Of all the memorable scenes thus far in HBO’s first-rate historical drama “The Pacific,” one in particular stands out in my mind. But it’s not one of the many breathtaking, special effects-laden battle sequences. In this scene, there are no whizzing bullets, crashing shells or fantastic explosions. CGI? None. There are no head-shaking acts of heroism, either. Nor is there any blood, gore, sex or profanity. It’s just two men in a dimly-lit tent and some gritty, gripping dialogue – quite possibly the most authentic, likely-to-happen scene in the entire epic miniseries.
It’s the scene, and ironically a likely fabricated one at that, where the paths of Marines Robert Leckie and Eugene Sledge intersect in Leckie’s bunk on Pavuvu just prior to the invasion of Peleliu. Sledge had come to browse Leckie’s library and the two Marines strike up a brief conversation on existential topics that every individual, regardless of rank, religious affiliation or intellectual background, who fought in the P.T.O. no doubt contemplated – belief in God and free will. Sledge selects a bible, revealing his faith to viewers; there’s little need for elucidation on the rookie Marine’s part. And then there’s Lucky.
“Me,” he asserts, “I believe in ammunition.”
It’s the kind of pure, forthright response that only a veteran can utter. Now I’ve never been in combat, and no one has ever fired a shot at me in anger – although I can’t be certain that the thought hadn’t crossed the mind of my editor or agent at one time or another – but having survived my first literary campaign, I can in some way empathize with Leckie – a helluva writer in his own right. So in this, my first blog entry, let me tell you what I, as a writer and historian, believe in.
I believe in the power of a story. I believe that a good story can be more than entertaining. More than educational. I believe that a good story can be transcendent.
I believe in telling the truth, and thus, accuracy. I believe in the absolute necessity of fact-checking and extensive, exhaustive research. But I also believe that no writer is perfect – so please know that any errors in my work, factual or otherwise, were not premeditated. In fact, far from it. I believe that a good, true story needs no embellishment, no editorial airbrushing or alteration save for fact-based interpretation and some solid, honest editing.
Furthermore, I believe that accuracy and boring writing are not necessary bedfellows. Hopefully, Escape From Davao will serve as proof of that statement.
I believe that the men of the 200th Coast Artillery Regiment, of the 21st Pursuit Squadron, of the 1st Marine Defense Battalion, of the 37th Infantry Division, of the 2nd Marine Division, of the USS Franklin, of the Alamo Scouts, as well as thousands of other soldiers, sailors, pilots and Marines who served in the Pacific, are as deserving of praise and this country’s attention and adulation as those of Easy Company and the Eighth Air Force, as Ike and Patton, as their more celebrated comrades-in-arms from the E.T.O. I believe that the Pacific war has long been underresearched and underappreciated. And beginning with Escape From Davao and moving forward with future projects, from books to magazine pieces, I hope to help rectify that situation as well as carry on the work of dedicated writers such as Leckie, Sledge, Richard Tregaskis, William Manchester, Clark Lee, Bill Sloan, Richard Frank, James Bradley and the handful of others who have been fighting and writing to keep America from forgetting about the “other” war in the Pacific.
I also believe in leading from the front. Almost anyone, really, can write a World War II book. But few can write a good World War II book. I’m not one of those rear-echelon writers who rarely leaves the air-conditioned, suburban safety of the States, spends most of his time in the National Archives or else some other repository of historical documents, and simply regurgitates previously published accounts, yellowed newspaper clippings or after-action reports.
I believe that researching history and writing a good story requires more than just an investment of time and money – you have to invest part of yourself into the work. I believe in totally immersing one’s self into the story. Not including yourself in the narrative like Hunter S. Thompson did in his work – which is, of course, an impossibility – but rather my own variation of the good doctor’s practices which one could call “gonzo history.” Such a practice requires you to physically, mentally and spiritually familiarize yourself with not only the characters you are writing about, but the sites, too, absorbing the sights, smells and sounds of those particular locales. Therefore, I try to walk the same earth, sail the same seas, and fly the same skies as the individuals that I’m writing about. In the Pacific, this belief has taken me everywhere from Bataan, Cabanatuan and Corregidor to the Coral Sea, Guam, Hiroshima, Iwo Jima, Manila, Midway, Pearl Harbor, Okinawa, Rabaul, Saipan, Truk and Wake Island. In Europe, from Paris, the Ardennes and Reims to Bastogne, from the Siegfried Line to Dachau.
Once there, I note the temperature, the location of the sun, the phases of the moon. I observe the types of clouds in the sky. The tides, the directional flow and speed of currents. I make inquiries about the flora and fauna. Creation of a sensory catalog is key; take deep breaths, close your eyes and enlist your imagination. You’ve found your way there – the only thing separating you from that particular event at that site is time. I strongly believe that a writer can really enter into communion with his subject by stomping around old battlefields. And especially in the Pacific because, more often than not, these hallowed historic sites remain littered with the rusting detritus of war.
I also believe in not just going there, but in going there. As in getting in character, much like a serious method actor. While a historian can never truly know all of the circumstances surrounding a certain historical situation, nor realistically expect to put himself precisely in a character’s shoes, one can at least attempt to contemplate that character, and thus attempt to see what he saw, fear what he feared, believe what he believed. Some may consider it a stretch, but I believe it is a worthy endeavor, a gesture undertaken out of genuine respect for your subject. This belief has led me to feel the oppressive heat and humidity of New Guinea and to sweat like I’ve never sweated before; to know the ringing and concussed throb that settles into one’s ears after firing a Model M1911A1 .45 caliber Colt automatic; to experience the unparalleled rush of adrenaline that accompanies jumping out of a plane at 13,000 feet; to suffer the constant rumbling of one’s stomach that accompanies eating nothing but a few ounces of salmon and rice for several days. One of the more bizarre things I’ve done, my intention was to simulate the debilitating, demoralizing diet of the defenders of Corregidor.
Yet one can only go so far. There are some things historians can never know or understand, some conditions that one cannot recreate: combat fatigue; artillery bombardments; the humiliation of surrender; the mud; the rain; the corpses; the camaraderie; the despair; the omnipresent stench of death. As Sledge wrote in With the Old Breed, “nor do authors normally write about such vileness; unless they have seen it with their own eyes, it is too preposterous.” In these cases, a historian must take the veteran’s word for it.
Finally, I believe that we’re living in a fascinating time period, an absolutely amazing era for the study of the most important conflict in human history. Travel to remote battlefields and other important historic sites, once viewed as inherently difficult, is now possible. With the advent of so much new technology, never has interpersonal communication or the exchange of information been more easily facilitated. Countless documents, files, maps, photos and other research materials are archived online. A veteran is no more than a phone call and, increasingly, an e-mail or Facebook post away. And, perhaps most importantly, they are still here – living, breathing primary sources.
Therefore, while I believe that World War II history is something that can be appreciated and enjoyed by all, I believe that the subject is much too important to be left solely to the self-professed “professionals,” staid, static academics, moonlighting journalists, dabbling writers with dayjobs, armchair historians, amateur researchers or any combination thereof. I believe that there’s a real need for a new kind of writing historian, a millennial hybrid of Stephen Ambrose and Indiana Jones – a swashbuckling scholar of sorts. And that’s where I, and this blog, come in.
In this space in the coming months, there will be profiles of interesting personalities, plus reports from veterans’ reunions and gatherings, as well as updates on interviews, research trips and my book tour. We’ll go places, both literally and figuratively, where few have gone. There will be trips back in time, expeditions in the present and plans for the future. We’ll shoot a Winchester M-1 carbine, take a flight in a B-17 bomber, dive on sunken wrecks in the waters around Guadalcanal and plenty of other adventures.
I hope you’ll come along for the ride.