Fact Verses Fiction in O'Brien's The Things They Carried Essay

O'Brien's The Things They Carried O’Connor remarks “The Things They Carried” is a short story that is written “as an experience not an abstraction” and that “the meaning has been embodied in it”. These quotations are truly pure in description and interpretation of the short story as the reader, must look beyond the crude physical properties of the objects and actions chronicled and focus more upon their hidden meanings and messages. O’Brien uses the physical characteristics of weight to make an impact upon the reader to relate with the men. In emphasizing the soldier’s everyday burden, the reader can easily relate to the situation in general. As the story progresses, the main attention of the

Throughout the book, O’Brien repeatedly states his struggles in telling “a true war story.” One of the obstacle he faces in telling “a true war story” is the readers’ misconception that “truth” must be an event and not an emotion. To begin, O’Brien claims “A true war story is never moral… If at the end of a war story you feel uplifted… then you have been made the victim of a very old and terrible lie… you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (68-69) and “All of us… like to believe that in a moral emergency we will behave like the heroes of our youth” (38). In these two statements, O’Brien has shown us that people want not a

The first three words of the chapter “How to Tell a True War Story” are, “This is true” (67). Although Tim O’Brien begins this chapter with such a bold and clear statement, throughout the chapter he has the reader thinking and confused when he contradicts himself by stating things such as, “In many cases a true war story cannot

In The Things They Carried by Tim O’Brien, O’Brien uses many short stories to describe his experience in Vietnam. The story that captured many aspects of writing was “How to Tell a True War Story” because it acts as a guide to writing a true story. O’Brien uses many different rhetorical strategies, narrative techniques, and establishes a theme in this story to help develop his characters and story line.

A true war story, if truly told, makes the stomach believe." (560) In this writing, Tim O’Brien explores what it means to have a “true war story.” He uses a contemporary style of writing, such as explaining ideas through stories, using frequent repetition, and having an informal tone, which helps the reader achieve a thorough understanding of a “True war story.” O’Brien is specific in saying that “was is hell,” (561) which simply has no impact because it is so general and clichéd. A true war story is not about valor, but is simply about the outrage a soldier faces during a

Some were true while some were just to portray heroism and were filled with false facts. The story “How to Tell a True War story” written by Tim O’Brien illustrates the difference between true and fictional war sorties. To show this O’Brien used two different stories and compared them. In both the stories, the common theme is that war brings melancholy and pain to everyone. The first story was about two friends Curt Lemon and Rat Kiley. Curt Lemmon accidently dies by stepping on a barbed wire. The second story was about a military troop which was sent to check the enemy movements. Both the stories are based on real war situations. The book was published after the Vietnam

1. According to O'Brien, how do you tell a true war story? What does he mean when he says that true war stories are never about war? In what sense is a “true” war story actually true? That is, in O’Brien’s terms, what is the relationship between historical truth and fictional truth?

While the Vietnam War was a complex political pursuit that lasted only a few years, the impact of the war on millions of soldiers and civilians extended for many years beyond its termination. Soldiers killed or were killed; those who survived suffered from physical wounds or were plagued by PTSD from being wounded, watching their platoon mates die violently or dealing with the moral implications of their own violence on enemy fighters. Inspired by his experiences in the war, Tim O’Brien, a former soldier, wrote The Things They Carried, a collection of fictional and true war stories that embody the

     How does death affect the behavior of people? Although death affects everyone's behavior differently, knowledge of one's imminent death is a main force behind behavioral changes. This knowledge causes emotions that motivate people to act in ways that they normally would not. In Tim O'Brien's 'The Things They Carried,'; the knowledge of death and its closeness causes the men in the story to alter their behavior by changing they way they display power, modifying emotions to relieve guilt, and by exhibiting different actions to ease anxiety.

In “The Things They Carried” Tim O’Brien uses this story as a coping mechanism; to tell part of his stories and others that are fiction from the Vietnamese War. This is shown by using a fictions character’s voice, deeper meaning in what soldier’s carried, motivation in decision making, telling a war story, becoming a new person and the outcome of a war in one person. Tim O’ Brien uses a psychological approach to tell his sorrows, and some happiness from his stories from the war. Each part, each story is supposed to represent a deeper meaning on how O’Brien dealt, and will deal with his past. In war, a way to

The Viet Nam War has been the most reviled conflict in United States history for many reasons, but it has produced some great literature. For some reason the emotion and depredation of war kindle in some people the ability to express themselves in a way that they may not have been able to do otherwise. Movies of the time period are great, but they are not able to elicit, seeing the extremely limited time crunch, the same images and charge that a well-written book can. In writing of this war, Tim O'Brien put himself and his memories in the forefront of the experiences his characters go through, and his writing is better for it. He produced a great work of art not only because he experienced the war first hand, but because he is able to convey the lives around him in such vivid detail. He writes a group of fictional works that have a great deal of truth mixed in with them. This style of writing and certain aspects of the book are the topics of this reflective paper.

In this essay, I will discuss how Tim O’Brien’s works “The Things They Carried” and “If I Die in a Combat Zone” reveal the individual human stories that are lost in war. In “The Things They Carried” O’Brien reveals the war stories of Alpha Company and shows how human each soldier is. In “If I Die in a Combat Zone” O’Brien tells his story with clarity, little of the dreamlike quality of “Things They Carried” is in this earlier work, which uses more blunt language that doesn’t hold back. In “If I Die” O’Brien reveals his own personal journey through war and what he experienced. O’Brien’s works prove a point that men, humans fight wars, not ideas. Phil Klay’s novel “Redeployment” is another novel that attempts to humanize soldiers in war. “Redeployment” is an anthology series, each chapter attempts to let us in the head of a new character – set in Afghanistan or in the United States – that is struggling with the current troubles of war. With the help of Phil Klay’s novel I will show how O’Brien’s works illustrate and highlight each story that make a war.

Some were true while some were just to portray heroism and were filled with false facts. The story “How to Tell a True War story” written by Tim O’Brien illustrates the difference between true and fictional war sorties. To show this O’Brien used two different stories and compared them. In both the stories, the common theme is that war brings melancholy and pain to everyone. The first story was about two friends Curt Lemon and Rat Kiley. Curt Lemmon accidently dies by stepping on a barbed wire. The second story was about a military troop which was sent to check the enemy movements. Both the stories are based on real war situations. The book was published after the Vietnam

1. In the course of three chapter Tim O’Brien elects to handle Kiowa’s death through different perspectives. In “Speaking of Courage,” O’Brien discusses how Norman Bowker would attempt to speak about how he almost won a valor medal but did not because of Kiowa though he cannot make out the words to explain the story that he just keeps repeating the same unfinished explanation. Which contributes to “Telling a True War Story” in the sense of the trauma the war brings in this chapter the death of Kiowa within the war affected Norman Bowker that it makes him want to explain how he feels as though he wasn’t brave for “letting” Kiowa drown. This chapter brings the emotional attachment of the true war story O’Brien has now formed a base on a relationship with Bowker and the ways the death of Kiowa affected him. In “Notes” O’Brien discusses that the reason for writing “Speaking of Courage” before Norman Bowker’s suicide and then the finished product of the chapter after Bowker’s death. This chapter contributes to the truth in “How to Tell a True War Story” O’Brien previously explain that every true war story does have some truth in it “Notes” contributes the actual reality behind both “Speaking of Courage” and “ In the Field” because in order for a war story to be in a way true it has to be based off of actual events though the product of the story may often be perceived differently the events one way or another happen such as how Bowker remembers Kiowa dying and believing it was

In class, we’ve discussed Kate McLoughlin’s ideas for how to write the best war literature. Kate McLoughlin helped write and edit The Cambridge Companion to War Writing. In her writing, McLoughlin discusses the difficulties of war literature, and how words can’t capture the true complexity of war. McLoughlin describes war as “a massive and complex phenomenon” and goes on to say literature of any type cannot accurately capture war. This is especially true of war on a global scale that spans years. To solve this problem, McLoughlin suggests that writing less and leaving certain aspects to the reader's imagination can be beneficial. 2