O'Brien: How to Tell a True War Story

Within the chapter “How to Tell a True War Story,” O’Brien writes about a story that Mitchell Sanders recounts to be true. The surrealist part is when Sanders talks about how they heard noises within the forests of Nam. Sanders says, “...but after a while they start hearing -you won’t believe this- they hear chamber music… Then after a while they hear gook opera and a glee club…” (Pg. 71). When he says this he is really adding details to pad the story up. Like when Sanders say, “The whole country. Vietnam. The place talks. It talks. Understand? Nam - it truly talks.” (Pg. 71). He means to say that he added those things that they heard because there were sounds they heard that couldn’t be explained. Later on he says that those things they heard

One example of when the author causes us to be unsure of the truth is when he talks about the vietnamese man he killed. Then we find out that it wasn’t O’Briens fault from Kiowa to leave us in an even more confused state. He wrote this because he wanted to describe to us that even if he didn’t kill the man, it felt like he was responsible, because in a way he felt like the mysterious man was him. This particular event increases our understanding of the story because this is what it felt like to be in the war. You would blame yourself for the death of a fellow soldier or imagine your own self dead.

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

This is ironic because he is giving advice on how to write a story but he didn’t take his own advice. The last place of irony is when O’Brien says that this story was actually a love story. When most people think of death and war they think of sadness and tragedy. And these war stories, according to O’Brien, were love stories.

     In “How to Tell a True War Story” O’Brien explores the relationship between the events during a war and the art of telling those events. O’Brien doesn’t come to a conclusion on what is a true war story. He writes that one can’t generalize the story as well. According to O’Brien, war can be anything from love and beauty to the most horrid

All primary sources are subjective; they are based on the source’s recollection and how it is remembered in their own memory. The importance of storytelling is one of the main premises in the Things They Carried. Telling a story is an illustration of memory, and memory is prejudice. "By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths" (158). Each soldier is going to have different memories, but most of their experiences are so similar they seem to form a universal truth and a collective memory of all their stories.

According to O’brien you tell a true war story in many ways. When he says that true war stories are never true means

Telling a war story will be changed for everyone depending on their experience and the different wars they been to. In The Thing They Carried telling a true war story is different because O’Brien says that it needs to be a heroic and noble and very specific “In any war story, but especially a true one, it’s difficult to separate what happened from what seems to happen. What seems to happen becomes its own happening and has to be told that way. The angles of vision are skewed” (pg.67-68) it shows how O’Brien wants to impress the audience with his stories that makes one wonder if it is real or not. He wants to sound heroic which makes part of the purpose of the story, his side

     According to the author Tim O’Brien, people tend to readily accept the ‘facts’ presented of what happened during a war. People do not consider the existence of fallacies regarding the actual stories of what happens in wars, few consider that the ‘facts’ of an incident often change through people’s words. The film ‘Saving the Private Ryan’ by Steven Spielberg features both facts and seemingness part of the war story. Since it is so difficult to fully describe a war using human language, Spielberg ended up revising his stories to make sense out of it. Spielberg included parts that did not occur or exclude parts that did occur in order to make their stories seem more credible. According

In the chapter “Good Form,” Tim O’Brien explains the difference between the “story truth” and the “happening truth,” (O’Brien 179) The “happening truth” is a historically accurate summary and told without feeling, while the “story truth” is told with details and is a dramatization. The “happening truth” tells while the “story truth” shows. This example of metafiction shows that sometimes the truth cannot be told by facts, it has to be demonstrated through a series of exaggerations to get the real

"The difference between fairy tales and war stories is that fairy tales begin with 'Once upon a time,' while war stories begin with 'Shit, I was there!'" (Lomperis 41). How does one tell a good war story? Is it important to be accurate to the events that took place? Does the reader need to trust the narrator? In The Things They Carried, Tim O'Brien examines what it takes to tell a good war story. He uses his own experiences in Vietnam in conjunction with his imagination to weave together a series of short stories into a novel.

“This is true.” (O’Brien, 420) – with this simple statement which also represents a first, three-word introductory paragraph to Tim O’Brien’s short story, “How to Tell a True War Story”, the author reveals the main problem of what will follow. “Truth” – when looked up in a dictionary, we would probably find definitions similar to sincerity and honesty on the one hand, and correctness, accuracy or reality on the other hand. When looking at these definitions, one can make out two groups of meaning: While sincerity and honesty are very subjective, correctness or accuracy are supposed to be objective by nature. One can be sincere and still not report the truth, due to the simple fact

Since the morale and the emotional tolerance of the troops has been pushed to cope with unbearable times, they may have to insert more facts that are completely false, so that not only does the listener feel, but the story teller feels as well. "All you can do is tell it one more time, patiently, adding and subtracting, making up a few things to get at the real truth," (684) or feeling. So in essence, this embellished half-truth of a story is as true as the facts from a history book bringing us one step closer to the ultimate truth.

In the story “The Tell Tale Heart” the narrator wants to show the reader that he is not insane. As proof, he offers a story. In the story, the initial situation is the narrator’s decision to kill the old man so that the man’s “evil” eye will stop

The narrator is, after all, the “person” presenting all this odd imagery to the reader, and readers habitually look to the narrator for clues to help find a proper interpretation. (“A Very Old Man with Enormous Wings”). For example, when the narrator states that Father Gonzaga’s letters to his church superiors, “Those meager letters might have come and gone until the end of time,” (Márquez 408), without reaching a conclusion, he confirms the reader’s suspicion that the priest’s approach is futile, despite his confident assurances to the crowd. Narrators don’t just present facts; they also give direction as to “how to take” the information we receive (“A Very Old Man with Enormous