS by DANIELLE RHODES Committee Chair: Chris Kocela Committee: Audrey Goodman Matthew Roudané Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2018 iv DEDICATION This dissertation is dedicated to my mother, who inspired me to be the best I can be and showed me that I can always grow and improve. Every single accomplishment throughout my past and my future is an homage to you. Without your love, support, and some criticism, I would never have become the person I am today. I miss you more with each passing moment and carry you with me always. v ACKNOWLEDGEMENTS I first want to thank my director Dr. Chris Kocela. I never thought that my seminar paper on The Things They Carried my first semester in his contemporary American literature course would have turned into an obsession with Tim O’Brien and the Vietnam War, but here we are. Thank you for sticking with me throughout the years and not giving up on me with every major life change I encountered while taking my exams and writing my dissertation. I am forever indebted to you for your countless hours spent commenting on my writing, which always forced me to take my ideas further and engage more with the literature and criticism. You guided me to ideas that I would not be able to reach on my own. Also a huge thank you my committee, Audrey Goodman and Matthew Roudané, for their continued support and feedback on my ideas and writing. Thank you to my support system: my brother, who cannot wait for me to graduate, so he can beat me at words with friends and say he is smarter than a PhD and my father, who deep down inside wanted me to get my MBA and probably still thinks I will. Thanks to Amber Estlund, who is the only person in my tribe that knows what I am going through and gave me tough love talks when I needed it. Thank you to the Chambers family: Ben for cooking food for me on the Green Egg, Leslie for being my only contact with the outside world some days, Laney for reminding me of how incredible reading and knowledge is, and Abby, the only four year old who has the emotional awareness to know when I’ve had a rough day and gave me hugs and rocks that always made everything better. I also would like to thank Marc, who has had to endure my emotional rollercoaster, especially the last few months. You believed in me, even when I didn’t, and this is as much your dissertation as mine. I love you more than one more day. v vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ V 1 INTRODUCTION............................................................................................................. 1 1.1 World War I Narratives and “Evidencing Manhood” at the Turn of the Century9 1.2 World War II and its Literary Aftermath ............................................................... 16 1.3 Vietnam War Narratives: New Journalism, Magical Realism, and Schemas ...... 22 1.4 The Iraq War Narrative: Framing the War and Maintaining Civilian Support . 32 2 FEELINGS OF FEAR AND COURAGE WHILE COMBATING GENDER EXPECTATIONS IN WORLD WAR II ...................................................................... 43 2.1 Catch-22: Bravery, Cowardice, and the (un)Making of Meaning ......................... 46 2.2 Slaughterhouse-Five: Surviving through the Disruption of Linear Time ............. 68 3 FANTASY MISSIONS, INCORRECT SCHEMAS, AND DISREGARDING THE TRUTH ............................................................................................................................ 83 3.1 Going After Cacciato: Searching for the Truth on the “Road to Paris” ................ 89 3.2 Tree of Smoke: Blinded by My Uncle and My Ambition ...................................... 115 4 FRAMING THE TRUTH IN IRAQ AND THE MILITARY/CIVILIAN DIVIDE 136 4.1 Fobbit: Frame the War for the Civilian, But Do Not Lie ..................................... 142 4.2 Billy Lynn’s Long Halftime Walk: The Civilian Military Divide and Framing .. 162 5 CONCLUSION ............................................................................................................. 177 WORKS CITED........................................................................................................................ 182 1 1 INTRODUCTION War is ubiquitous. Since the beginning of recorded human history, war of varying degrees has existed and just as war has existed, so has the urge to tell the story of war. Even before the concept of organized writing, the desire to depict battles was strong. As Kathleen McLoughlin notes, the war narrative is “12,000 years old, dating from at least the Mesolithic period (10,000- 5,000 BCE) in the form of rock paintings of battle scenes found in the Spanish Levant. The modes by and media in which armed conflict has been recorded over the thousands of years since are multifarious” (7). Moreover, there have been portrayals of war through some of humankind’s most celebrated works—ancient Egyptian tombs contain reliefs illustrating the pharaohs’ various military victories; the works of Homer and Virgil focus heavily on war; and canonical English literature from Beowulf to the Arthurian Legends to the plays of Shakespeare feature the experiences and hardships of warfare. Why is there an enduring human compulsion to tell the story of combat and what makes war stories, even those written thousands of years ago, so compelling today? One possible reason is that representations of warfare reach across historical, cultural, and racial differences to establish a sense of commonality and even empathy among readers. The twenty-first century American may not be able to relate to an ancient Egyptian or a European living during the crusades, but the fear of fighting, being conquered, or dying at the hands of an enemy is almost universally understandable. The reasons why civilizations go to war and the way in which those wars are fought may change considerably, but the experiences of those at war remain remarkably consistent across time and space. The most consistent aspect of experiencing battle is that each war is influenced by the previous war’s representations. Soldiers involved in the next war consume past representations and use this knowledge to construct images of what their own experiences will be. Evelyn 2 Cobley and Laurel Brett connect World War I literature to the myths of honor, the ideological implications
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