The Forward Operating Base as Heterotopia Peter Molin (bio) Utopias and dystopias are well understood, but not many people outside academia have heard of heterotopias. French philosopher Michel Foucault introduced the term in his 1966 work The Order of Things, but his most well-known explanation of the term came in a talk to an audience of architects in 1967. Foucault described heterotopias in "Of Other Spaces: Utopias and Heterotopias" as "certain [spaces] that have the curious property of being in relation with all the other sites, but in such a way as to suspect, neutralize, or invent the set of relations that they happen to designate, mirror or reflect." Wikipedia helpfully refines Foucault's definition: "certain cultural, institutional and discursive spaces that are somehow 'other': disturbing, intense, incompatible, contradictory or transforming. Heterotopias are worlds within worlds, mirroring and yet upsetting what is outside." In heterotopias, then, dominant societal values and structures, along with familiar patterns of human cognition and relationship, are either intensified or transformed, or both. Foucault gives a list of examples of heterotopias—ships, gardens, fairs, cemeteries, bars, brothels, prisons, hospitals—and since his time critics have applied the term to many other human-made locations. The question here is whether the forward operating bases (FOBs) built by the US military in Iraq and Afghanistan to house soldiers and from which to stage operations might be considered heterotopias. And if so, what explanatory power does the concept possess to tell us about how soldiers' lives were transformed by living on FOBs? My thoughts on the matter were inspired by reading the graphic-memoir first-person stories recounted in True War Stories: Tales of Deployment from Vietnam to Today (2020), edited by Alex de Campi and Khai Krumbhaar. Several of the tales in True War Stories recount their authors' deployments in Vietnam, the Philippines, and Okinawa. Most, though, are set on FOBs associated with Iraq and Afghanistan, with Camp Victory in Iraq and Bagram Air Base in Afghanistan being the most prominent. Actions "outside the wire" or on smaller combat outposts provide a contrast to FOBs in several stories, but for the majority of the narrators a large FOB was the setting for their most intensely felt events and impressions of war, the military, and deployment. [End Page 39] Foucault tells us that heterotopias come in different flavors, with different functions. "Deviant" heterotopias, such as prisons and hospitals, house individuals who fall outside of the society's mainstream. Another category is "heterotopias of ritual or purification"—public spaces such as churches that serve spiritual purposes. "Heterotopias of time," such as museums, impart heightened alertness to historical and cultural difference. The different kinds of heterotopias overlap, and many heterotopias serve multiple purposes, but the salient point is that heterotopias are charged spaces—occupants of heterotopias know they are being affected by them, even if they are not sure how. Of particular interest are "crisis heterotopias," which are places where individuals go through intensive but short-lived transitional experiences. Foucault mentions as examples boarding schools and military service, and it is hard not to think that the military training bases and FOBs are also crisis heterotopias. Young men and women are socialized as soldiers, airmen, marines, and sailors on stateside bases, and the process intensifies on FOBs during deployment. Much of this socialization, with its concomitant alteration of outlook and thought, is a result of training, the military's hierarchical structure, and the demands of military missions, but the physical geography of the FOB also contributes much to the process. The stories related by the narrators in True War Stories are ones that could only have taken place on an FOB; the authors carry minor and major dramas of their FOB experience forward with them in life, and the tales they tell reflect their effort to understand and narrate them. The vivid, fulsome, and detailed graphic-art panels accompanying the stories artistically reinforce the prominence of the FOB as the stage for the human drama described. The artwork illustrates how the FOB as a heterotopia alters familiar spatial sensibilities and rearranges apperceptions of time. "Merry Christmas, Khaareji," written by Jonathan Bratten and illustrated by Edin Marron and Dee Cuniffe, takes...