'Telling' Hard Truths About War
With American society divided for and against the war, returning veterans tend to be viewed more as issues than as individuals. Recent news media coverage has focused on stories about soldiers suffering from post-traumatic stress disorder who have become violent criminals and on the trials of wounded vets who receive substandard medical treatment. Unquestionably, these are important issues.
With American society divided for and against the war, returning veterans tend to be viewed more as issues than as individuals. Recent news media coverage has focused on stories about soldiers suffering from post-traumatic stress disorder who have become violent criminals and on the trials of wounded vets who receive substandard medical treatment. Unquestionably, these are important issues. However, with the Iraq War entering its sixth year and the White House indicating that troop levels will remain at 130,000 for an indeterminate time, facilitating the return of the “average Joe” soldier is an increasingly pressing issue that remains largely ignored.
Since the adoption of the GI Bill during the Second World War, colleges and universities, like the one where I teach, have served as primary gateways through which many vets have found a path back into civilian life. Yet campuses today tend to have visible and vocal anti-war segments among their faculty and students. Ironically, in the post-Vietnam era the GI Bill, a tool designed to facilitate reintegration, places student-vets in environments that many find unwelcoming at best, exclusionary at worst.
As a pacifist, I want to see an end to the Iraq War, the sooner the better. As a citizen, I feel guilty that this desire is my sole contribution.As a result, I don’t know how to engage, how to approach the increasing number of returning vets I encounter in my day-to-day life, inside the classroom and out. When a friend, the University of Oregon administrator Jonathan Wei, told me about an innovative play being performed by student-veterans there, I was immediately intrigued.
Eugene, often referred to as the “Berkeley of Oregon,” has been described as “famously anti-war.” Bumper stickers denouncing the war are ubiquitous, and the words “the War” are commonly graffitied onto stop signs. For Oregon student-vets, feelings of estrangement and isolation were common. Many described to Wei feeling “invisible” and being “unable to connect with friends” upon their return from service. One, a Korean-American woman who had been deployed to Guantanamo, summed up her experience this way: “I just had to keep to myself, keep my head down, go to class, come home. Honest to god, it was like me having to pretend I wasn’t Asian.”
To confront the disconnection that so many felt, first the UO student-vets organized, forming the Veterans and Family Student Association (VFSA). Next, they created a play.
The project began after Wei, in his capacity as coordinator of nontraditional student programs, staged several panel discussions with the 20-odd members of the newly formed veteran students’ group during the 2006-7 academic year. From the meetings, Wei began to see the limits inherent in approaching veterans as a demographic or political issue. He encouraged the association to help the university’s Women's Center (another group he worked with) stage a production of Eve Ensler’s “Vagina Monologues.” Inspired by the experience, Wei and the veterans’ group began work on their own original play.
From the start, “Telling” was about the communal process of creation as much as it was about the eventual product itself. Wei and Max Rayneard, a South African Fulbright scholar and Ph.D. candidate in comparative literature, interviewed 21 VFSA members during the summer and fall of 2007. Wei and Rayneard used the transcripts to write the text. John Schmor, the head of Oregon’s department of theatre arts and a self-described “Prius-driving Obama sticker guy,” signed on to direct as soon as Wei approached him with the idea. For most of the student-vets, “Telling” would be their first time on stage. To prepare them, Schmor offered a performance class during the fall semester geared especially toward the production.
Two hundred eighty-five people crammed into the Veterans Memorial Building auditorium near the campus on February 7 for opening night of the three-show run. This was 45 more than expected; another 40 had to be turned away. Three hundred attended the second performance, 245 the third. Among them were current military personnel and veterans, young men with close-cropped hair and “old timers,” grizzled and graying; UO students, some even younger; a spattering of university faculty; university, city and state officials, including representatives from U.S. Sen. Ron Wyden’s and Rep. Peter DeFazio’s offices; and townsfolk of all stripes.
“It was a mix of people like I’ve never seen at a production in Eugene,” said Schmor, who has been involved with theater in the city since his time as a graduate student here, in 1988.
I attended the first show. The play’s success stemmed from the connection it created between performer and audience. We, in the audience, sat close to the bare stage and close to one another. “Telling” mixed monologues and blocked scenes that described enlistment and boot camp, deployment, and return to civilian life, giving the student-vets a voice they would not typically otherwise have. The multi-racial cast of 11 included three women and eight men. Nine were former soldiers, sailors, airmen and marines, one a recruit, and one a military wife. They played themselves as well as the recruiters, drill sergeants and fellow soldiers that characterized their various experiences in the armed forces.
Watching the student-vets act out their experiences allowed me to reconsider my oftentimes sensational and conflicted impressions of the military. For me, the performance transformed the people on stage from “veterans” to individuals with goals and dreams not so unlike those of nearly every student I teach. They were boyfriends and girlfriends, brothers and sisters, history majors and student-teachers, wanna-be musicians and Peace Corps aspirants. Yet they were also young men and women who have had extraordinary experiences in the name of service, young people whose stories we, as a community, need to hear, no matter how difficult it is to do so.
Watching, I felt energized, edified and also entertained, as the performers were really funny. I, along with those around me, frequently burst into explosive laughter. There were also many audible sighs. When it was done, we all gave the vets a standing ovation.
I wasn’t alone in being moved. Activists from the peace vigil that has held weekly protests outside Eugene’s Federal Building since the Iraq War began attended opening night. Exiting the auditorium, one enthusiastically said to another, “By the end I really came to love them.”
For the VFSA, a significant goal, beyond initiating community dialogue, was outreach -- to make other vets aware of the organization. On that score, the play was also successful, as membership in the organization continues to grow at an unusually high rate, from the original 20 to over 75 since the play’s February run. (The university estimates there to be about 400 veterans on campus, though the actual number is impossible to verify, as only those on the GI Bill have to identify themselves.)
Another goal of the veteran students’ group was to strive for greater exposure, and beyond Eugene, “Telling” has generated immediate buzz. Since the play’s opening, several colleges and universities around the state have contacted the association to have “Telling” performed on their campuses, as have a handful of veterans’ organizations. This has resulted in a scheduled five-venue tour for this coming summer. Likewise, at the Student Veterans of America Conference, hosted by Vetjobs and the Illinois Department of Veterans Affairs in Chicago, the VFSA was adopted as a national model for organizations across the country looking into the issue of veterans on campuses.
Wei, who now lives in Austin, Texas, has begun working to make the project formula portable so that student-veteran groups nationwide can adapt “Telling” to their own memberships and communities. The process of interviews/script/performance requires specific local application to be most beneficial. While Eugene’s version might resonate with Austin audiences, for instance, it will only truly do the work of reconnecting vets and communities if a University of Texas version is produced, with UT student-vets speaking to individuals from their own community.
Given the UO success, this is an outcome worth aspiring to.
David Wright, author of Fire on the Beach: Recovering the Lost Story of Richard Etheridge and the Pea Island Lifesavers (Scribner 2001), teaches at the University of Illinois at Urbana-Champaign.
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