Tim O’Brien, in his novel The Things They Carried, retells the many stories he acquired from his time in military service in Vietnam. In one of his chapters, “Sweetheart of the Song Tra Bong,” O’Brien has his character Rat Kiley tell the story of a soldier who managed to smuggle his girlfriend into Vietnam. This girl, Mary Anne, arrives in culottes and a pink sweater, giving a portrayal of a feminine character. Throughout the story, she involves herself in progressively gruesome activities, such as performing emergency medical procedures and going on ambushes with the Green Berets; and by the end, she is wearing a necklace of human tongues. This demonstrates that Mary Anne is consumed by Vietnam, and ultimately disappears to become “one with the land.” O’Brien uses this story to convey that the soldiers in the Vietnam War were forever changed by the horrifying experiences that they experienced.
He gives specific reasoning, such as “a true war story is never moral” and “a true war story cannot be believed.” This ties into this chapter, “Sweetheart of the Song Tra Bong,” when O’Brien states that Rat Kiley had a tendency to exaggerate his stories, so the credibility of his story is already tarnished. Despite Kiley’s pleas stating that his story is absolutely true, this doesn’t stop O’Brien and the other soldiers from subconsciously “subtracting superlatives, figuring the square root of an absolute, and then multiplying by maybe.” This metaphor created by O’Brien tells that the platoon did not think of Kiley’s stories as completely fiction, but that they understood Rat’s tendency to “heat up the truth… you would feel exactly as he felt.” Kiley tells the story in a hyperbolic fashion because he has an emotional connection to the story, and it’s hard to believe because he makes the story sound too crazy to have
Rat Kiely continues to tell a story about how Mary Anne had an affect on everyone. One day as Mary Anne searches the unknown of Vietnam, she goes missing. Her boyfriend, Mark Fossie is desperate and stunned and decides to go look for her. Suddenly, Mary Anne would show up at base and go missing again. When Mark Fossie goes looking for his girlfriend once again, he sees her. Rat Kiley explains, “‘But the story did not end there. If you believes the greenies, Rat said, Mary Anne was still out there in the dark… Not quite, but almost. She had crossed to the other side. She was part of the land. She was wearing her culottes her pink sweater, and a necklace of human tongues. She was dangerous. She was ready for the kill’” (page 110). Here, Rat Kiely tells the readers that everyone had to adapt to the environment to survive, and Mary Anne has done just that. In the beginning of the chapter, Kiely talks about how Mary Anne portrayed the perfect girlfriend, sweet and innocent. But the quote displays the change that occurred to Mary Anne. It is implied early on that Mary Anne represents a common soldier which would mean that every soldier had gone through a drastic change to make them who they are. Through the dynamic character of Mary Anne, “Sweetheart of the Song Tra Bong”, demonstrated to
The Things They Carried Women and their Role in The Things They Carried Within the book The Thing’s They Carried, the stories of the male soldiers and their dealings with the Vietnam War. However, he also delves into the stories of the women and how they affected the soldiers and their experiences in Vietnam. While the men dealt with the horrors of war, the women were right at their side, just not in as much of a public view as the male soldiers. O’Brien uses women such as Martha, Linda and Kathleen in The Things They Carried to punctuate how vital remembrance and recompense was to him and other soldiers in Vietnam.
When the quote says “that part of the story is my own” it must mean O’Brien had taken some true details from personal stories. Could O’Brien taken true information but tried to throw the readers off to keep some privacy for the men the stories were based off? Some of the stories present within the book are completely out of the water. How could O’Brien imagine those ideas up without a base of what actually happened? I believe O’Brien switched the names of the soldiers but kept the stories.
...r because it seems impossible to reconstruct an event from this objective point of view. Maybe the point of telling stories is not trying to recreate the reality of a past event, but it is the message that matters because that might be in the end the only thing that does not necessarily depend on single details of the story, but on the overall picture of an event. That is why to O’Brien another important component of a war story is the fact that a war story will never pin down the definite truth and that is why a true war story “never seems to end” (O’Brien, 425). O’Brien moves the reader from the short and simple statement “This is the truth” to the conclusion that, “In war you lose your sense of the definite, hence your sense of truth itself and therefore it’s safe to say that in a true war story nohting much is ever very true” (O’Brien, 428). These two statements frame the entire irony of the story, from its beginning to its end. Almost like the popular saying “A wise man admits that he knows nothing.”
In the two novels of recent war literature Redeployment, by Phil Klay, and The Things They Carried, by Tim O’Brien, both call attention to the war’s destruction of its soldiers’ identities. With The Things They Carried, we are introduced to the story of a young Lieutenant Jimmy Cross who is currently fighting in the Vietnam War and holds a deep crush for his college-lover Martha. Jimmy carries many letters from Martha with him throughout the war, and he envisions this romantic illusion in which “more than anything, he want[s] Martha to love him as he love[s] her” (1). However, a conflict quickly transpires between his love for Martha and his responsibilities with the war, in which he is ultimately forced to make a decision between the two.
O’Brien gives the reader an example of a true war story when he tells of the soldier that jumped on a grenade to save his friends however the grenade took all their lives away. On page 61, O'Brien states that this is a true war story that never happened. This is a true war story because it fits his criteria about how a war story should be but the story never actually happens. This is a true war story because it is sad because shows loss despite the soldier’s effort to save his
In the beginning chapter, O’Brien rambles about the items the soldiers carry into battle, ranging from can openers, pocketknives, and mosquito repellent to Kool-Aid, sewing kits, and M-16 assault rifles. Yet, the story is truly about the intangible things the soldiers “carry”: “grief, terror, love, longing. shameful memories (and) the common secret of cowardice” (Harris & O’Brien 21). Most of the soldiers did not know what the overall purpose was of fighting the Vietnamese (Tessein). The young men “carried the soldier’s greatest fear, which was the fear of blushing”.
The novel, “The Things They Carried”, is about the experiences of Tim O’Brian and his fellow platoon members during their time fighting in the Vietnam War. They face much adversity that can only be encountered in the horrors of fighting a war. The men experience death of friends, civilians, enemies and at points loss of their rationale. In turn, the soldiers use a spectrum of methods to cope with the hardships of war, dark humor, daydreaming, and violent actions all allow an escape from the horrors of Vietnam that they experience most days.
The Things They Carried represents a compound documentary novel written by a Vietnam veteran, Tim O'Brien, in whose accounts on the Vietnam war one encounters graphical depictions of Post Traumatic Stress Disorder (PTSD). Thus, the stories "Speaking of Courage," "The Man I Killed," "How to Tell a True War Story," "Enemies" and "Friends," "Stockings," and "The Sweetheart of The Song Tra Bong "all encompass various examples of PTSD.
Of all the literary lenses, one would not think that feminism would be a prevalent topic in a war novel. In Tim O’Brien’s iconic book, The Things They Carried, the idea that women were just as important as men acts an important theme, however from a different perspective. Movies and epic war stories tell of the heroic actions of the World’s finest: bulky men with an appetite for battle. Yet, there always lied a backbone. Comfort, inspiration, ease, all things that women provided to soldiers during any war. Yet, sometimes things did not go as planned and rash actions were made. O’Brien’s masterful use of lenses creates an interesting novel, one that will stand the test of time, however, the aspects of the feminist lens provides much insight into the inner lying meanings of the book, mostly in the areas of characters, objects of importance, and the role of gender in the Vietnam War.
He states that as a soldier, there is so much to soak in from war scenes that it all becomes a muddled mess. Therefore, the story of the moment can be different from each soldier’s perspective due to the parts where each man puts in his own ideas. This leads to some speculation as to whether or not O’Brien’s stories are true or false.
Throughout the novel, Tim O’Brien illustrates the extreme changes that the soldiers went through. Tim O’Brien makes it apparent that although Vietnam stole the life of millions through the death, but also through the part of the person that died in the war. For Tim O’Brien, Rat Kiley, Mary Anne and Norman Bowker, Vietnam altered their being and changed what the world knew them as, into what the world could not understand.
Mary Anne is initially introduced to the audience, narrated by Rat Kiley, as an innocent and naïve young woman present in Vietnam solely to visit her boyfriend, Mark Fossie. She arrives in “white culottes” and a “sexy pink sweater” (86), and is deemed by the other soldiers as no more than a happy distraction for her man. As Mary Anne settles in though, her abundant curiosity of Vietnam and the war heighten, and she soon enough possesses as much interest in the war as many of the men. Forward, Mary Anne’s transformation into a soldier begins as she leaves her sweet femininity behind. No longer caring for her vanity, she falls “into the habits of the bush. No cosmetics, no fingernail filing. She stopped wearing jewelry, [and] cut her hair short” (94). Mary Anne’s lost femininity is also evident when she handles powerful rifles like the M-16. Not only does the weapon literally scream out masculi...
“And then one morning, all alone, Mary Anne walked off into the mountains and did not come back” (110). Tim O’Brien’s short story “The Sweetheart of the Song Tra Bong” presents an all-American girl who has been held back by social and behavioral norms – grasping for an identity she has been deprived the ability to develop. The water of the Song Tra Bong removes Mary Anne’s former notion of being as she, “stopped for a swim” (92). With her roles being erased Mary Anne becomes obsessed with the land and mystery of Vietnam and is allowed to discover herself. Through the lenses of Mark Fossie and the men in the Alpha Company, Mary Anne becomes an animal and is completely unrecognizable by the end of the story. Mary Anne, however, states she is happy and self-aware. The men of the Alpha Company argue for virtue in that Mary Anne was “gone” (107) and that what she was becoming “was dangerous… ready for the kill” (112). They did not want to accept a woman becoming something different from what women always were. In “How Tell to a True War Story” we are told that a true war story “does not instruct, nor encourage virtue, nor suggest models of proper human behavior” (65). Mary Anne did not truly become ‘dark’, because to her this is not a story about war; this is a story about a woman attempting to overcome gender roles and the inability of men to accept it.
O’Brien subjectifies truth by obscuring both fact and fiction within his storytelling. In each story he tells there is some fuzziness in what actually happened. There are two types of truths in this novel, “story-truth” and “happening-truth” (173). “Happening-truth” is what happened in the moment and “story-truth” is the way the storyteller reflects and interprets a situation. O’Brien uses these two types of truths to blur out the difference between fact and fiction. For example, when Rat Kiley tells a story he always overexaggerates. He does this because “he wanted to heat up the truth, to make it burn so hot that you would feel exactly what he felt,” (85). This is the same for most storytellers, even O’Brien. When he tells the story of Norman Bowker he makes his own truth stating, “He did not freeze up or lose the Silver Star for valor. That part of the story is my own” (154). Not everything that O’Brien said was fact, however, it made the the meaning of the story effective and significant. O’Brien reveals that he never killed a man after devoting a whole short story to “The Man I Killed.” When his daughter asks “Daddy, tell the truth, did you ever kill anybody?” he can honestly say “Of course not,” or “Yes,” (172). This illustrates the subjectivity of truth, how both truths can in fact be true. This goes for all the stories told in this novel, the truth is held in the storyteller 's