RENEE MONTAGNE, HOST:
Let's look back now four decades. The U.S. was fresh off signing an agreement to end the long war in Vietnam when, on this day in 1973, 143 American prisoners of war were set free.
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MONTAGNE: Among the men to start a journey home that day was John Borling. He was a fighter pilot, shot down one moonlit night in June of 1966. John Borling spent much of the next six-and-a-half years in a notorious North Vietnamese prison. It was referred to sarcastically as the Hanoi Hilton by American prisoners, a place of torture, deprivation and often solitary confinement.
JOHN BORLING: The first years there was a great brutality and a great infliction of pain and punishment.
MONTAGNE: John Borling said, eventually, conditions in the prison improved somewhat.
BORLING: But for all that, where you can make a case on one hand that the North Vietnamese were lenient just to let us live, you can also make a case that they were too cruel to let us die.
MONTAGNE: Borling spent his days just trying to survive. He also composed and memorized poems without pencil or paper that he shared with fellow inmates - like the future senator, John McCain - by tapping them out in code. John Borling has now published a book of those poems called "Taps on the Walls." It's a tribute, as he puts it, to the power of the unwritten word, which sustained him during those years he was in prison by the North Vietnamese.
BORLING: They refused to give us POW status - hence, you know, there were no Red Cross packages or visits or letters home, except for a very few guys who they used as - or propagandized, to an extent, or made public their existence. In my case, two people thought I was alive: my wife, who said she could feel me, and my wing commander, who said if anybody was going to make it, John was going to make it. But he told me later he was lying. He thought I was dead, too.
MONTAGNE: I want to talk to you about how you memorized these poems and how you tapped them out. But read us one poem, so we get the sense of things.
BORLING: I will. And can I just kind of set the stage? Because this was written, again, in the early years. And you're in a room, maybe six-by-seven for a period of three-and-a-half years in this one case, with no windows, no ventilation. You've got nothing. You don't get outside, maybe see the sun 20 seconds a day, if you're lucky. You've got an overflowing bucket for a toilet. You've got a mat you sleep on, and you're subject to very harsh treatment in this timeframe. And so I tried to imagine this thing's a tourney, almost like knights jousting. And I wanted to start it at dawn.
(Reading) The scepter raised and silent challenge made. Again, I mental summon lance and shield, and somehow last until regal colors fade. It's now the victor absent from the field. Hard pallet draws me, huddled down upon a distant tower tolls a muffled chime. Another muddled day has eddied on to join the addled streams of tousled time. Embittered languor blankets captive man. So armored, sally forth at dawn, consigned to stand alone and parry best I can, until appointed tourneys and resigned, for time's an old and boring enemy, too cruel to kill forgotten men like me.
MONTAGNE: So you're battling days stretching before you, with no end in sight.
BORLING: We're battling every day. We're battling the endless day, where you just have to mount up and you have to fight the endless, empty days. You know, it's kind of a circumstance - there's a poem later in the book called "Sonnet 4 45 43." And the cap code, if you tap 45, 43, that's "Sonnet for Us." And it talks about the world without - within our weathered walls, remote, like useless windows, tall and barred. Here, months and years run quickly down dim halls, but days, the days, the empty days come hard.
MONTAGNE: Six-and-a-half years in the Hanoi Hilton, tapping. Tell us about the tapping.
BORLING: Sure. The tap code: divide the alphabet into five rows and five columns - A through E in the first row, if you will, F through J in the second, and so on. And then you tap first the row...
MONTAGNE: Like A.
BORLING: ...that it's in. Like A would be one, one. B would be one, one-two. C would be one, one-two-three. D: one, one-two-three-four. Got it? And we would sign off at night, GBU, or God bless you. So G is two - that's G. B is...
MONTAGNE: Over two, down two.
BORLING: Yeah. So then you want to go to U, you'd go down four - one, two, three, four, and over five, one, two, three, four, five. So, you take the row, and then you go over.
MONTAGNE: So, simple enough conceptually, but in terms of using it as a method of communication...
BORLING: Thirty-five to 40 words a minute or more.
BORLING: Yes. And it was, again, our lifeline. It was how we kept a chain of command. It was - which was verboten - how we passed information that would keep us all going, mentally. And a fragment of - here's a bunch of fighter pilots, but a fragment of poetry, or some remembered lines, however abbreviated, would be useful. In my case, guys were good enough to remember this one later. When we got together in larger groups, you know, we could do it verbally.
MONTAGNE: From a distance of 40 years since your release - to the day - do the poems take you back to that place? Do they almost carry you back to where you were when you wrote them?
BORLING: Some of them more than I would like. But, you know, time's a wonderful healing mechanism. And then our conversation here today on this 40th anniversary, perhaps the impact and the poignancy is a bit more real. But that's OK. Again, I think the genuineness and the authenticity of expression - and hopefully the artistic expression - should speak to the minds and hearts of folks out there. At least I would hope so.
MONTAGNE: Thank you for sharing your stories and your poems with us this morning.
BORLING: So glad to be with you.
MONTAGNE: Retired United States Air Force Major General John Borling. His book, "Taps on the Walls: Poems from the Hanoi Hilton."
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MONTAGNE: And during the Vietnam War, after being shot down, John Borling spent six-and-a-half years in a North Vietnam prison.
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