Real Fiction In Tim O Brien

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

Tim O’Brien uses two narrative techniques in “How to Tell a True War Story”. First he splits the story into three different sections. The first part being Rat Kiley writing his letter to Curt Lemon’s sister about the relationship they had. The next section is describing the correct way of writing a “true war story”. And the last is O’Brien looking back on stories and his story telling techniques. O’Brien separates the story into three different parts to give the reader an example of a story that is “true”. The next section would about the truth about writing a true story and the last section is his personal reflection on the whole situation. The other narrative technique is that O’Brien retells certain events. He retells how Curt Lemon died, he retells Mitchell Sanders telling a story, and he retells how women react when you tell them stories about the war. Tim O’Brien retells stories and

1. “In any war story, especially a true one, it’s difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told the way. “ (71)

Copious bullets, like that of torrential downpour, reign over the battlefield; a setting in which man created through dispute, engulfs each and every individual caught within it. Some are immediately spun into a downward spiral, while with others, it hits them in the midst -- even if they have built an immunity to war’s ways. Two fictional characters, both sharing a similar atmosphere, experience the true affects to war in their own ways. Although war never changes, the individuals do, no matter the situation. This is exemplified through the fictional tales, told by Liam O’Flaherty’s “The Sniper,” as well as Tim O’Brien’s “Where Have You Gone Charming Billy,” and as the main characters are to each their own story, they bear contradistinction to one another in the aspect of war, personality, and the emotional reactions to war.

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.

O’Brien is interacting with his audience by saying the word “you” at the beginning of the passage. When he says, “I want you to feel what I felt” (O'Brien 171), it is making a personal connection between the reader and the author. The goal of these paragraphs is for O’Brien to tell the readers the difference between his happening-truth and story-truth. In a way, it is kind of a confession to his reader. A confession about how he may not be describing exactly what or whom he saw, but instead is saying something to fill the holes in his memories. With the words he is using like faceless grief and then going on to the harsh details about the body, it shows the contrast between both versions of the story. To help show the difference between

O'Brien gives his characters lives outside the story and dedicates his fiction to their memory. In On the Rainy River, for example, O'Brien writes that he never really thanked the old man

Many authors use storytelling as a vehicle to convey the immortality of past selves and those who have passed to not only in their piece of literature but in their life as an author. In Tim O’Brien’s work of fiction The Things They Carried, through his final chapter “The Lives of the Dead,” O 'Brien conveys that writing is a matter of survival since, the powers of storytelling can ensure the immortality of all those who were significant in his life. Through their immortality, O’Brien has the ability to save himself with a simple story. Through snippets of main plot event of other chapters, O’Brien speaks to the fact the dead have not actually left; they are gone physically, but not spiritually or emotionally. They live on in memories as Linda lives on in the memories of O’Brien and as many of his war buddies live on through his stories. He can revive them and bring them back to the world through his writings and through these emotions or events he experienced with them and with their deaths can make them immortal. Through the reminiscent stories of Linda and O’Brien’s war companions and himself, O’Brien conveys that storytelling allows people to reanimate others who have died and past selves to create an immortality of humans.

"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.

However, as the reader is to realize soon, by having his fictional characters tell stories and then recant the truth of those stories, O’Brien certainly calls into question the possibility of ever telling a true war story. The result of

In “Lives of the Dead”, O’Brien’s own innocence is preserved through the memory of Linda, a memory that remains untarnished by the inevitable corruption that results from life. O’Brien’s writings “save Linda’s life. Not her body--her life” (236). Storytelling and memories preserve the value of Linda’s existence while simultaneously allowing O’Brien to process death and destruction in a way that maintains a degree of optimism regarding his own life and future. Juxtaposing the images of body and life emphasizes his desire to save the idea of Linda while accepting the loss of her physical presence. O’Brien rejects the idea of death as absolute and final; instead he suggests that “once you are alive, you can never be dead” (244). Linda’s death solidifies her importance in O’Brien’s own development; she teaches him about life and real love as much as in death as in life. O’Brien’s paradoxical statement defines the lasting impact of Linda on him; her presence in his stories keeps her alive through memory; memories that even her death

was not the truth. This book showed the harsh reality of war that most people

In this passage O’brien demonstrates his own character traits. As a writer, he has a strong ability to understand what others are feeling and sympathize. When he kills the young soldier, he creates a story around him, imaging the soldier as having similar struggles to his own. He deeply regrets the soldier's death because he feels that neither of them really wanted to be fighting in this war and relates his own life story to the fictional one he creates for the soldier.

The way in which a war story is told can affect the audience’s perception of the truth behind the story. In a war story, the physical and mental environment plays a large role in the evidence of the literary work as a “true war story.” These “true war story” characteristics come from Tim O’Brien’s book The Things They Carried. Ambrose Bierce’s Civil War short story A Horseman in the Sky is a great example of the power of the setting in a “true war story.” In this Civil War short story, Carter Druse enlist with the Union against his fathers will. Carter is put in an unfortunate position later in the story as he must choose wheather or not to shoot his father, a Confederate Soldier. Ambrose Bierce’s vivid and lengthy description of the

Combining all these serious themes into a very entertaining book should attract many readers. However, there was some confusion with the story line. Since this book is a collection of interviews, it wasn’t a conventional story. When I first started the book, I wasn’t sure why I was jumping from country to country and why each story was completely different. As I continued to read the book, I was able to understand that these were a collection of eyewitness accounts of the war. Also, Max Brooks uses a rife amount of vulgar language which I think could have been kept out. However, it made it real and that’s what this book is about.