Groundhog Day for women in the military?

When anyone asks me how I got started with all this, I invariably mention CCCO and the G.I. Rights Hotline in the 1990s. But it’s not often that I wake up and feel such a strong echo of those years, as I did yesterday upon news of sexual assault of recruits at Fort Benning.

Back then, the Department of Defense had no Victim Advocates, no admiral serving as a sexual-assault response coordinator. As I write this, I’m hoping to learn more about the Pandora’s box opened by that one brave recruit who reported her abuse and led to the discovery of still more.

But excuse me if I feel flashed back to the old days, some of which appears below in more outtakes from Da Book.

In December 1991, Paula Coughlin was pumped when she got to Las Vegas for the Tailhook Convention. The weather, 80 degrees with no humidity, felt a relief from the near-tropical Maryland coast where she served as a rear-admiral’s right hand at Patuxent Air Force Base. A qualified airman with eight years in the Navy, Coughlin had long looked forward to Tailhook, a prestigious if famously boozy semiannual event. She changed quickly and headed for the third floor, where her friends were waiting.

But no one had told her, she told the Washington Post six months later, about the gauntlet:

When Navy Lt. Paula Coughlin first spotted them – a youthful, clean-cut bunch of guys lounging in a third-floor hallway of the Las Vegas Hilton – it never crossed her mind that she should be afraid. After all, she recalls thinking, these were Navy and Marine pilots. Pilots just like her.

But Coughlin, a helicopter pilot and admiral’s aide, was quickly enveloped by terror. Grabbed from behind and propelled down the hallway to jeers of “admiral’s aide, admiral’s aide,” Coughlin was repeatedly pawed and molested. One man grabbed her breasts, another tried to remove her panties.

She bit down, hard, on the forearm of one of her attackers, but still the men kept coming….. “Help me,” she said to another man who seemed to be walking away. He turned and grabbed her breasts.i

After Coughlin, the daughter of a World War II aviator who’d joined ROTC as a college sophomore in 1984, told her superiors what had happened, 25 women also revealed similar assaults at the convention and by fliers attending. Six months after Navy investigators, not excluding her own boss, failed to take decisive action, she held a press conference: by the end of that week Navy Secretary Lawrence Garrett had resigned, taking responsibility for “the leadership failure which allowed the egregious conduct.” “Investigators from two separate Navy agencies had been stymied by a wall of silence put up by pilots and their commanders,” wrote Eric Schmitt at the New York Times, “but the agencies had each made their own fumbles. The Naval Investigative Service omitted important documents from its report; the Naval Inspector General’s office failed to put its chief investigator on the case.”

That has left the Defense Department Inspector General’s office, a larger agency with subpoena powers, to gather up thousands of pages of Navy interviews and try to make sense of them. That could take two or three months, and lawmakers are exasperated. “We now have investigators investigating investigators,” said Senator Sam Nunn, the Georgia Democrat who heads the Senate Armed Services Committee. The committee is venting its frustration by holding up more than 4,500 Navy and Marine Corps promotions until the officers are cleared of any involvement in the scandal.ii

Schmitt knew that the prospect of delaying promotions, interrupting normal military business, for a question of misconduct toward women was unprecedented, and created enormous backlash. Some pointed out that Tailhook, in particular, was a notorious bacchanal, and that Coughlin had therefore “knew what she was getting into” and now had no cause to complain.

Still others, not for the last time, chose this as the moment to question women’s inclusion in the armed forces to begin with. James Webb’s 1979 “Why Women Can’t Fight” was resurrected, and GI’s howled at now-mandatory sexual harassment trainings. Such abuse, they added, was different than women being molested by the enemy, as two POWS had been during the recent war (a fact unveiled during congressional inquiries in the aftermath of Tailhook).

Then, Major Rhonda Cornum told reporters later, her “mission focus” had completely shifted to staying alive.iii That assault hadn’t been made public for multiple reasons; when it was, it was seized by the Elaine Donnelly crowd as yet another reason women didn’t belong in the military. But the truer challenge to established order came not from some random Iraqi, but from the domino effect of multiple reports like Coughlin’s that would reach critical mass by the end of the decade.

When the call came from ABC News, Kathleen Gilberd sat back: This wasn’t a distressed soldier calling the Military Law Task Force, or even a vet like Margarethe Cammermeyer. Then almost immediately she sat up straight again. “Aberdeen Proving Ground? Yeah, basic training. These trainees are usually only 18.” She listened, swallowing hard. ‘”How many are saying they were raped?”

Gilberd was by then well known for her brilliant advocacy for military personnel’ . Bridget Wilson, a former Navy captain and full-time attorney in San Diego, told me that Gilberd’s legal strategies had often “set the bar, especially during the AIDS crisis.”iv In 1992, Gilberd and MLTF had initiated a lawsuit when the Pentagon instituted mandatory AIDS testing in the early 1990s. In their mission to keep the information confidential, Gilberd told the Associated Press: “The rights of people in the military need to be protected against a system which is both institutionally and informally discriminatory.” v

And as the gender wars unfurled, Gilberd became a national expert on dealing with women who reported sexual assault as well as discrimination. That phone call in 1996 was about a rape scandal at Aberdeen Proving Ground, described at the time by Washington Post reporter Jackie Spinner:

From the first allegations of rape late last year to the acknowledgment by the Army that something had indeed gone terribly wrong. To the filing of criminal charges against 11 sergeants and one captain. To the further acknowledgment that there were problems Army-wide. To the national hot line set up that recorded 1,288 complaints of abuse in its seven months in operation, 353 of which resulted in criminal investigations. To, most of all, the trial this spring of Delmar Simpson, an Aberdeen drill sergeant who was convicted and sentenced to 25 years in prison for raping six female soldiers under his command.vi

Those six young women, whose behavior contained all the paradoxes of eighteen-year-olds but who knew that you weren’t “supposed” to complain about your sergeants, also knew five years after Tailhook that they could. They knew partly because of Paula Coughlin and the other 20 women who’d refused to let it go after Tailhook. They’d seen, as kids, the 1995 TV-movie made about the case, and the ongoing reports about the lawsuits Coughlin and her co-plaintiffs won against the Tailhook Association and Hilton Hotels, charging that their safety had been endangered. They might even have heard of the landmark study out of the Minnesota VA, in which nearly a third reported some level of abuse.

After all these years, “women in the military” was as fiercely contested an issue as ever – but now, after 6000 women served in the Gulf, female trainees like those at Aberdeen were seen as essential by both sides, and after Coughlin their charges more likely to be taken seriously. Thousands more women came forward, of every rank and branch of service, giving testimony to their members of Congress, reporters (as did Dorothy Hanson, the WAC mentioned in Chapter Seven) or to their local VA hospital, some of which were developing treatment programs for rape survivors. By 1998, the volume would spur a Department of Defense Task Force headed by General Evelyn Foote, another former WAC who told me, years later, that sexual harassment and abuse had long been endemic.

Foote’s participation in the debate placed the issue as one of “readiness,” a move away from dissent welcomed by advocates pressing press for the final lifting of all restrictions on women in combat.Similar arguments bolstered hopes for gay personnel, who over the decade secured victories in the courts and in the establishment of nonpartisan research and advocacy groups that recorded the costs of Don’t Ask, Don’t Tell. It would take a few more decades for all this energy to be translated into change, and military gender issues would remain a trope of partisan politics.

“History isn’t repeating itself. It isn’t even rhyming,” I tweeted yesterday. “It’s condensing into a poisonous fog.”

A fog that mostly doesn’t belong in Ain’t Marching. But maybe it’s the book after this one?

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Who has Reality Winner’s back? We do.

I just got off the phone with Billie Winner-Davis, a clinical social worker in Texas who’s been in the press lately because of her daughter, Reality. Our chat was brief, and stayed away from the facts of Reality’s legal case. I still congratulated her on the support network she’d started in partnership with Courage to Resist.

Happy to talk about her daughter, Winner-Davis described Reality’s early gift for languages,  including teaching herself Arabic back in high school. When she told her parents she might join the military, it was Winner-Davis who contacted the Air Force instead of the Army or Marines, hoping they’d take early advantage of her daughter’s gifts.  “It was all about the languages for Reality,” she said.

realitywinnerThough she ended up working for a contractor after the military, Reality wanted most to travel, Billie added. “She was looking into the International Red Cross or humanitarian organizations, so she could use her skills to help people.”

Ever since Reality’s arrest, making sure she has what she needs has become a full-time job, Winner-Davis added. This is challenging because her work every day, in Child Protective Services, is of necessity all-consuming. But she hopes to retire in August, she said, when she can devote that energy to protecting her own child.

By October, when her trial is set to begin, I’ll have more free time than I do now. I hope to meet Winner-Davis there, as well as my old colleague (and Gulf War character) Jeff Paterson. I don’t know enough about the case to know whether she belongs in this book, but by threatening her with the Espionage Act the government may have put him there.

john huston, veteran for the 1st Amendment

huston1943In 1942, John Huston received a mysterious letter containing “names of military personnel and various American Army posts. I puzzled over it briefly and dropped it into the wastebasket. Later I discovered that this was the Army’s way of sending orders.”  He was then a  new director at Warner Brothers, who’d just finished his first solo work The Maltese Falcon. “I had Bogie tied to a chair, and installed about three times as many Japanese soldiers as were needed to keep him prisoner…. I shot the scene, then called Jack Warner and said, “Jack, I’m on my way. I’m in the Army. Bogie will know how to get out.” As Major John Huston, Huston went on to make a trilogy for the Army, most of it controversial. And his first mission after the war, it seemed, was fighting censorship.

In April 1946, the two young Army men walking into the museum stand out. Nearly a year  after the end of the last war, their pale-brown uniforms are crisp, as ironed as the armbands marked MP (for Military Police). They walk past groups of schoolchildren, quiet academics, women young and old showing off the season’s new hats; for most, even for a weekday, a trip to New York’s Museum of Modern Art is pretty special.

The officers head straight to the INFORMATION desk, which gleams as much as the marble floors in the seven-year-old building. Directed upstairs, they move swiftly to the second-floor screening room. They’re looking for the Museum’s copy of the new film by John Huston, which is on the schedule for the museum’s Festival of Documentary Film.

In that second-floor screening room a small crowd squeezes into folding chairs. This is actually an informal months-early preview screening, includes journalists like critic Archer Winston of the New York Post and The Nation’s James Agee. They’ve come because the director, who made this film for the Army Signal Corps, is also a giant of the cinema since long before he entered the Army. Ignoring them, the MP’s walk directly to the back, speaking quietly to the projectionist. When they leave, they’re carrying all four reels of the film, before anyone has seen a frame of it.

Later that day, curator Iris Barry tells the public that the museum is pulling a number of Army films, due to “copyright restrictions (which) confine their showing to military personnel only.”1 ( In addition to Huston’s film, they insist on all the footage from what was scheduled to precede it, Army and Navy Screen Magazine.) That night, James Agee writes a blistering response in The Nation, reporting that “a beautiful, terrible, valuable film by John Huston” had just been censored by the Army. “I don’t know what is necessary to reverse this disgraceful decision,” Agee closes, “but if dynamite is required, then dynamite is indicated.”2 Unable to do that, MOMA’s Barry does the next best thing: she replaces Huston’s film with another of his Army films, San Pietro – which had almost been also suppressed, accused of being “too anti-war.” Huston had growled then that people should “take me out and shoot me” if he ever made a pro-war film.

In 1946, John Huston’s own honorable discharge was less than a year old. He’d reported for duty shortly after Pearl Harbor, before he finished The Maltese Falcon. (He’d left Humphrey Bogart tied to a chair, telling the studio “Bogie will know how to get out.”) After a few training films, he’d gone to Italy with the Army’s 36 Division, making what would be entitled The Battle of San Pietro. The filming had been beyond stressful: Rey Scott, one of the cameramen, had snapped after months of bombardment. The film itself then faced blowback for its gruesome battles, its shots of soldiers’ dead bodies being carried off the field. Afterward, his heart didn’t quite leave the combat zone: “In Italy, when the guns stopped, you’d wake up and listen. [Back home] I was missing them in my sleep. I was suffering a mild form of anxiety neurosis.”3

Huston wasn’t alone: about half a million troops came home as psychiatric casualties. Hoping to persuade a nervous public that the war hadn’t destroyed their sons, the War Department sent him to a Veterans Administration psychiatric hospital in Brentwood, Long Island. Huston’s team shot thousands of feet of film, as he followed a dozen young men who entered the hospital paralyzed, or lind, or amnesiac. The process, he writes, was “almost like a religious experience.” The resulting film is earnest, a little hokey by today’s standards. Young men learn to call their illnesses “psycho-neurotic anxiety disorders.” Doctors assure them, and the camera, that “we’re conducting an education campaign” to erase any stigma. But that campaign did not include the film Huston had titled Let There Be Light. “They wanted to maintain the ‘warrior’ myth,which said that our American soldiers went to war and came back all the stronger for the experience.”  The truth was probably closer to what Huston’s friend Ernest Hemingway had written in 1929: The world breaks everyone and afterward many are strong at the broken places.

Despite (or perhaps because of) the Army’s suppression of his work, Huston soon had a new mission: to fight the burgeoning McCarthyism threatening his industry.

That included the group’s filmmakers. John Huston turned the Maxwell Anderson project Key Largo into a troubled veteran’s story. “We weren’t making all the sacrifice of human effort and lives.. .to return to the kind of a world we had after the last world war,” army officer Humphrey Bogart tells a gangster, adding that his war was about “fighting to cleanse the world of ancient evils. Ancient ills.”1 Huston was trying, like Bogart’s character, tried not to give in to cynicism and fear. That wasn’t easy: 1947 was full of both.

While Huston was turning a Hollywood sound stage into Key Largo’s Florida, a “Loyalty Program” began in Washington, with government-mandated “loyalty oaths” and FBI investigation of anyone suspected of Communist ties. And the House Un-American Activities Committee (HUAC), including a California freshman named Richard Nixon, had decided to investigate Hollywood. That summer Ayn Rand and Gary Cooper testified at HUAC hearingss about pro-Communist themes in movies like Robert Benchley’s “Song of Russia.” And back in Hollywood, gossip queen Hedda Hopper took up the cause of forcing every studio to require such oaths of their writers and stars.

Huston’s answer, along with Signal Corps peer William Wyler, was the Committee for the First Amendment, whose members included Humphrey Bogart, Albert Einstein and Lewis Milestone, who’d followed his Signal Corps tour by making All Quiet on the Western Front. Wyler told reporters that the “current climate” would have precluded his 1946 film The Best Years of Our Lives, whose soldier-protagonists come home with shattered limbs, marriages and psyches (one, played by Dana Andrews, screams in his sleep every night).

As the Hollywood Ten planned their testimony before Congress in mid-1947: “I was dining one evening at the Wilshire Brown Derby when Howard Hughes phoned me and said, “John, I understand you are planning a trip to Washington, and I just want you to know that you can use one of my airplanes. Not for nothing, that’s illegal…but you will have it all to yourselves.”zfter member after member of the Ten refused to speak, Wyler claimed to have been “duped.” By the following March Bogart was saying “I’m No Commie” on the cover of Photoplay, though he was still skeptical of HUAC: “There was no necessity for the vaudeville show — the Klieg light — for these men to speak in their own defense.”1

At home, that meant even less tolerance for free expression, especially when it had anything at all to do with the military. “A sickness  permeated the country,” John Huston writes. “Nobody came to the defense of people being persecuted for personal beliefs. ” The “loyalty oaths” terror was reaching its climax in mid-1950, especially in Hollywood.Huston organized Directors Guild members to adopt a stance against such a requirement. He told Cecil DeMille that his faction were Signal Corps peers, and “were in uniform when you were wrapping yourself in the flag.” Then he went back to working on his last film for Warner Brothers, The Red Badge of Courage.

>Based on the iconic Stephen Crane novel of the Civil War, Red Badge >was a passion project for Huston and producer Gottfried Reinhardt (who’d spent the war doing training films like K-Rations, How to Eat Them). As lead they’d hired the boyish Audie Murphy, whose childlike visage belied the fact that he was the war’s most-decorated veteran. And as the lead’s best friend they’d cast Signal Corps peer Bill Mauldin, the cartoonist who’d been in Italy with Huston in 1943. Huston then crafted a loosely structured meditation on war and identity, a signature “dreamlike interrogation of power, delusion, and violence.”

As shooting began, Huston took along a writer for the New Yorker, , who also came to some of the Hollywood parties Huston kind of hated. At his 44th birthday party, held at the legendary Chasen’s, “In the lapel of his dinner jacket, he wore the ribbon of the Legion of Merit, awarded to him for his work on Army Signal Corps films in the war. “

ForRed Badge , filmed in Chico, he paid careful attention to unorthodox scenes in which young recruits laugh at veterans; when a platoon marches softly singing “John Brown’s body lies a-mouldering in the grave, and when a figure called the Tall Soldier dies before the protagonist’s eyes. Huston called that last “the best scene in the movie.”,

But by mid-1950, Hollywood was busy drumming up support for the new war. It had filled movie screens with anti-Communist movies produced at White House request : I Married a Communist (1950),  and I Was a Communist for the FBI (1951) to name a few. After previews highlighted Red Badge’s unorthodox form (and lack of a leading lady), Warner Brothers ordered a wholesale restructuringr: Out went the Tattered Soldier and veterans scenes; battle scenes were recut and compressed to form a story of triumph and victory. By then. Huston was in Africa shooting The African Queen, and he refused to see the new version afterward.

All this was duly recorded by the FBI, which would call Huston in for a meeting the following year to ask about “misguided liberals” like Albert Einstein and ‘Commies’ like Charlie Chaplin, who’d been barred from re-entry to the United States the same year. By then, the Hollywood blacklist was in full effect, Senator McCarthy had been re-elected, and resistance to the Korean war seemed almost inconceivable.
A few years later, Huston decamped to Ireland, from which he’d ride out the Cold War while making shot-in-Europe movies such as Moulin Rouge. When he was home, remembers his then-tiny daughter Angelica, “The only movies we watched were the war documentaries – San Pietro, Let there be Light…..”i) Unlike World War II peers such as William Kunstler and Philip Berrigan. Huston was done with activism, and his war stories were ever after pretty   coded.

Does he belong in this book? Or just as an accompanying story from history?

i

some musings on moral injury

stfrancisI’ve been talking to the new startup The War Horse about working together. And now I’ve been authorized to come up with a refreshing reporting strategy to explore “moral injury,” a concept that in 2011 seemed so fresh even as it was very very old.

Very old, of course, just as Jonathan Shay points to Homer and Virgil  and Logan Isaac to the Bible’s martial saints – highlighting war’s damage to one sense of self as a moral being. It could even be conceived as one of humanity’s core dilemmas. (Above:  squire Francis of Assisi returning from Perugia.)

But it has taken this generation, armed with 21st-century tools and the  voice of boomer/GenX parents, to demand that when such conflicts are burned into their bodies, it needs to be examined and treatments explored. And the VA, to their credit, has started asking smart questions, including what brings this on?  In 2011, a group of Palo Alto researchers asked veterans, in an effort to trace some of the damage:

 Emerging themes included betrayal (e.g., leadership failures, betrayal by peers, failure to live up to one’s own moral standards, betrayal by trusted civilians), disproportionate violence (e.g., mistreatment of
enemy combatants and acts of revenge), incidents involving civilians (e.g., destruction of civilian property and assault), and within-rank violence (e.g., military sexual trauma, friendly fire, and fragging). The authors suggest that an important next step would be to directly interview Veterans about their experiences to help expand this list.

That last sentence has sent a score of other researchers, journos like me and assorted therapists scuttling toward that ground, with predictable pushback from the PTSD skeptics. (Sally Satel, never to be ignored, even twists the concept into another partisan tool, accusing the rest of us of inflicting “moral injury to the nation.”

There are nonetheless solid thought leaders on the issue, from those Palo Alto researchers including Shira Maguen; theologians from Brite Divinity School and Logan Isaac; pioneers like Tyler Boudreau, who’s declared himself done with this discussion but whose work on it still cuts close to the bone, and the recent work of Michael Yandrell.

And we’ve had good discussions since, including this week at Stars and Stripes, Shay himself and others on NPR,  and Army Surgeon General Elspeth Ritchie, who I interviewed in 2006 for my masters’ thesis “Saving Sgt. Aguilar” and who usefully explored moral injury for TIME Magazine.

So what’s left for the War Horse to do? I’m looking at that list of “possible causes” listed earlier, and wondering if I might be able to reach out to combat-trauma survivors and see what speaks to them. I want to leave the spiritual aspects to the theologians, but hope there’s some moral/political language left un-despoiled by Internet tropes.

I’ll keep thinking. Anyone reading this who might have thoughts about what’s next, in the context of post-9/11 wars? Any feedback would be hugely appreciated.

 

 

 

 

On Memorial Day, remember these priests, poets, politicos and pranksters!

That’s how I’ve tended to characterize the huge, diverse and boisterous movement working to stop the U.S, war against Vietnam, 1963-1975. I should have written an essay here about them last month, for the anniversary of the 1975 evacuation of the U.S. Embassy in Saigon, but I could barely fit them in a chapter for the book.

A surprising number of the above, though, were recent veterans of World War II, who then popped into mind during the anniversary of V-E Day; so I wrote something that will run tomorrow in the Philadelphia Inquirer. Given space constraints, I’m informed there won’t be a photo: so here’s a photo preview of those included in the piece, which wasn’t even all of those in the movement. An honor roll of some for whom Memorial Day was an open wound, in their hearts every day:

 

 

Rev. William Sloane Coffin, greeting POW Americans in North Vietnam.

Rev. William Sloane Coffin, greeting POW Americans in North Vietnam.

 

  • Former Army intelligence officer William Sloane Coffin, founder of the hugely influential Clergy and Laity Concerned About Vietnam (CALCAV).

 

 

 

 

  • howardHoward Zinn, whose long career as an historian, organizer and inspiration to us all was preceded by the young (already anti-fascist) bombardier seen at right.

 

  • Burning draft cards in Catonsville. Md.

    Burning draft cards in Catonsville. Md.

    Philip Berrigan, survivor of the Battle of the Bulge, shown here in prhaps the moment symbolizing his work during Vietnam — one of the first stops in a lifetime of anti-militarist  civil disobedience.

 

 

 

 

 

 

  • William_Kunstler_Former Army cryptographer William Kunstler, who followed his Pacific service by co-founding the Center for Constitutional Rights, which represented war resisters from Berrigan, above, through the years to Gulf War objector Colleen Gallagher in 1991. In  1968, his face and voice became inescapable during the trial of the Chicago Seven, as at right.

 

 

 

 

  • Kurt-Vonnegut-US-Army-portrait (2)And this skinny little private was Kurt Vonnegut, Jr, captured in the Battle of the Bulge, he became a prisoner of war — and turned that exoeriene into one of the strongest anti-war novels ever written.

 

 

 

 

 

 

I’ll post the link tomorrow, which includes more on all of these. There are so many more who I couldn’t squeeze l into 750 words: not Lew Ayres and the other World War II COs, not Rev. Paul Moore, who found his pacifism after the abbatoir of Guadalcanal. But I still think this is a fine Memorial Day tribute to those lost in all our wars.

“At war, it can protect you; at home, it can kill you.”

Now that’s a Monday morning wake-up for you. Fallujah vet Andrew Chambers’s TedX talk from an Ohio correctional facility:

Like so many of this generation, Chambers begins by telling his 9/11 story, watching a TV in Ohio as it showed the destruction of the Twin Towers. My J-school sensei Dale Maharidge, author of Homeland, will recognize the impulse. Others, vets among you, will sadly recognize the VA’s response when he told a clinic he might hurt someone: andrewC“They prescribed a sleep-aid, said come back in six months.” What he did instead sounds like a perverse version of Operation First Casualty, w/victims instead of volunteers.

Chambers’ YouTube bio said he’s next taking his story to the stage. I can’t wait.

When troops say no, justice can happen

The "Rules of Engageent" panel from March 2008's Winter Soldier: Iraq and Afghanistan.

The “Rules of Engageent” panel from March 2008’s Winter Soldier: Iraq and Afghanistan.

I hadn’t been following the Lorance case, apparently the right-wing media’s Chelsea Manning — a commander that ordered the shooting of Afghan civilians on a motorcycle, to the shock of the veterans in his platoon:

“War is hard, there is collateral da mage. I get that — I’ve got my own stories,” Staff Sgt. Daniel Williams said in an interview. But Sergeant Williams, who was on his third tour in Afghanistan and was a squad leader in the platoon, added, “That’s not what this was; this was straight murder.

This aren’t the words if some “peacenik” like those we love– not Rory Fanning, not Brock McIntosh, not even a conflicted Bowe Bergdahl.  With their multiple deployments, they know the value of the chain of command. But they also took the rules of engagement seriously enough to say no:

Lieutenant Lorance then ordered the sharpshooter to aim near children and women in a grape field next to the outpost. The sharpshooter, Specialist Matthew Rush, refused.

“I said, ‘You know, they’re kids,’ ” Specialist Rush testified at the court-martial.

Lieutenant Lorance told the soldiers the next morning that the Army’s rules of engagement, governing when they could use deadly force, had changed and that they were now allowed to fire on any motorcycle they saw. Soldiers testified that they were shocked but did not argue. At the trial, Army prosecutors showed that the rules had not changed — a fact they suggested Lieutenant Lorance would have known.

I’ve bored many boomer friends praising this generation, from which the offender also hails. But you’ll forgive me for imagining that with guys like these, we might never have needed Hugh Thompson at My Lai. We might even never had Haditha, or the Kill Team.