54 pages • 1 hour read
O'Brien is in the infantry, and the main thing the infantrymen do in Vietnam is walk. They walk through the jungle on patrol, and they walk the perimeter on guard duty. Walking represents the soldiers' endurance; it is their way of getting on with it, acceding to the business of war. It also represents the endless nature of the soldiers' activity in Vietnam; it is not a war of territory, in which they hunker down and hold an area of land, and it is not a battle for hearts and minds, O'Brien believes. Therefore, there is nothing else for the soldiers to but walk:"If land is not won and hearts are at best left indifferent; if the only obvious criterion of military success is body count and the enemy absorbs losses as he has […] if any of this is truth, a soldier can only do his walking" (127). Walking is also a motif in some of O'Brien's books, particularly the novel Going After Cacciato, in which the titular soldier Cacciato goes AWOL and walks from Vietnam to France. But walking also represents the soldiers' vulnerability to mines and booby traps. Therefore, the soldier does a “funny step” with his walking, O'Brien writes in If I Die in a Combat Zone. The funny step comes from hesitating about where to put his foot down, in an effort to avoid stepping on a mine. O'Brien thinks about the soldiers who died walking: "Slocum, Smith, Easton, Dunn, Chip, Tom—all these soldiers walked on and on, enduring the terror, waiting, and the mines finally got them" (139).
Although a soldier in Vietnam is supposed to keep walking, the soldiers do sometimes balk and stop walking. The foxhole is the anti-walking motif in If I Die in a Combat Zone. If walking represents getting on with the business of war, and keeping on keeping on, then the foxhole is a moment of rest or even breakdown. A soldier named Philip, distraught about a friend's death, "dug a foxhole four feet into the clay" and "sat in and sobbed" (124). When O'Brien recounts those who were killed by mines, he points out the only alternative he sees: "The alternative […] I thought, was to sit on a single splotch of earth and silently wait for the war to end" (139).
In Chapter 10, "The Man at the Well," a soldier hurls a carton of milk at a feeble old blind man. The old man has been doing kind things for the soldiers, including drawing water from the well for them and bathing them. Milk provides nourishment, and metaphorically it is a symbol of human kindness and of maternal care. In "The Man at the Well," milk is weaponized; it no longer stands for kindness, but for cruelty. Thus, after the old man has been hit, he stands there dripping "blood and milk […] the ruins of goodness spread over him, perfect gore" (100). The milk also represents the Americans' wealth: with food in abundance, they can afford to waste it, contaminate it with blood, and pour it out on the heads of civilians.
Because of the mines, the ground is treacherous for the soldiers of Alpha company. The weapons of the Viet Congrest in the earth, waiting for the unwary soldier. Even the Viet Cong's tunnels are symbols of the treacherous earth in Vietnam, riddled with subterranean passageways the enemy uses for transport and supply. However, as O'Brien leaves Vietnam, the red clay earth is all he feels an attachment to: "It's the earth you want to say goodbye to. You never knew the Vietnamese people. But the earth, you could turn a spadeful of it […] and that much of Vietnam you would know" (207). However, O'Brien does not get his wish; when his plane takes off, the darkness and the plane's wings obscure his view: "You can't even see darkness below […] The earth, with its [...] criss-crossed fields of rice paddy and red clay, deserts you" (207).
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By Tim O'Brien