John Steinbeck - Once there was a war

He has the confidence of his men. Once when it was required that his wing change its base of operations quickly, he was left behind, for in those days it was not known how important he was. At the new base the men were nervous and Irritable, fearful and almost mutinous. Finally, when it was seen that they would not relax, a special plane had to be sent to pick up the wing commander and transport him to the new base. Once he arrived, everything settled down. The Typhoons had four kills within twenty-four hours. The nervous tension went out of the air, the food got better as the cook ceased brooding, and a number of stomach complaints disappeared immediately.

Wing Commander Goat lives in a small house behind the Operations Room. His name and honors are painted over the door. It is very good luck to go to him and stroke his sides and rub his horns before going out on operations. He does not go out on operations himself. There is not room in the Typhoons for him, but if it were possible to squeeze him in he would be taken, and then heaven knows what great action might not take place.

This goat has only truly bad habit. He loves beer, and furthermore is able to absorb it in such quantities that even the mild, nearly non-alcoholic English beer can make him tipsy. In spite of orders to the contrary he is able to seek out the evil companions who will give him beer. Once inebriated, he is prone to wander about sneering. He sneers at the American Army Air Force, he sneers at the Labor party, and once he sneered at Mr. Churchill. The sneer is probably inherent in the beer, since punch has quite a different effect on him.

In appearance this goat is not impressive. He has a shabby, pinkish fur and a cold, fishlike eye; his legs are not straight, in fact he is slightly knock-kneed. He carries his head high and his horns, painted in brilliant red and blue, more than offset any physical oddness. In every way, he is a military figure. He is magnificent on parade. Eventually he will be given a crypt in the Air Ministry and will die in good time of that military ailment, cirrhosis of the liver. He will be buried with full military honors.

But meanwhile Wing Commander William Goat, DSO, is the luck of his wing, and his loss would cause great unrest and even despondency.

STORIES OF THE BLITZ

LONDON, July 10, 1943—People who try to tell you what the blitz was like in London start with fire and explosion and then almost invariably end up with some very tiny detail which crept in and set and became the symbol of the whole thing for them. Again and again this happens in conversations. It is as though the mind could not take in the terror and the noise of the bombs and the general horror and so fastened on something small and comprehensible and ordinary. Everyone who was in London during the blitz wants to describe it, wants to solidify, if only for himself, something of that terrible time.

“It’s the glass,” says one man, “the sound in the morning of the broken glass being swept up, the vicious, flat tinkle. That is the thing I remember more than anything else, that constant sound of broken glass being swept up on the pavements. My dog broke a window the other day and my wife swept up the glass and a cold shiver went over me. It was a moment before I could trace the reason for it.”

You are going to dine at a small restaurant. There is a ruin across the street from the place, a jagged, destroyed stone house. Your companion says, “On one of the nights I had an engagement to have dinner with a lady at this very place. She was to meet me here. I got here early and then a bomb hit that one.” He points to the ruin. “I went out in the street. You could see plainly, the fires lighted the whole city. That front wall was spilled into the street. You could see the front of a cab sticking out from the pile of fallen stone. Thrown clear, right at my feet as I came out of the door, was one pale blue evening slipper. The toe of it was pointing right at me.”

Another points up at a wall; the building is gone, but there are five fireplaces, one above another, straight up the wall. He points to the topmost fireplace, “This was a high-explosive bomb,” he says. “This is on my way to work. You know, for six months there was a pair of long stockings hanging in front of that fireplace. They must have been pinned up. They hung there for months, just as they had been put up to dry.”

“I was passing Hyde Park,” says a man, “when a big raid came over. I went down into the gutter. Always did that when you couldn’t get a shelter. I saw a great tree, one like those, jump into the air and fall on its side not so far from me—right there where that scoop is in the ground. And then a sparrow fell in the gutter right beside me. It was dead all right. Concussion kills birds easily. For some reason I picked it up and held it for a long time. There was no blood on it or anything like that. I took it home with me. Funny thing, I had to throw it right away.”

One night, when the bombs screamed and blatted, a refugee who had been driven from place to place and tortured in all of them until he finally reached London, couldn’t stand it any more. He cut his throat and jumped out of a high window. A girl, who was driving an ambulance that night, says, “I remember how angry I was with him. I understand it a little now, but that night I was furious with him. There were so many who got it that night and they couldn’t help it. I shouted at him I hoped he would die, and he did.

“People save such strange things. One elderly man lost his whole house by fire. He saved an old rocking chair. He took it everywhere with him; wouldn’t leave it for a moment. His whole family was killed, but he hung on to that rocking chair. He wouldn’t sit in it. He sat on the ground beside it, but you couldn’t get it away from him.”

Two reporters sat out the blitz in the Savoy Hotel, playing chess and fortifying themselves. When the bombs came near they went under the table. “One or the other of us always reached up and cheated a little,” the reporter says.

Hundreds of stories, and all of them end with a little incident, a little simple thing that stays in your mind.

“I remember the eyes of people going to work in the morning,” a man says. “There was a quality of tiredness in those eyes I haven’t forgotten. It was beyond a tiredness you can imagine—a desperate kind of weariness that never expected to be rested. The eyes of the people seemed to be deep, deep in their heads, and their voices seemed to come from a long distance. And I remember during a raid seeing a blind man standing on the curb, tapping with his stick and waiting for someone to take him across through the traffic. There wasn’t any traffic, and the air was full of fire, but he stood there and tapped until someone came along and took him to a shelter.”

In all of the little stories it is the ordinary, the commonplace thing or incident against the background of the bombing that leaves the indelible picture.

“An old woman was selling little miserable sprays of sweet lavender. The city was rocking under the bombs and the light of burning buildings made it like day. The air was just one big fat blasting roar. And in one little hole in the roar her voice got in—a squeaky voice. ‘Lavender!’ she said. ‘Buy Lavender for luck.’ ”

The bombing itself grows vague and dreamlike. The little pictures remain as sharp as they were when they were new.

LILLI MARLENE

LONDON, July 12, 1943—This is the story of a song. Its name is “Lilli Marlene” and it was written in Germany in 1938 by Norbert Schultze and Hans Leit. In due course they tried to publish it and it was rejected by about two dozen publishers. Finally it was taken up by a singer, Lala Anderson, a Swedish girl, who used it for her signature song. Lala Anderson has a husky voice and is what you might call the Hildegarde type.

“Lilli Marlene” is a very simple song. The first verse of it goes: “Underneath the lanterns, by the barracks square, I used to meet Marlene and she was young and fair.” The song was as simple as that. It went on to tell about Marlene, who first liked stripes and then shoulder bars. Marlene met more and more people until, finally, she met a brigadier, which was what she wanted all along. We have a song with much the same amused cynicism.

Eventually Lala made a record of the song and even it was not very popular. But one night the German station in Belgrade, which sent out programs to Rommel’s Afrika Korps, found that, due to a little bombing, it did not have many records left, but among a few uninjured disks was the song “Lilli Marlene.” It was put on the air to Africa and by the next morning it was being hummed by the Afrika Korps and letters were going in demanding that it be played again.

The story of its popularity in Africa got back to Berlin, and Madame Goering, who used to be an opera singer, sang the song of the inconstant “Lilli Marlene” to a very select group of Nazis, if there is such a thing. Instantly the song was popular and it was played constantly over the German radio until Goering himself grew a little sick of it, and it is said that, since inconstancy is a subject which is not pleasant to certain high Nazi ears, it was suggested that the song be quietly assassinated. But meanwhile “Lilli Marlene” had got out of hand. Lala Anderson was by now known as the “Soldiers’ Sweetheart.” She was a pin-up girl. Her husky voice ground out of portable phonographs in the desert.

So far, “Lilli” had been solely a German problem, but now the British Eighth Army began to take prisoners and among the spoils they got “Lilli Marlene.” And the song swept through the Eighth Army. Australians hummed it and fastened new words to it. The powers hesitated, considering whether it was a good idea to let a German song about a girl who did not have all the sterling virtues become the favorite song of the British Army, for by now the thing had crept into the First Army and the Americans were beginning to experiment with close harmony and were putting an off-beat into it. It wouldn’t have done the powers a bit of good if they had decided against the song.

It was out of hand. The Eighth Army was doing all right in the field and it was decided to consider “Lilli Marlene” a prisoner of war, which would have happened anyway, no matter what the powers thought about it. Now “Lilli” is getting deeply into the American Forces in Africa. The Office of War Information took up the problem and decided to keep the melody, but to turn new words against the Germans. Whether this will work or not remains to be seen. “Lilli Marlene” is international. It is to be suspected that she will emerge beside the barrack walls—young and fair and incorruptly inconsistent.

There is nothing you can do about a song like this except to let it go. War songs need not be about the war at all. Indeed, they rarely are. In the last war, “Madelon” and “Tipperary” had nothing to do with war. The great Australian song of this war, “Waltzing Matilda,” concerns itself with sheep-stealing. It is to be expected that some groups in America will attack “Lilli,” first, on the ground that she is an enemy alien, and, second, because she is no better than she should be. Such attacks will have little effect. “Lilli” is immortal. Her simple desire to meet a brigadier is hardly a German copyright. Politics may be dominated and nationalized, but songs have a way of leaping boundaries.

And it would be amusing if, after all the fuss and heiling, all the marching and indoctrination, the only contribution to the world by the Nazis was “Lilli Marlene.”

WAR TALK

LONDON, July 13, 1943—It is interesting to see that the nearer one comes to a war zone the less one hears of grand strategy. There is more discussion of tactics and the over-all picture in the Stork Club on a Saturday night than in the whole European theater of operations. This may be, to a certain extent, because of a lack of generals to give the strategists a social foundation. For that matter, there are more generals in the Carlton Hotel in Washington at lunch time than in all the rest of the world.

This narrowing point of view may be geographical. Papers in England are not avidly seized, and as one gets down to the coast where some action is going on all the time, the discussion of the war dwindles until it almost disappears. It is further interesting how completely civilian ferocity disappears from the soldier or the sailor close to action or in action.

In the concrete wardroom over the berths of the motor torpedo boats the young men gather to drink beer. They are very young men, but there is an age in their faces that comes of having put their lives out at stake too often. The dice have rolled right for some of these young men so far, but a seven has turned up for too many of their friends for them to take the game or their luck for granted. The little boats are not heavily armed for defense, but they carry terrible blows in their torpedo tubes. They are the only lightweights in the world that can deliver a heavyweight punch. For their own safety they have only their speed and the cleverness of their crews.

Tonight they are going out on what the men call a Thing. A Thing is something bigger than a Scramble, but slightly less large than The Thing. A Thing is likely to be an attack on a German convoy, slipping secretly in the night through the Channel, but heavily armed and heavily guarded and, moreover, hugging the coast so that they are under the shore guns most of the time. And against them these tiny ships are going to dodge in under the shellfire, twist and turn in the paths of the tracers, and, finally, shoot their torpedoes into the largest ship they can find and then race for home.

In the wardroom the men speak with a kind of intense gaiety. You never hear the enemy discussed. By unstated agreement or because there has just been too much war they do not discuss war. The enemy is Jerry, or the Boche, and his name is spoken as something disembodied and vague. Jerry is a problem in navigation, a job, a danger, but not much more personalized than any other big and dangerous job. The men suffer from strain. It has been so long applied that they are probably not even conscious of it. It isn’t fear, but it is something you can feel, a bubble that grows bigger and bigger in your mid-section. It puffs up against your lungs so that your breathing becomes short. Sitting around is bad. You have a tendency to think that everything is very funny. This is the time to bring out the frowsy story that wouldn’t do so well at any other time. It will get a roar of laughter now.

There is a little bar in the wardroom where a Wren serves the flat beer that no one likes. The beer isn’t good, but everyone has a glass of it, and it is hard to swallow, because so much of you is taken up with the big bubble.

On the wall there is a clock and the hands creep slowly, much too slowly, toward the operation time. The waiting is the terrible part. The weather reports come in, There is wind, but perhaps not enough to cancel the Thing. Dozens of the little ships are going out. It is an Allied operation. There are Dutch boats, and Polish boats, and English. The Poles are great fighters. This is their kind of work. When the little ships attacked the Scharnhorst, slipping through the Channel, it is said that a Polish sailor was down on the prow of his torpedo boat, calmly firing at the great steel battleship with a rifle. The Dutch have a calm, cold courage, and the British pretend, as usual, it is some kind of a garden party they are going to.