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Synopsis

War is everywhere. Not only among the firefights, in the sweat dripping from heavy armor and the clenching grip on your weapon, but also wedging itself deep into families, infiltrating our love letters, hovering in the air above our heads. It's in our dreams and our text messages. At times it roars with adrenaline. While at others it slips in silently so it can sit beside you until you forget it's there.

Join Joe Haldeman, Linda Nagata, Karin Lowachee, Ken Liu, Jay Posey, and more as they take you on a tour of the battlefields. From those hurtling through space in spaceships and winding along trails deep in the jungle with bullets whizzing overhead, to the ones hiding behind calm smiles, waiting patiently to reveal itself in those quiet moments when we feel safest. War Stories brings us 23 stories of the impacts of war, showcasing the systems, combat, armor, and aftermath without condemnation or glorification.

Instead, War Stories reveals the truth.

War is what we are.

Contents:

• Foreword (War Stories: New Military Science Fiction) - (2014) - essay by Gregory Drobny
• Graves - (1992) - shortstory by Joe Haldeman
• In the Loop - (2014) - shortstory by Ken Liu
• Ghost Girl - (2014) - shortstory by Rich Larson
• The Radio - (2014) - shortstory by Susan Jane Bigelow
• Contractual Obligation - (2014) - shortstory by James L. Cambias
• The Wasp Keepers - (2014) - shortstory by Mark Jacobsen
• Non-Standard Deviation - (2014) - shortstory by Richard E. Dansky
• All You Need - (2014) - shortstory by Mike Sizemore
• The Valkyrie - (2014) - shortstory by Maurice Broaddus
• One Million Lira - (2014) - shortstory by Thoraiya Dyer
• Invincible - (2014) - shortstory by Jay Posey
• Light and Shadow - (2014) - shortstory by Linda Nagata
• Warhosts - (2014) - shortstory by Yoon Ha Lee
• Suits - (2014) - shortstory by James L. Sutter
• Mission. Suit. Self. - (2014) - shortstory by Jake Kerr
• In Loco - (2014) - shortstory by Carlos Orsi
• War Dog - (2014) - shortstory by Mike Barretta
• Coming Home - (2014) - shortstory by Janine Spendlove
• Where We Would End a War - (2014) - shortstory by F. Brett Cox
• Black Butterfly - (2014) - shortstory by T. C. McCarthy
• Always the Stars and the Void Between - (2014) - shortstory by Nerine Dorman
• Enemy States - (2014) - shortstory by Karin Lowachee
• War 3.01 - (2012) - shortstory by Keith Brooke

Excerpt

Graves

by Joe Haldeman

I have this persistent sleep disorder that makes life difficult for me, but still I want to keep it. Boy, do I want to keep it. It goes back twenty years, to Vietnam. To Graves.

Dead bodies turn from bad to worse real fast in the jungle. You've got a few hours before rigor mortis makes them hard to handle, hard to stuff in a bag. By that time, they start to turn greenish, if they started out white or yellow, where you can see the skin. It's mostly bugs by then, usually ants. Then they go to black and start to smell.

They swell up and burst.

You'd think the ants and roaches and beetles and millipedes would make short work of them after that, but they don't. Just when they get to looking and smelling the worst, the bugs sort of lose interest, get fastidious, send out for pizza. Except for the flies. Laying eggs.

The funny thing is, unless some big animal got to it and tore it up, even after a week or so, you've still got something more than a skeleton, even a sort of a face. No eyes, though. Every now and then, we'd get one like that. Not too often, since soldiers usually don't die alone and sit there for that long, but sometimes. We called them "dry ones." Still damp underneath, of course, and inside, but kind of like a sunburned mummy otherwise.

You tell people what you do at Graves Registration, "Graves," and it sounds like about the worst job the army has to offer. It isn't. You just stand there all day and open body bags, figure out which parts maybe belong to which dog tag--not that it's usually that important--sew them up more or less with a big needle, account for all the wallets and jewelry, steal the dope out of their pockets, box them up, seal the casket, do the paperwork. When you have enough boxes, you truck them out to the airfield. The first week maybe is pretty bad. But after a hundred or so, after you get used to the smell and the godawful feel of them, you get to thinking that opening a body bag is a lot better than ending up inside one. They put Graves in safe places.

Since I'd had a couple of years of college, pre-med, I got some of the more interesting jobs. Captain French, who was the pathologist actually in charge of the outfit, always took me with him out into the field when he had to examine a corpse in situ, which happened only maybe once a month. I got to wear a .45 in a shoulder holster, tough guy. Never fired it, never got shot at, except the one time.

That was a hell of a time. It's funny what gets to you, stays with you.

Usually when we had an in situ, it was a forensic matter, like an officer they suspected had been fragged or otherwise terminated by his own men. We'd take pictures and interview some people, and then Frenchy would bring the stiff back for autopsy, see whether the bullets were American or Vietnamese. (Not that that would be conclusive either way. The Vietcong stole our weapons, and our guys used the North Vietnamese AK-47s, when we could get our hands on them. More reliable than the M-16, and a better cartridge for killing. Both sides proved that over and over.) Usually Frenchy would send a report up to Division, and that would be it. Once he had to testify at a court-martial. The kid was guilty, but just got life. The officer was a real prick.

Anyhow, we got the call to come look at this in situ corpse about five in the afternoon. Frenchy tried to put it off until the next day, since, if it got dark, we'd have to spend the night. The guy he was talking to was a major, though, and obviously proud of it, so it was no use arguing. I threw some C's and beer and a couple canteens into two rucksacks that already had blankets and air mattresses tied on the bottom. Box of .45 ammo and a couple hand grenades. Went and got a jeep while Frenchy got his stuff together and made sure Doc Carter was sober enough to count the stiffs as they came in. (Doc Carter was the one supposed to be in charge, but he didn't much care for the work.)

Drove us out to the pad, and lo and behold, there was a chopper waiting, blades idling. Should've started to smell a rat then. We don't get real high priority, and it's not easy to get a chopper to go anywhere so close to sundown. They even helped us stow our gear. Up, up and away.

I never flew enough in helicopters to make it routine. Kontum looked almost pretty in the low sun, golden red. I had to sit between two flamethrowers, though, which didn't make me feel too secure. The door gunner was smoking. The flamethrower tanks were stenciled NO SMOKING.

We went fast and low out toward the mountains to the west. I was hoping we'd wind up at one of the big fire bases up there, figuring I'd sleep better with a few hundred men around. But no such luck. When the chopper started to slow down, the blades' whir deepening to a whuck-whuck-whuck, there was no clearing as far as the eye could see. Thick jungle canopy everywhere. Then a wisp of purple smoke showed us a helicopter-sized hole in the leaves. The pilot brought us down an inch at a time, nicking twigs. I was very much aware of the flamethrowers. If he clipped a large branch, we'd be so much pot roast.

When we touched down, four guys in a big hurry unloaded our gear and the flamethrowers and a couple cases of ammo. They put two wounded guys and one client on board and shooed the helicopter away. Yeah, it would sort of broadcast your position. One of them told us to wait; he'd go get the major.

"I don't like this at all," Frenchy said.

"Me neither," I said. "Let's go home."

"Any outfit that's got a major and two flamethrowers is planning to fight a real war." He pulled his .45 out and looked at it as if he'd never seen one before. "Which end of this do you think the bullets come out of?"

"Shit," I advised, and rummaged through the rucksack for a beer. I gave Frenchy one, and he put it in his side pocket.

A machine gun opened up off to our right. Frenchy and I grabbed the dirt. Three grenade blasts. Somebody yelled for them to cut that out. Guy yelled back he thought he saw something. Machine gun started up again. We tried to get a little lower.

Up walks this old guy, thirties, looking annoyed. The major.

"You men get up. What's wrong with you?" He was playin' games.

Frenchy got up, dusting himself off. We had the only clean fatigues in twenty miles. "Captain French, Graves Registration."

"Oh," he said, not visibly impressed. "Secure your gear and follow me." He drifted off like a mighty ship of the jungle. Frenchy rolled his eyes, and we hoisted our rucksacks and followed him. I wasn't sure whether "secure your gear" meant bring your stuff or leave it behind, but Budweiser could get to be a real collector's item in the boonies, and there were a lot of collectors out here.

We walked too far. I mean a couple hundred yards. That meant they were really spread out thin. I didn't look forward to spending the night. The goddamned machine gun started up again. The major looked annoyed and shouted, "Sergeant, will you please control your men?" and the sergeant told the machine gunner to shut the fuck up, and the machine gunner told the sergeant there was a fuckin' gook out there, and then somebody popped a big one, like a Claymore, and then everybody was shooting every which way. Frenchy and I got real horizontal. I heard a bullet whip by over my head. The major was leaning against a tree, looking bored, shouting, "Cease firing, cease firing!" The shooting dwindled down like popcorn getting done. The major looked over at us and said, "Come on. While there's still light." He led us into a small clearing, elephant grass pretty well trampled down. I guess everybody had had his turn to look at the corpse.

It wasn't a real gruesome body, as bodies go, but it was odd-looking, even for a dry one.

Copyright © 1992 by Joe Haldeman

Copyright © 2014 by Jaym Gates

Copyright © 2014 by Andrew Liptak

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