The Art of Tetman Callis

“ ‘Quakin’ and Shakin’, ’ they called it, great balls of fire, Contact. Then it was you and the ground: kiss it, eat it, fuck it, plow it with your whole body, get as close to it as you can without being in it yet or of it, guess who’s flying around about an inch above your head? Pucker and submit, it’s the ground. Under Fire would take you out of your head and out of your body too, the space you’d seen a second ago between subject and object wasn’t there anymore, it banged shut in a fast wash of adrenaline. Amazing, unbelievable, guys who’d played a lot of hard sports said they’d never felt anything like it, the sudden drop and rocket rush of the hit, the reserves of adrenaline you could make available to yourself, pumping it up and putting it out until you were lost floating in it, not afraid, almost open to clear orgasmic death-by-drowning in it, actually relaxed. Unless of course you’d shit your pants or were screaming or praying or giving anything at all to the hundred-channel panic that blew word salad all around you and sometimes clean through you. Maybe you couldn’t love the war and hate it inside the same instant, but sometimes those feelings alternated so rapidly that they spun together in a strobic wheel rolling all the way up until you were literally High on War, like it said on all the helmet covers.” – Michael Herr, Dispatches