North Light by Mark Helprin
"North Light" by Mark Helprin is a poignant narrative that explores the psychological landscape of Israeli soldiers preparing for battle during the Six-Day War. The story centers around an unnamed narrator, an Israeli soldier who finds himself called back to action after hoping for peace following previous conflicts. As he and his comrades watch from a ridge, they await the dark of night to engage in combat, reflecting on the stark contrasts between the experiences of younger and older soldiers.
The younger soldiers, who are around eighteen, approach the impending battle with a sense of invincibility, unaware of the grave realities of war. In contrast, the older soldiers grapple with their fears and the weight of their responsibilities, including families and loved ones left behind. The narrative highlights the complex emotions surrounding courage and the paradox of waiting; while it invites overthinking and fear, it also fuels anger—an essential catalyst for action in war. As the story builds towards the moment of engagement, the soldiers are united in their resolve, culminating in a powerful depiction of their collective experience as they prepare to face the chaos of battle. The story's exploration of courage, loss, and the human condition in the face of conflict resonates deeply, inviting readers to reflect on the nature of war and its emotional toll.
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North Light by Mark Helprin
First published: 1981
Type of plot: Psychological
Time of work: The 1970's
Locale: Israel
Principal Character:
The narrator , a middle-aged Israeli soldier
The Story
The unnamed narrator is an Israeli soldier who fought in the Six-Day War and hoped his days of war were over. This morning, however, his unit has been called up and is watching from a ridge as tanks maneuver in a small valley, waiting until nightfall when they will be ordered into a battle. Although their comrades below are outnumbered, the Israeli command has decided that the unit should not enter into the valley until dark, because they have only two old half-tracks that could accomplish little against the Syrian tanks in the light of day.
It can be more difficult to wait than to fight. The narrator notes the differences between the older men who have experienced war before and the young soldiers who are facing enemy fire for the first time. The young do not know what the reality of battle will prove to be, but the narrator believes that because they are young—approximately eighteen years of age—they have little to lose even if they lose their lives, for they are responsible only for themselves.
The narrator and the other older soldiers who have been in battle before know the maiming and death of warfare. Unlike in their youth, they now have something to lose: their families and loved ones. The soldier next to the narrator sniffs his wrist. When asked why, he responds, "I can still smell her perfume on my wrist, and I taste the taste of her mouth." Another veteran soldier, about fifty years old, and with two sons fighting in the Sinai, constantly scans his watch, but he cannot tell anyone the time even after looking at the dial because of his fear and his fear of loss.
The narrator notes that for the young, going into battle is like being a member of a sports team waiting for the game to begin; their courage comes easily. With more knowledge and more to lose, the older men say to themselves, "I must not die; I must not die." It is impossible to be eighteen again, and for them courage is no longer a reflex but a conscious decision to act when one desires above all else not to step forward. In battle, however, conscious thought might lead to one's death. A soldier dare not be overcautious because warfare is like a dance where one's body must lead, not one's mind.
The waiting, the being held back, allows too much thought. In a kind of epiphany, the narrator remembers when he and his comrades were fighting the Egyptians in the Six-Day War. The secret to courage is to be angry. Only when the soldier is angry should he join the dance of war. Paradoxically, although being held back gives one too much time to think, it also brings anger; against the Egyptians, the Israeli soldiers were forced to wait for weeks before their angry dance was allowed to begin.
A group of Israeli airplanes flies low over the ridge, dipping their wings in salute. The soldiers' anger increases, focused not only against the Syrians in the valley but also against the high command that does not allow them to enter the battle. Finally, in response to pleading by the sergeant, just before three o'clock, the order is given to proceed. All are ready, young and old. "We are shaking; we are crying. Now we stare into the north light. . . . Now we are moving."
Bibliography
Alexander, Paul. "Big Books, Tall Tales." The New York Times Magazine 140 (April 28, 1991): 32.
Keneally, Thomas. "Of War and Memory." Review of A Soldier of the Great War, by Mark Helprin. The New York Times Book Review, May 5, 1991, 1.
Lambert, Craig. "Literary Warrior." Harvard Magazine (May/June, 2005): 38-43.
Linville, James. "Mark Helprin: The Art of Fiction CXXXII." The Paris Review 35 (Spring, 1993): 160-199.
"Mark Helprin's Next Ten Years (and Next Six Books) with HBJ." Publishers Weekly 236 (June 9, 1989): 33-34.
Max, D. T. "His Horses Used to Fly." The New York Times Book Review, November 7, 2004, p. 24
Meroney, John. "'Live' with TAE: Mark Helprin." The American Enterprise (July/August. 2001): 17-20.
Rubins, Josh. "Small Expectations." Review of Winter's Tale, by Mark Helprin. The New York Review of Books 30 (November 24, 1983): 40-41.
Solotarfoff, Ed. "A Soldier's Tale." Review of A Soldier of the Great War, by Mark Helprin. The Nation 252 (June 10, 1991): 776-781.