They remember the foreclosed farms, the slaughtered pigs to keep the prices up, the plowing under of the crops, because there was not intelligence enough in the leaders to devise a means of distributing an oversupply of food. They remember that every plan for general good life is dashed to pieces on the wall of necessary profits.
These things cannot be overstated. Anyone who can reassure these soldiers that such things will not happen again will put a weapon in their hands of incredible strength. What do the soldiers hear?—that Mr. Jones is calling Mr. Wallace names; that Mr. Jeffers is fighting with Mr. Ickes; czars of this and that are fighting for more power and more jurisdiction.
Congress, in a kind of hysteria of immunity from public criticism, has removed even the machinery of relief which might take up the impact of a new depression; black markets are flourishing and the operators are not little crooks, but the best people. The soldiers hear that the price of living is going up and wages are following them. A soldier is not a lone man. He usually has a family dependent to a large extent on the money he can allot, and his pay does not increase with the cost of living.
These are the things that he hears. The papers are full of it, the letters from home are full of it—quarreling, anxiety, greed. And, being a soldier, he cannot complain. He is forbidden to complain. You cannot have that kind of thing in an army. He is not cynical, but he is worried. He wants to get this war over with, and to get home to find what they have done to his country in his absence. The Four Freedoms define what he wants but unless some machinery, some foundation, some clear method is shown, he is likely to believe only in that freedom which Anatole France defined—the equal freedom of rich and poor to sleep under bridges.
THEATER PARTY
LONDON, July 18, 1943—It was late afternoon of the English summer and in one of London’s innumerable outlying districts the motion-picture house was comfortably filled. There were some soldiers who had been wounded and were on their way to recovery. There were women of the services off duty for a few hours. Some civilian women were there for a quick picture after shopping and there were factory workers off shift. Down in front were rows of children, crowding as close to the screen as they could get.
It was just an average afternoon at the pictures. The house was comfortably filled but not crowded. In special places were some men in wheel chairs from the hospital. The picture was I Married a Witch with Veronica Lake—a fantasy comedy wherein a New England witch of Puritan times returns to life and falls straight into the traditional bedroom comedy—neither a distinguished piece of work nor a bad one. The children loved the picture and believed it because they believe all moving pictures.
Outside there was low cloud and it looked as though there might be rain later in the evening and there had not been enough rain.
While Veronica Lake, long blond hair over one eye, sat in pajamas on a man’s bed and he worried for his good and respectable name and the children crowed with delight—ten German fighter-bombers whirled in over the coast. The spotters picked them up. The Spitfires took the air. The anti-aircraft guns fired and two of the raiders were shot down. A third crashed against a little hill. Then a crazy, ragged chase started in the gray cloud. Spitfires ranging and searching in the cloud. The raiders separated and lunged on toward London, and on the ground the sirens howled and the tremendous system of alarms and defenses went into action.
Only one of the raiders got through, twisting and dodging through the defenses. He came racing down out of the cloud and right under him was the theater. He was very low when he released his bombs. The top of the theater leaped into the air and then settled back into a rubble. The screen went blank. The raider banked his plane, whipped around, came back, and poured his guns into the wreck. Then he jerked his ship into the gray clouds and ran for the coast. And he left behind him the screaming of children in pain and fear.
The communities are organized for things like this. In a matter of minutes the rescue squads were at work; the firemen were on the ground. The squads are well trained. They forced themselves into the torn and shredded building. The broken children were carried out and rushed to the hospital, crushed and shot and destroyed. The dead ones were set aside for burial, but those who still breathed and kicked and whimpered went to the waiting doctors.
All night long the operations went on. Probing for bullets, hands and arms and legs cut off and put aside. Eyes removed. The anesthetists worked delicately against pain, dripping unconsciousness onto the masks. It went on through the night, the procession of the maimed to the hospital. The doctors worked carefully, speedily. Quick judgments—this one can’t live—kept consciousness away. This one has a chance if both legs are sliced off. Judgments and quick work.
From the depots the blood plasma was rushed In and the strength from other people’s veins dripped into the arteries of the children.
It was nine in the morning when the operating was finished. At the theater the tired squads were still finding a few bodies. And in the hospital beds—great wads of bandage and wide, staring, unbelieving eyes and utter weariness—the little targets, the seven-year-old military objectives.
Workmen were digging a great, long, common grave for the dead. Veronica Lake had flared up with the quick flash of burning film and only the reels she was wound on were left. And in the houses in the morning people were just beginning to be aware enough to cry. It was very quiet in the streets.
At a bar a tired doctor got a drink before he went to bed. His eyes were ringed with red sorrow and his hand shook as he lifted the whiskey to his lips.
DIRECTED UNDERSTANDING
LONDON, July 19, 1943—International amity, good fellowship, and mutual understanding between the British and Americans often reaches a pitch where war between the two seems very close. This is usually directed understanding, and it gives rise to some very silly situations.
Directed understanding and tolerance ordinarily begin with generalizations. Our troops approaching England are told in pamphlets what the British are like, where they are tender and where hard, what words, innocent at home, are harsh and ugly on the British ear. This has much the same effect as telling a friend, “You must meet Jones—wonderful fellow. You two will get along.” With a start like that, Jones has got two strikes on him before you ever meet him. He has to live down being a charming fellow before you can tolerate him. In this case it is even worse, because the British are told that they will like us when they just get to know us. The result is that the two come together like strange dogs, each one looking for trouble. It takes a long time to live down this kind of understanding.
The second phase of getting along is carried on in innumerable attempts to describe each other. The British are so and so. The Americans are so and so. The British are just like other people only more so. The Americans are boasters who love money. This love of money is, of course, unique with Americans. Every other people detests money. The Americans are fine, sturdy people. The British are fine, sturdy people. This is obviously a lie. There are good ones and stinkers on both sides. Setting them up doesn’t do any good. Just about the time you get a liking and a respect for a number of Englishmen, someone comes along and tells you about the English and you have to start from scratch again. This same thing, undoubtedly, happens to the English too.
The third little pitfall concerns the qualities of the fighting men. A big, rangy old mountain boy comes rolling down the street with his knuckles just barely clearing the pavement, and right behind is a Guardsman, shoulders back, chin up, nine buttons glowing like mad. Immediately the comparison is made. One is a fine soldier and the other is a lout. The fact of the matter is that they are both covering ground at the same rate, and each one could probably cover the same ground with a full pack. And then, having learned about soldierly qualities, you see a little twist-faced, wide-shouldered Tommy who walks sideways like a crab, and you realize that he’s as good a fighting man as the world had produced, but on his record, not on his soldierly bearing.