E. B. Sledge's battle memoir is a no-holds-barred account of his experiences in the Pacific War.
Eugene Bondurant Sledge, called "Sledgehammer" by his fellow Marines, was a very unlikely combatant: when he, the shy, skinny son of a prominent physician from Alabama, enlisted in the Marine Corps on 3 December 1942, he was a freshman at Marion Military Institute. His parents and brother had urged him to stay in college as long as possible in order to qualify for a commission in some technical branch of the U.S Army. Yet, Sledge was afraid that the war will end before he could fight in it, and still signed for one of the Corps' new officer training programs.
That's when he was introduced to the harsh reality of the Marine Corps for the first time:
The recruiting sergeant wore dress blue trousers, a khaki shirt, necktie, and white barracks hat. His shoes had a shine the likes of which I've never seen. He asked me lots of questions and filled out numerous official papers. When he asked, "Any scars, birthmarks, or other unusual features?" I described an inch-long scar on my right knee. I asked why such a question. He replied, "So they can identify you on some Pacific beach after the Japs blast off your dog tags.
Dropping out of Georgia Tech in Atlanta, Sledge enlisted in late 1943 in the U.S Marine Corps as a private, and left for Pavuvu Island, a coconut plantation for the natives, which served as a temporary home to the 1st U.S Marine Division after their actions on Cape Gloucester and subsequently Peleliu. Sledge vividly discribes the remoteness and desolation the Marines felt on the island, and the appaling conditions they endured there, from the bread infested with insects to the lack of bathing facilities to the "morning sick call".
The Gloucester veterans were in bad physical condition after "the wettest campaign in WWII"; they were emaciated, with jungle rot in their armpits and on their ankles. At "sick call" they painted each other's sores with gentian violet and cotton swabs, or sometimes even treated each other under a doctor's supervision. Pavuvu's torrid, humid climate didn't at all contribute to the healing process.
"I think the Marine Corps has forgotten where Pavuvu is," one man said.
"I think God has forgotten where Pavuvu is," came a reply.
"God couldn't forget because he made everything."
"Then I bet he wishes he could forget he made Pavuvu."
Sledgehammer's account of the battle of Peleliu is no less graphic and shocking. Some historians have argued that Peleliu was unnecessary and its contribution to the overall victory dubious, but there was nothing minor about it for the men who fought there. Although Sledge constantly emphasizes the impossibility of communicating the experience of combat to those who have not experienced it themselves ("To the non-combatants and those on the periphery of action war meant only boredom or occasional excitement; but to those who entered the meat grinder itself, the war was a nether world of horror from which escape seemed less and less likely as casualties mounted and the fighting dragged on and on."), he takes the reader as close to the horror as possible with countless descriptions of terror, insanity, disgust, and stupidity in unadorned prose. "His intestines were strung out among the branches like garland decorations on a Christmas tree," writes he vividly about a dead enemy.
At odds with the stark scenes of barbarity is Sledgehammer's empathy and sensitivity. He chronicles acts of friendship and kindness among his fellows as well as occasional humorous moments that made his nightmarish days a little bit brighter. For example, younger Okinawans, as he explains, were much quicker to lose their fear of the Marines than the older people, and they had some good laughs with them:
One of the funnier episodes I witnessed involved two Oki-nawan women and their small children.
We had been ordered to halt and “take ten” (a ten-minute rest) before resuming our rapid advance across the island. My squad stopped near a typical Okinawan well. ....We watched two women and their children getting a drink. They seemed a bit nervous and afraid of us, of course. But life had its demands with children about, so one woman sat on a rock, nonchalantly opened her kimono top, and began breast-feeding her small baby.
While the baby nursed, and we watched, the second child (about four years old) played with his mother's sandals. The little fellow quickly tired of this and kept pestering his mother for attention. The second woman had her hands full with a small child of her own, so she wasn't any help. The mother spoke sharply to her bored child, but he started climbing all over the baby and interfering with the nursing. As we looked on with keen interest, the exasperated mother removed her breast from the mouth of the nursing baby and pointed it at the face of the fractious brother. She squeezed her breast just as you would milk a cow and squirted a jet of milk into the child's face. The startled boy began bawling at the top of his lungs while rubbing the milk out of his eyes. We all roared with laughter, rolling around on the deck and holding our sides. The women looked up, not realizing why we were laughing, but began to grin because the tension was broken. The little recipient of the milk in the eyes stopped crying and started grinning, too.
“Get your gear on; we're moving out,” came the word down the column. As we shouldered our weapons and ammo and moved out amid continued laughter, the story traveled along to the amusement of all. We passed the two smiling mothers and the grinning toddler, his cute face still wet with his mother's milk.
The important part of Sledge's narrative, however, is exactly the harsh depictions of unrestrained savagery, a reminder for us that war is brutish, inglorious, and a terrible waste and that "combat leaves an indelible mark on those who are forced to endure it". Besides all the horrible scenes of Marines callously ripping golden teeth from dead Japanese soldiers or even preparing to take the shriveled hands of dead Japanese home, Sledgehammer unsparingly conveys to the reader the visions of his own disturbed – from the mud, the stench, the fear, and the inability to get out of his foxhole – mind:
I imagined Marine dead had risen up and were moving silently about the area. .... Possibly they were hallucinations, but they were strange and horrible. The pattern was always the same. The dead got up slowly out of their waterlogged craters or off the mud and, with stooped shoulders and dragging feet, wandered aimlessly, their lips moving as though trying to tell me something. They seemed agonized by pain and dispair.
If he had been a dramatic storyteller, he would have found a romantic way to end his memoir “while looking at the fine sunset off the cliffs at the Southern end of Okinawa”. However, E.B. Sledge remains relentless to the last chapter.
"By lawd, why the hell we gotta bury them stinkin' bastards after we killed 'em? Let them goddamn rear-echelon people git a whiff of 'em. They didn't hafta fight 'em."
The final choir of the infantry troops was to bury the enemy and clean the battlefield – the ultimate indignity to men who had fought so hard and so long and had won.
With the Old Breed
is a poignant memory of the sacrifices men have made to allow others to live the life they do. A disturbing, evocatively written chronicle by a humble, honest, and courageous man. Highly recommendable.