Walter A. ‘What it felt like‘: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds. In: Ambühl,A, ed. War of the Senses - The Senses in War. Interactions and tensions between representations of war in classical and modern culture = thersites 4. Mainz: Johannes Gutenberg-Universitaet Mainz; Institut fuer Altertumswissenschaften, Klassische Philologie, 2016, pp.275–312. Copyright: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Link to article: http://www.thersites.uni-mainz.de/index.php/thr/article/view/37 Date deposited: 12/01/2018 This work is licensed under a Creative Commons Attribution 3.0 Unported License Newcastle University ePrints - eprint.ncl.ac.uk ANKE WALTER, “What it felt like”: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds, in: Annemarie Ambühl (ed.), Krieg der Sinne – Die Sinne im Krieg. Kriegsdarstellungen im Spannungsfeld zwischen antiker und moderner Kultur / War of the Senses – The Senses in War. Interactions and tensions between representations of war in classical and modern culture = thersites 4 (2016), 275-312. KEYWORDS war; senses; memory; Vergil; Aeneid; novel; Iraq; Kevin Powers; The Yellow Birds ABSTRACT (English) The Nisus and Euryalus episode in the ninth book of Vergil’s Aeneid and Kevin Powers’ 2012 novel The Yellow Birds on a soldier’s experiences in the year 2004 during the American War in Iraq are both constructed around a very similar story pattern of two friends who go to war together and are faced with bloodlust, cruelty, death, mutilation, and the duties of friendship, as well as the grief and silencing of a bereft mother. While the narrative and commemorative background of the two texts is very different – including the sense of an anchoring in tradition, the role of memory, even the existence of a coherent plotline itself – both the Augustan epic and the modern novel employ strikingly similar techniques and sensory imagery in their bid to convey the fundamental experience of warfare and of “what it felt like” as vividly as possible. ABSTRACT (German) Die Episode von Nisus und Euryalus im neunten Buch der Aeneis Vergils und Kevin Powers’ Roman The Yellow Birds (2012) über die Erfahrungen eines Soldaten im Jahr 2004 während des amerikanischen Krieges gegen den Irak sind um ein sehr ähnliches Handlungsschema herum konstruiert: Es geht um zwei Freunde, die zusammen in den Krieg ziehen und mit blutigem Morden, Grausamkeit, Tod, Verstümmelung und den Pflichten der Freundschaft konfrontiert werden, ebenso wie um die Trauer der Mutter, die zum Schweigen gebracht wird. Während die beiden Texte in einem sehr unterschiedlichen erzählerischen und kommemorativen Kontext stehen – wie sich etwa an der Verankerung ihrer Protagonisten in einer Tradition, der Rolle der Erinnerung, sogar der Existenz eines festen Handlungsschemas selbst erkennen lässt – werden im augusteischen Epos und im modernen Kriegsroman vergleichbare Erzähltechniken und die Sinne ansprechende Bilder verwendet, um die Erfahrung des Krieges und “wie es sich anfühlte” so lebendig wie möglich zu vermitteln. “What it felt like”: Memory and the Sensations of War in Vergil’s Aeneid and Kevin Powers’ The Yellow Birds Anke Walter (Rostock) I. Introduction Among the many paradoxes of war, one directly pertains to ancient and modern war narratives: for all technological advances which have fundamentally transformed the face of battle, the existential feelings aroused by war basically remain the same – revulsion at the atrocities committed, fear of death, the mourning of the fallen.1 When literary narratives, even if they are separated by thousands of years, set out to represent war and its horrors, to convey “what it felt like”,2 they face very similar challenges.3 Even the imagery and the literary devices used to represent war often remain astonishingly stable over time. By appealing in similar ways to sensory experiences and feelings which are accessible to all humans alike, texts from very different periods aim at bridging the gap between past and present, 1 Cf. Chrissanthos (2007) on the similarities between ancient and modern warfare and its effects on those involved in it; cf. also the works of Shay (1994); Shay (2003); Tritle (2000). However, Smith (2015) 3 rightly cautions that the meaning people attach to certain sensory experiences and the way they experience them are in fact changed by the events and developments which have occurred between the past and the present; cf. Polleichtner (2009) 38–39 for the different periods of antiquity. Melchior (2011) too argues that “we experience war very differently from the way the Romans did” (221); cf. also Konstan (2014); Crowley (2014). – What matters here, however, is not so much the exact identity of feelings, but the fact that such descriptions can arouse at least similar impressions in readers then and now. 2 This, at least, is how Kevin Powers, author of The Yellow Birds, describes one of the central aims of his novel: cf. Paul Harris, “Emerging wave of Iraq fiction examines America’s role in ‘bullshit war’” The Guardian, 3 January 2013, last accessed 11/26/2016 (http://www.theguardian.com/world/2013/jan/03/iraq-fiction-us-military-war). Given that Powers’ novel had not yet appeared when Kleppien (2010) published his survey of the representation of war in American literature, The Yellow Birds might well be “the Great Iraq War Novel” which, according to Kleppien (p. 408) was still lacking in 2010. 3 Cf. McLoughlin (2009) on “war and words”. 275 Anke Walter between those who have fought in the war and the outsiders.4 And yet, by a further paradox, precisely these most immediately accessible passages of a text, in their larger commemorative and narrative function, also serve to illustrate very well how the larger contexts of memory and commemoration, of tradition and the power of storytelling might considerably change over time. I here propose to examine two texts, which are far removed in time, but which tell a similar story, albeit in very different commemorative contexts: Kevin Powers’ war novel The Yellow Birds5 from 2012 and Vergil’s epic Aeneid, dating to the time of the Roman emperor Augustus. There are a number of striking parallels between the Nisus and Euryalus episode in the Aeneid and the general plot of The Yellow Birds. Both texts are about two friends who go to war together, the death of the one, the duties of friendship which fall on the other, a promise that had been made to – or, in the case of the Aeneid, regarding – the mother of one of them, and that mother’s grief, as well as the public silencing of her mourning. However, it is important to note that the use of these motifs in Kevin Powers’ novel cannot be traced back to the Aeneid in particular. Beyond the general similarities sketched out above, no specific hint at the Vergilian text can be found. The comparison between the Aeneid and Kevin Powers’ novel, which I am going to draw, should therefore be understood not as a case study of direct allusion and influence, but rather as a comparison between two texts and their respective cultural contexts.6 These cultural contexts could hardly be more different, in particular as far as memory is concerned. The one an ancient epic, devoted to the heroic deeds of the great Roman founding father Aeneas, whose victory in the war against Italian tribes paves the way for the foundation of Rome, the other a modern novel on a war not universally regarded as successful. The one an 4 On the problems of depicting wars ancient and modern, cf. e.g. McLoughlin (2009); McLoughlin (2011); Spina (2011); on the depiction and role of “people in war”, Cole (2009). Cf. also Smith (2015) on the role of the senses in accounts of the American Civil War. 5 For the associations inherent in the title, cf. S. Crown, “Kevin Powers on The Yellow Birds: ‘I felt those things, and asked the same questions’”, The Guardian, 11/13/2012 (https://www.theguardian.com/books/2012/nov/13/kevin-powers-the-yellow-birds; last accessed 11/26/2016), as well as p. 139 of the novel (Powers (2013). 6 For the role played by references to Vergil in the context of the war in Iraq, cf. Thomas (2015). Cf. Hawkins (2014) on the place of The Yellow Birds in the tradition of modern war literature. 276 Memory and the Sensations of War in Vergil and Kevin Powers epic on a war long past, the other a text on a recent war,7 which is not strictly autobiographical, but which does reflect the author’s own experience as a soldier in the war in Iraq.8 But still, both texts employ strikingly similar imagery to convey a vivid impression of the war. The reader can thus partake in the sensory perceptions and emotions of the protagonists – but also, in the modern novel, experience the loss of a sense of tradition and of a coherent plot, in which the individual images and sensory impressions can be firmly placed. Although we are here not dealing with a clear case of the reception of an ancient text in a modern work, reading the Aeneid and The Yellow Birds side by side enhances our understanding of both texts. Approaching the modern war novel with the Vergilian paradigm in mind underscores just how disturbing the world as described there has become, while the modern text also reflects back on the Aeneid. For its crucial importance as Rome’s foundational epic and a central text of Augustan Rome, it also reflects the experience of war, even if in a highly literary form.