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Theme in literature bravery
Theme in literature bravery
The courage of soldiers
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In the novel The Things They Carried, the lines between reality and fiction are blurred by human perspective, facts, and an insatiable need to appear courageous. In war stories, there are moments where the one telling the story gets lost between fact and fiction because of the circumstances of the events. The more calamitous the event is, and the more challenging it is to talk about, the harder it is to allow the truth to peek through. Human perspective changes the way stories are told, and how they are received. Humans tend to accept the truth they believe. Humans are misled to believe that fiction is not fiction—but truth—because of what they accept and believe.
In the novel, O’Brien describes the truth to war stories, “In a true war
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Some may tell a story and stretch the truth to make themselves appear more heroic or courageous. In a war story, this is where the lines between fact and fiction or blurred dramatically. Every man wants to be a hero. Every man wants their name to be known—to be a symbol of honor and courage. O’Brien once again uncovers this in the novel, “For example, we’ve all heard this one. Four guys go down a trail. A grenade sails out. One guy jumps on it and takes the blast and saves his three buddies. Is it true? The answer matters” (O’Brien 79). As O’Brien said, the answer matters. This is because the once clear lines between truth and fiction are no longer visible. Is it true? Was a man truly brave enough to throw himself in front of an explosive to save his friends? The world may never know, but the world will believe it. It is completely reasonable to believe a story like that is the truth. Especially if the teller of the story is a soldier who claims to have experienced it. Another quote from the story that supports this theory of courage would be, “In the interests of the truth, however, I want to make it clear that Norman Bowker was in no way responsible for what happened to Kiowa. Norman did not experience a failure of nerve that night. HE did not freeze up or lose the Silver Star for valor. That part of the story was my own” (O’Brien 154). This supports the idea …show more content…
Those who question what is fact and fiction may not always be satisfied with the answer. The lines between fact and fiction are often blurred by circumstance, human perspective, and the need to feel heroic. If there were no heroes, there would be no stories—there would be no war stories. There would just be meaningless words that string on forever. Without an unclear distinction of what is real and what is not, there is no real meaning. There needs to be fiction among a story of truth or else there is no deep, sentimental reasoning or meaning. There are no questions to be asked, and there are no answers to be given. Human perspectives change the meaning of stories. Humans make the distinction between fact and fiction because they have the power to determine what the believe, which can be either fact of fiction. Those who believe falsehood over truth are often not able to accept the truth, because the truth is an evil deity sent to haunt the human race. Which is why the once clear lines between truth and untruth is so hard to distinguish, because of what humans allow themselves to
To write a true war story that causes the readers to feel the way the author felt during the war, one must utilize happening-truth as well as story-truth. The chapter “Good Form” begins with Tim O’Brien telling the audience that he’s forty-three years old, and he was once a soldier in the Vietnam War. He continues by informing the readers that everything else within The Things They Carried is made up, but immediately after this declaration he tells the readers that even that statement is false. As the chapter continues O’Brien further describes the difference between happening-truth and story-truth and why he chooses to utilize story-truth throughout the novel. He utilizes logical, ethical, and emotional appeals throughout the novel to demonstrate the importance of each type of truth. By focusing on the use of emotional appeals, O’Brien highlights the differences between story-truth and happening-truth and how story-truth can be more important and truer than the happening-truth.
...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.”
What O’Brien sees as the purpose of the storytelling, and fictionalizing his experiences in Vietnam, can be seen through the “style” of his writing. It’s more than just a collection of stories. It’s a way for him to let go and start a new beginning. It is labeled “fiction” to make the story seem more engaging and to bring up the question, “Did this really happen?”
Another unique aspect to this book is the constant change in point of view. This change in point of view emphasizes the disorder associated with war. At some points during the book, it is a first person point of view, and at other times it changes to an outside third person point of view. In the first chapter of the book, “The Things They Carried,” O’Brien writes, “The things they carried were largely determined by necessity (2).
The truth to any war does not lie in the depths of storytelling but rather it’s embedded in every person involved. According to O’Brien, “A true war story does not depend on that kind of truth. Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth” (pg. 80). Truths of any war story in my own opinion cannot be fully conveyed or explained through the use of words. Any and all war stories provide specific or certain facts about war but each of them do not and cannot allow the audience to fully grasp the tru...
He also states how O'Brien spends his time picking the truth apart about war. This could be for a couple different reasons, like his trouble remembering what happened, or how he depicts the truth from fiction. Mr. Volkmer says how O’Brien was always trying to quote, “pull the rug out from underneath the reader” when he was telling a story. It is definitely true that O’Brien was trying to do that throughout the whole novel. If he was doing that, he did a great job because every story he told was believable and it painted a vivid picture in your head about what happened.
Tim O’Brien’s novel The Things They Carried challenges the reader to question what they are reading. In the chapter “How to Tell a True War Story”, O’Brien claims that the story is true, and then continues to tell the story of Curt’s death and Rat Kiley’s struggle to cope with the loss of his best friend. As O’Brien is telling the story, he breaks up the story and adds in fragments about how the reader should challenge the validity of every war story. For example, O’Brien writes “you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (69), “in many cases a true war story cannot be believed” (71), “almost everything is true. Almost nothing is true” (81), and “a thing may happen and be a total lie; another thing may not happen and be truer than the truth (83). All of those examples are ways in which O’Brien hinted that his novel is a work of fiction, and even though the events never actually happened – their effects are much more meaningful. When O’Brien says that true war stories are never about war, he means that true war stories are about all the factors that contribute to the life of the soldiers like “love and memory” (85) rather than the actual war. Happening truth is the current time in which the story was being told, when O’Brien’s daughter asked him if he ever killed anyone, he answered no in happening truth because it has been 22 years since he was in war and he is a different person when his daughter asked him. Story truth
Douglas Light said that our imagination is better than any answer to a question. Light distinguishes between two genres: fantasy and fiction. He described how fantasy stimulates one’s imagination, which is more appealing, but fiction can just be a relatable story. In the same way, books and movies are very different entities. In the short parable Doubt, the readers are lured in to the possibility of a scandalous relationship between a pastor and an alter boy.
He implies, “The liar is a person who uses the valid designations, the words, in order to make something which is unreal appear to be real” (Truth and lies, 54). However, this is not the case with O’Brien’s writings. O’Brien mentions that a true war story is in a way that it completely sounds unrealistic, which is one detail that completely conflicts Nietzsche’s thoughts. In his story the “How to tell a true war story”, he says, “A true war story is never moral… embarrassing… unbelievable… contradictory…” (A true war story) According to Nietzsche, O’Brien is telling all lies because his stories appear unreal, and unbelievable. Nevertheless, according to O’Brien, this is the way to tell a true war story, a story that makes you feel uncomfortable, and make you ask whether it is true or not. Sticking to his statements O’Brien thinks that “Speaking of courage” is not a true war story because it sounds realistic. There is nothing embarrassing or unrealistic about that story. O’Brien mentions it in his story “Notes,” that writing “Speaking of courage” felt like a sense of failure. “Almost immediately, though, there was a sense of failure. The details of Norman Bowker 's story were missing. In this original version…I had been forced to omit the shit field and the rain and the death of Kiowa…” (The things they carried, 158) This statement shows, that unless
...ents a story truth, one that tells the truth in regards to sensation and emotion. This is represented when the narrator says “makes the story seem untrue, but which in fact represents the hard exact truth”(O’Brien pg. 68). O’Brien shows that it matters not that a story is fiction, so long as it represents the truth as it seemed.
Several stories into the novel, in the section, “How to tell a true war story”, O’Brien begins to warn readers of the lies and exaggerations that may occur when veterans tell war stories.
In life it is necessary to have fantasy, because without it, life would be dull and meaningless. Life would be so different without dreams, since they are what motivate humans to keep on moving forward in order to achieve their goals. This is what Jorge Luis Borges is trying to explain to the reader in the book Ficciones which is very confusing, but also very deep in meaning. These stories demonstrate a theme of reality vs. fiction which is fascinating because in many of the readings fantasy is required at some point to accomplish a purpose or goal. Each unique story hides a meaning in the text which is a lesson to be learned. The confusion that is caused is similar to a labyrinth in which the reader gets lost. The message is hidden within the story so; it causes confusion to the reader. Events in the story suggest that the story is fiction, because most of the stories have existent scenery. The timing in some stories is from an event or tragedy that has occurred around that date. The reader realizes later on in the stories that unrealistic events began to occur which are impossible to take place in real life. This is when our minds become entangled with facts from our world and others form the impossible.
When we read any work of fiction, no matter how realistic or fabulous, as readers, we undergo a "suspension of disbelief". The fictional world creates a new set of boundaries, making possible or credible events and reactions that might not commonly occur in the "real world", but which have a logic or a plausibility to them in that fictional world. In order for this to be convincing, we trust the narrator. We take on his perspective, if not totally, then substantially. He becomes our eyes and ears in this world and we have to see him as reliable if we are to proceed with the story's development.
And it doesn't matter one bit. The writer isn't interested in truth, lies or anything of the sort. He's interested in reality, and the reality of human truth is that no one will ever really know it.
This allows the reader to see what takes place rather than what is perceived. O’Brien’s main objective is to expose the subjectivity that lies within truth. To point out a specific contradiction within truth, he uses war to highlight this difference. He writes, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty” (77). The truth has two different meanings and it all depends on who is interpreting it. One person may think one truth and another person can see the complete opposite. To go along with this ambiguity within truth he states, “Almost everything is true. Almost nothing is true” (77). He once again shows that truth is up for interpretation. There is not a single, universal truth, however, there are many variations of it. As previously mentioned, O’Brien claims that he honestly admit that he has both never killed a man and has in fact killed somebody. Here he is stating that there can be completely different answers that all seem to be the truthful. Whether or not O’Brien killed someone, he felt like he did, but could answer that he didn’t. It is this discrepancy that proves that it is all relative. When it comes to telling the story it becomes “difficult difficult to separate what happened from what seemed to happen,” (67). This is what causes the subjectivity, the unknowingness of the situation. Since