War is a Force That Gives Us Meaning - Chris Hedges [17]
We are humiliated when under fire. In combat the abstract words of glory, honor, courage often become obscene and empty. They are replaced by the tangible images of war, the names of villages, mountains, roads, dates, and battalions that mean nothing to the outsider but pack enormous emotional power and fear to those caught up in the combat.
Once in a conflict, we are moved from the abstract to the real, from the mythic to the sensory. When this move takes place we have nothing to do with a world not at war. When we return home we view the society around us from the end of a very long tunnel. There they still believe. In combat such belief is shattered, replaced not with a better understanding, but with a disconcerting confusion and a taste of war’s potent and addictive narcotic. Combatants live only for their herd, those hapless soldiers who are bound into their unit to ward off death. There is no world outside the unit. It alone endows worth and meaning. Soldiers will rather die than betray this bond. And there is—as many combat veterans will tell you—a kind of love in this.
The Salvadoran town of Suchitoto was a dreary peasant outpost made up of stucco and mud and wattle huts. It was off the main road. The town was surrounded by the Farabundo Marti National Liberation Front (FMLN) rebels, who, when I first arrived in El Salvador in 1982, were winning the war. The government forces kept a small garrison in the town, although its relief columns were regularly ambushed as they ambled down the small strip of asphalt, surrounded by high grass. It was one of the most dangerous spots in El Salvador and had taken the lives of a few reporters.
The rebels launched an attack to take the town. A convoy of reporters in cars marked with “TV” in masking tape on the windshields hightailed it to the small bridge that led to the lonely stretch of road into Suchitoto. We stopped for the familiar ritual of getting high, something as a print reporter who could scramble to safety I did not do, but something many photographers, who would stand and take pictures in the midst of combat, found a necessary salve to their nerves.
Then we moved slowly down the road, the odd round fired ahead or behind us. We made it to the edge of town. We ran into rebel units, now accustomed to the follies of the press. On foot we moved through the deserted streets, the firing from the garrison becoming louder as we weaved our way with rebel fighters to the front line. And then, as we rounded a corner, several full bursts of automatic fire rent the air. We dove head-first onto the dirt. The rebels began to fire noisy bursts from their M–16 assault rifles. The acrid scent of cordite filled the air. Dust was in my eyes. I did not move. I began to pray.
“God,” I thought, “if you get me out of here I will never do this again.”
I felt powerless, humiliated, weak. I dared not move. I could see the little sprays of dust the bullets threw up from the road. Rebels around me were wounded and crying out in pain. One died yelling out in a sad cadence for his mother. His desperate and final plea seemed to cut through the absurd posturing of soldiering. At first it haunted me. Soon I wished he would be quiet.
“Mama!” . . . “Mama!” . . . “Mama!”
The firefight seemed to go on for an eternity. I cannot say how long I lay there. It could have been a few minutes. It could have been an hour. Here was war, real war, sensory war, not the war of the movies and books I had consumed in my youth. It was disconcerting, frightening, and disorganized, and nothing like the myth I had been peddled. There was nothing gallant or heroic, nothing redeeming. It controlled me. I would never control it.
During a