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52 pages 1 hour read

Patricia McCormick

Purple Heart

Fiction | Novel | YA | Published in 2009

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Themes

The Effect of the Iraq War on Children

In a letter at the end of Purple Heart, author Patricia McCormick states that the novel is “an attempt to portray how three children—two eighteen-year-old Americans and a 10-year-old Iraqi boy—have been affected by war” (207). While the 10-year-old, Ali, is obviously a child, 18-year-old Matt and Justin are ostensibly adults, given the responsibility of fighting and potentially dying for their country. However, McCormick adds details throughout to remind the reader of how young Matt, Justin, and many of their other squad members really are.

Matt, too young to drink, thinks that once he gets home “it would be a lot easier to find someone to buy him a six-pack now that he was a vet” (164). He’s also “never been a very good smoker” (79), unable to hit the right balance when inhaling, and Wolf always asks him “to show ID” (79) when he’s bumming a cigarette. Justin and Matt’s favorite pastime is playing Halo, and Justin loves to use his word-of-the-day calendar to make immature jokes. One of Matt’s best memories of the squad is the time Justin, Wolf, and all the others played with a can of Silly String, “playing war” (53) like children in the midst of the real one.

However, as soldiers in a war zone, Matt and Justin are forced to grow up much faster than normal 18-year-olds. Reading Caroline’s letter about tests and school sports, a world Matt was part of just a year earlier, Matt reflects that Caroline’s world isn’t “everyday life […] everyday life was about getting your gas mask on in ten seconds or calibrating the distance between your position and a sniper’s nest” (61).

In addition to the shift in worldview caused by constantly being in danger, war has forced Matt to mature emotionally. He says, “You think there are rules and there’s right and wrong” (132)—but a world in which killing a 10-year-old child becomes the “right” thing to do reveals that there are no absolutes. Even though Matt learns he didn’t kill Ali directly, he still takes responsibility for Ali’s death, and he can no longer find comfort in simpler, more childlike ideas of right and wrong.

Justin is also affected by Ali’s death, and in fact reverts to a more childlike state, running for the sergeant during a bombing “like a baby running to its mother” (192). As Matt puts it, the events in the alley “had haunted them both” (192).

The effects of war also profoundly affect Ali, a 10-year-old Iraqi orphan. Living in a drainage pipe and begging for food rather than attending school, Ali has been denied all semblance of a safe and happy childhood. Despite his experience with war and violence, Ali has a playful nature. In his “child’s drawing” of a battle, “the guns—M16s and M4s—were precisely drawn, even though they were nearly as big as the soldiers” (47). Ali inevitably works with the insurgents so that he can obtain the things American children take for granted, like a pair of soccer cleats, and in doing so is killed.

In addition to the three main character arcs, McCormick works the theme of lost childhood and innocence into her novel in subtler ways as well. The book contains childlike imagery such as a “crayon-blue sky” (4) and a girl with yellow hair ribbons, juxtaposed with machine guns firing and streets littered with razor wire. Matt’s squad’s base is a former elementary school, and Charlene’s and Wolf’s memorial service takes place on what was once the school playground—an echo of the playgrounds Charlene and Wolf themselves would have played on not too many years prior. A “scrum of little kids” (27) follow Matt’s squad everywhere, begging for candy, reminding both the characters and the reader that this war has left many children needy and uncared for. The novel ends with Matt watching a group of schoolchildren playing, leaving the reader with an image of two generations of youth—an American and an Iraqi one—whose lives are forever changed by war.

The Relationship Between U.S. Troops and Iraqi Civilians

Throughout Purple Heart, characters grapple with the question of what exactly the U.S. troops are doing in Iraq—are they here to help the Iraqi people, and if so, are they succeeding? Before Ali’s death, Matt believes that “we’re here to help these people” (48) and that he’s being a “good guy” (190) by playing soccer with the local kids. Other soldiers, like Charlene, insist that getting too close to the Iraqis can only lead to trouble. When Ali steals Matt’s sunglasses, Charlene says: “[T]hat’s what happens when you try to make friends with these people” (30). Charlene unwittingly predicts the much more serious consequence of “making friends,” as Ali is killed, and subsequently, Matt has to live with the guilt of knowing he’s at least partially responsible.

In addition to the larger tragedy of Ali’s death, other examples of the negative impact of the U.S. presence in Iraq are evident throughout the novel. Wolf perhaps puts it best when he says, “I hate how we came over here to help these people and instead we’re killing them” (115). The fact that insurgents “hide behind […] and use civilians” (102), as they did with Ali, only adds to the danger for Iraqi citizens. Even the drainage pipe Ali lives in is something the Americans brought to rebuild Iraq—"except [they] never did” (70). The aspects of American culture the troops bring with them have sometimes questionable consequences, as Matt watches “skinny, barefoot” kids singing rap lyrics like “I’ll take you to the candy shop…” (28). As Justin puts it, the troops are “bringing these people America” (28)—but they’re not giving the Iraqis what they truly need.

At the end of the novel, Matt accepts that there’s no simple answer to the question of whether U.S. soldiers are helping, or should even try to help, the Iraqis. Remembering Wolf’s statement that the troops are “here to help these people” (115), and Charlene’s belief that getting involved with the locals only leads to trouble, Matt finally concludes that “they were both right” (194).

The Effect of Trauma on Memory and Psyche

Much of Purple Heart is concerned with Matt’s attempt to regain his memory after a traumatic brain injury; while Matt’s brain is physically damaged when he’s hit by a rocket-propelled grenade, his psychological trauma seems to have a greater impact on his inability to remember what happened to him. Throughout the novel, Matt, unable to recall—or perhaps, subconsciously, unwilling to recall—the complete incident, replays the few images he does remember almost obsessively through his mind: a “candy wrapper flutter[ing] from a coil of razor wire” (67); a stray dog crossing the street, “oblivious to the battle around him” (67); a child lifted into the “crayon-blue sky” (4). These images cause significant distress to Matt, especially as he becomes more convinced that he killed Ali. At one point, he desperately tries “to will himself to forget. To turn it off” (162). On patrol, he sees Ali’s face “in every kid on the street” (147). Even though he struggles to remember details, Matt’s brain won’t allow him to forget, or even take a break from, the tragedy he’s taken part in.

The officer who evaluates Matt tells him that “when something is too painful to process […] your mind has a way of burying it” (110). She explains that this form of self-protection affects many soldiers, and that they all “struggle with their conscience” (114) after committing wartime acts of violence. A young assistant Matt connects with, Pete, similarly recounts the story of an Iraqi who couldn’t remember the explosion that nearly kills him—it was “too much for the brain to handle” (81). The struggle to remember becomes not only a plot element or a personal conflict for Matt, but a larger representation of how war affects soldiers. Many soldiers have committed or witnessed acts so terrible, their brains literally shut them out. Yet this defense mechanism can’t shield soldiers from post-traumatic stress completely—as Meaghan says, the disturbing emotions come out through “flashbacks” and “nightmares” (70), distressing the soldiers long after the initial trauma has passed.

Guilt, Confession, and Redemption

For much of Purple Heart, Matt believes he shot and killed a 10-year-old Iraqi boy, and as a Catholic and former altar boy, he turns to confession to attempt to relieve his guilt. Matt remembers taking comfort in the rituals of confession as a child—the “cool, dark box” of the confessional, the “faint shushing” of the priest opening the screen, the words “bless me, Father, for I have sinned” (110). Matt founds those words—the simple admission that he’s done wrong—“so humbling and so total” (110) that they themselves were a kind of “absolution” (111). In Iraq, Matt has experienced a new kind of confession—late-night exchanges of secrets with his fellow soldiers, beneath the “inky black” Iraqi sky, which were “somehow more sacred” (111)than confession in a church.

In the hospital, Matt attempts a third type of confession, as he speaks to Father Brennan in a supply closet turned confessional. Wondering: “How did you confess to killing someone?” (111), Matt finds himself unable to state what he’s done or to obtain any “relief” (111) from the ritual of confession. The tragedies and moral ambiguities of war have left Matt with a guilt he can’t overcome so simply.

Before leaving the hospital, Matt does find, if not redemption, some measure of peace through prayer. While he doesn’t feel “the grace he’d hoped for” (134), his prayer with Father Brennan leaves him “lighter somehow” (134). In a world where children become enemies and no choices are black or white, that lightened burden may be the most Matt can hope for.

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