Monday, May 25, 2015

In Memoriam


It is Memorial Day here in the United States of America. Today we remember our fallen and their families. We remember that our beloved country exists today thanks to the convictions and bravery of men and women willing to fight to the last for what should be universal truths.
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed - Declaration of Independence
You don't have to agree with and support every move your country makes in order to be a patriot. There are plenty of things wrong here; I will not name them today. There are many more things that are right here; I will not name them today. I will say that patriotism means loving your country enough to gaze at it with eyes wide open, to appreciate and celebrate the good, and to examine that which must be improved with honesty and introspection. Patriotism demands that you get to work in support of the country that supports you, in whatever way you can.

In keeping with the literary theme of this blog, I offer you an essay by Lt. General William James Lennox, Jr., MA and PhD in Literature from Princeton University and fifty-sixth Superintendent of the United States Military Academy at West Point, on teaching literature and poetry to soldiers.

Romance and Reality
By Lt. Gen. William James Lennox Jr. 
As I write this, American soldiers serve in harm's way in places such as Mosul, Fallujah, and Jalalabad. For young leaders in today's Army, the war on terror constitutes a difficult and sometimes tragic reality.

Meanwhile, in the small classrooms of West Point, young cadets consider war through the eyes of Rudyard Kipling, Carl Sandburg, and John McCrae. During his or her plebe year, every West Point cadet takes a semester of English literature, reading and discussing poetry from Ovid to Owen, Spenser to Springsteen ("Thunder Road" provides a catalogue of poetic devices). Cadets must also recite poems from memory, a challenge that many graduates recall years later as one of their toughest hurdles.

Like warfare, poetry can result from the collision between romance and reality, as the ironic title of Owen's "Dulce et Decorum Est" memorably observes. So too, our new cadets arrive full of romantic idealism, then spend the next forty-seven months at the Academy learning the pragmatic realities of discipline, integrity, and leadership.

Why, in an age of increasingly technical and complex warfare, would America's future combat leaders spend sixteen weeks studying the likes of simile, irony, rhyme, and meter?

Those who can't communicate can't lead. Poetry, because it describes reality with force and concision, provides an essential tool for effective communication. Like most colleges, West Point emphasizes both verbal and written communication skills, and our faculty evaluates cadets on their substance, style, organization, and correctness. In studying poetry, cadets gain a unique appreciation for the power of language. From alliteration to onomatopoeia, the poet's tools allow words to transcend the limitations of syntax. We may hear that transcendence in Shakespeare's imagery and Whitman's passion, but it is there as well in the closing cadence of MacArthur's farewell: "when I cross the river, my last conscious thoughts will be of the corps, and the corps, and the corps." We do not hold our cadets to this standard of stentorian elegance; we do, however, teach them to appreciate what makes this language different.

Second, poetry confronts cadets with new ideas that challenge their worldview. The West Point curriculum includes poetry, history, philosophy, politics, and law, because these subjects provide a universe of new ideas, different perspectives, competing values and conflicting emotions. In combat, our graduates face similar challenges: whether to fire at a sniper hiding in a mosque, or how to negotiate agreements between competing tribal leaders. Schoolbook solutions to these problems do not exist; combat leaders must rely on their own morality, their own creativity, their own wits. In teaching cadets poetry, we teach them not what to think, but how to think.

Finally, poetry gives our cadets a new and vital way to see the world, a world that many of my generation could not have imagined. When I entered West Point in the summer of 1967, Academy graduates were waging a very Cold War in central Europe and a very hot war in the jungles of Southeast Asia. In the thirty-eight years since, countless changes, some magnificent and some tragic, have shaped a very different future for my grandson.

Often, these tectonic shifts in history and society resist clear exposition, particularly when these shifts involve armed conflict. Louis Simpson noted this elusiveness when he wrote:

To a foot soldier, war is almost entirely physical. That is why some men, when they think about war, fall silent. Language seems to falsify physical life and to betray those who have experienced it absolutely—the dead.
Since the Iliad, poetry has allowed its writers to capture wars chaos and horror with a power that other artists lacked. One can, for example, read a hundred accounts of the Crimean War, but none of them will convey its pointless barbarity like Tennyson's "Charge of the Light Brigade." Those few stanzas convey the romance and reality of warfare more clearly than any other medium.

We may not produce a poet laureate at the United States Military Academy. If, however, we develop graduates who can communicate clearly, think critically, and appreciate the world through different perspectives, we will provide the Army and the nation with better leaders.
Originally Published: March 1, 2006, Poetry Magazine

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