Captain O Neill's Narrative Analysis

In “how to tell a true war story” Tim o Brien tells some stories of war and tries to explain why and how these stories are true. O Brien come up with his own guidelines for what a true war story should contain for it to be true if it contains other things that what he mentions it is not true even if it happened. According to O Brien “a true war story is never moral” (Brien 1), “does not instruct, nor encourage virtue” (Brien 1), does not restrain men from doing the things they have always done” (Brien 1) in addition O Brien continues to unfold the requirements for labeling a story true and he even says “ if you don’t care for obscenity, you don’t care for the truth” (Brien 2) meaning that a true story could contain some type of obscenity

Your Affiant activated the emergency lights to stop the vehicle, but the operator continued driving to the steady red light and remained in the driving lane. After sitting behind the driver for a period of time I did not believe he was going to pull to the side of the road so I exited the patrol vehicle and approached his window. The operator said he was waiting for the light to turn green so he could cross the intersection to pull over. I

On 10/28/2015, at approximately 0232 hours, Captain O'Neill and your Affiant observed a red Chrysler PT Cruiser (PA Registration JWA5451) traveling south on State Route 924. The operator of the vehicle was observed and identified as Dawn HERRING. HERRING'S driver's license was expired and suspended for driving under the influence; the information was verified through a certified Pennsylvania Department of Transportation record. HERRING was observed traveling under the posted speed limit and repeatedly swayed her vehicle throughout the lane. Your Affiants activated the emergency lights on the marked patrol vehicle and stopped HERRING at the entrance of the Transfer Station.

While on duty, I, Officer J. Daniszewski, was traveling eastbound on W Westover St. As I was stopped at the intersection of W Westover St and Sawyer St. the suspect vehicle passed me traveling westbound on W Westover St. As the suspect vehicle passed me, I looked in my rear view mirror and could not see a license plate on the suspect vehicle. I turned around and positioned my patrol cruiser behind the suspect vehicle. As I got behind the suspect vehicle, I could not identify a license plate on the back of the vehicle. I turned on my emergency lights and initiated a traffic stop. The suspect vehicle stopped on W Westover St, just east of Roundhouse Ave.

Ever since Hunter Jordan died, Ruth and James were heavily affected. In order to combat this, they both use different ways to grieve over his death. To begin, Ruth, James’ mother, rides her bike to grieve for her husbands death. To show proof, James says, “She would ride in slow motion across our street… It was her way of grieving,” (7). As one can see James believes his mother rides her bicycle to grieve for her deceased husband. In addition, James also notes, “it was something [the bike] my stepfather found on the street in Brooklyn and hauled home a few months before he died.” (5). To explain, James says that his stepfather found the bike and brought it to Ruth a few months before he died, so Ruth uses it to remind her of her husband. Furthermore, another way Ruth grieves is in church. James says, “she would occasionally do something in church that I never saw her do at home… she would bow down her head and weep.” (50). As one can see, Ruth cries in church to grieve for her husband because if her kids see her, they would think she is crying because God makes her happy.

In the chapter entitled “How to Tell a True War Story,” the narrator, Tim O’Brien, lists various ways in which one can tell a “true” war story. He describes, in one instance, that one can “tell a true war story by the way it never seems to end” (72). This definition stood out to me the most as I thought that it related best to ideas O’Brien had brought up in earlier chapters. The notion that war stories appear endless is one that was also touched upon when O’brien explained: “in any war story, but especially a true one, it’s difficult to separate what happened from what seemed to happen” (67). Perhaps O’Brien relates the idea that once a story has replaced a memory, the story becomes a part of oneself, and thus never seems to end -- or at least

Erik Larson uses repetition to tell his readers how much it would take for Olmsted to complete his task on time and how stressful it was. Larson uses the would “if” to communicate to his readers that there is a chance that everything could work out but “if” one of these does not, then they fail. By repeating “if” repeatedly Larson’s readers understand that there are many different things that, in order for the fair to be complete on time, need to go right. So by using this repetition Larson communicates to his readers how stressed they were about the fair. Therefore, this repetition that Erik Larson uses allows his readers to understand how stressed they all were about all the factors that needed to go right in order for the fair to be completed

As I was arriving, I activated the blue emergency lights on my patrol vehicle, I stopped my vehicle and exited it. As I was exiting my vehicle, I observed the Green Jeep Laredo leave the scene, and drive west and W Beach Blvd. I then followed the Jeep in my patrol vehicle while having blue emergency lights activated, I observed it was displaying, Ms

How to Tell a True War Story – The Irony of Truth in Tim O'Brien's "How to Tell a True War Story"

On 5/11/2016 at approximately 0849 hours I was patrolling eastbound on k-96 Highway at approximately mile marker 170. As I was patrolling I saw a gold Chevy passenger car start to pass another vehicle heading westbound on k-96. The gold vehicle was passing and I had to apply my brakes and move to the right shoulder of the highway to avoid a head-on collision. I turned around and pulled in behind the gold vehicle which is baring Kansas tag 819JAB. I activated my emergency lights to initiate a traffic stop on the vehicle. The vehicle pull to the right hand shoulder and came to a normal stop.

In “How to Tell a True War Story” O’Brien looks for the relationships in between the events during a war and also the art of telling those events. O’Brien doesn’t have a clear idea of what a true war story. He talks about his buddy that was in Vietnam. His buddy`s name was Bob Kiley but everyone called him Rat. O'Brien talks about his friend Rat`s friend gets killed, So Rat sits down and writes a letter to the guy's sister.

On May 31, 2016 at approximately 0437 hrs, I observed a silver 2000 Nissan Sentra bearing SC#KMC164 which was stopped for the red light on the intersection on Renaissance Blvd West with center brake light not functioning. I positioned my patrol vehicle 535 behind the Nissan Sentra and followed him after the light turned green. I activated my overhead emergency lights and conducted a motor vehicle stop.

Sometimes stories in literature are based on a real life event, other times, these stories are told they are set in some far off world. They can even include outlandish things like magic and time travel. The question is then raised in the reader's mind about whether or not the author actually went to that far off place or witnessed something completely extraordinary. Sadly, the answer in most instances is no or it didn't happen exactly like that. There is also the possibility that the author claims that the fantastical adventure they wrote about did happen, and this causes readers to question the sanity of the author. Cases when the authors write the eccentric version of the story they are placing a higher value on the theme (or the story-truth)

Walter Fisher’s narrative paradigm is defined as “a theoretical framework that views narratives as the basis of all human communication” (Griffin, Ledbetter, & Sparks, 2014.) Fisher views humans as storytellers by nature. Through narrative, people gain knowledge and perspective regarding the world we live in. Unlike rhetoric, which uses proof, trust, and logic to create a persuasive argument, narrative appeals to what Fisher calls our “good reason.” This is the value we place on the story communicated, even if it is irrational or unsupported, that persuades us into accepting an argument as truth (Griffin et al., 2014). In order for a story to appeal to our “good reason,” the details must possess a certain level of consistency, termed the coherence of a story, and the story’s events must be relatable to the listener according to their life experiences, which is the fidelity of a story. Together, this narrative rationality is the measure we use to evaluate the truthfulness and humanity of narrative communication. This literature review shows in cases of apologia, using Dick Cheney’s ill-received apologia following his involvement in a hunting accident in 2006 as an example, that narrative rationality provides us with limited information with which to make

I was six years old when I realized I was going to hell. Not necessarily for being a bad person, but for something that I now know I could never change about myself. Professor Johnson assigned a Narrative essay to our class at the beginning of first semester. "An event that has impacted who we are today". Right away, I knew what I was going to write about.  The trials and tribulations of growing up Christian while also being gay.  This assignment challenged by ability in descriptive writing. Its was important that I "show" instead of "telling" the audience my