Some authors choose to write stories and novels specifically to evoke certain emotions from their readers as opposed to writing it for just a visual presentation. In order to do this, they occasionally stretch the truth and “distort” the event that actually occurred. The Things They Carried, by Tim O’Brien, is a compilation of short stories about the Vietnam War with distortion being a key element in each of them.
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.
“The vapors suck you in. You can’t tell where you are, or why you’re there, and the only certainty is overwhelming ambiguity. 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 nothing is ever absolutely true.” (Pg.88)
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.
One of the later entries in the book called “Good form”, helps alleviate the suspicion of dishonesty in the stories by bluntly telling the reader that all the other entries are a mix of both fact and fiction. O’Brien feels the need to make up parts of his stories due to the fact that he wants the reader to experience emotions as opposed to mental visuals. He describes these emotion-laden scenes as “story-truth” due to the fact that they are part story and part truth. The parts that are only for emotio...
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...or himself with fillers to shape and create the people that he imagined them to be. At this point, readers can fully understand why distortion occurred in the book because O’Brien writes his thoughts out as the book progresses. As O’Brien learns more about his reasons of being an author, the reader learns more about why his war stories wouldn’t be the same if he hadn’t altered them.
Stories, both factual and manipulated, present different things to a reader. Factual writings help readers visualize the actual moment, but may not have them feeling the same as the author felt. Manipulated writings however, are superior in the fact that emotion through writing can actually help readers see a situation for what it really is. Distortions in manipulated writing are beneficial to the reader by providing more sensory imagery, even if it costs presenting the complete truth.
Before O’Brien was drafted into the army, he had an all American childhood. As talked about “His mother was an elementary school teacher, his father an insurance salesman and sailor in World War II” (O’Brien). He spent his tour of duty from 1969 to 1970 as a foot soldier. He was sent home when he got hit with a shrapnel in a grenade attack. O’Brien says as the narrator, “As a fiction writer, I do not write just about the world we live in, but I also write about the world we ought to live in, and could, which is a world of imagination.” (O’Brien)
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. If he did the name switching it could emphasize on how the reader could focus on the ideas and situations, not the people. O’Brien would showcase how these situations can affect everyone. Another challenging aspect for me is if the stories are partly true why not honor those written about. Do the soldiers feel shame reading about their failures? O’Brien wrote his novel upon the hopes of helping his PTSD and it could have helped the veterans read and receive help. Along with help the vets it could supply the vets with the honor they
An interesting combination of recalled events and editorial commentary, the story is not set up like a traditional short story. One of the most interesting, and perhaps troubling, aspects of the construction of “How to Tell a True War Story” is O’Brien’s choice to create a fictional, first-person narrator who might just as well be the author himself. Because “How to Tell a True War Story” is told from a first-person perspective and O’Brien is an actual Vietnam veteran, a certain authenticity to this story is added. He, as the “expert” of war leads the reader through the story. Since O’Brien has experienced the actual war from a soldier’s point of view, he should be able to present the truth about war...
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?”
In the short story, “The Things They Carried” by Tim O’Brien, each soldier carries many items during times of war and strife, but each necessity differs. This short story depicts what each soldier carries mentally, physically, and emotionally on his shoulders as long, fatiguing weeks wain on during the Vietnam War. Author Tim O’Brien is a Vietnam War veteran, an author, the narrator, and a teacher. The main character, First Lieutenant Jimmy Cross, is a Vietnam War soldier who is away at war fighting a mind battle about a woman he left behind in New Jersey because he is sick with love while trying to fulfill his duties as a soldier to keep America free. Tim O’Brien depicts in “The Things They Carried” a troubled man who also shoulders the burden of guilt when he loses one of his men to an ambush.
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...
O’Brien takes time to develop all the characters in the book. Some he develops fully in one chapter and by the end he shows us there demise. Others O’Brien chooses to develop slowly throughout the book. picking those that people can relate to, who truly show what war could do to a person. Henry Dobbins was the tough guy that we all know but who truly had a sweet inside and believed in being nice to everyone and live on respect. Well on the other hand Norman Bowker was the good kid who wanted nothing more but the approval of his father and blamed everything that went wrong on themselves. In the end when he felt like he didnt get that approval that he wanted for. So he stayed lost and searching (out more).
O’Brien begins The Things They Carried with a story of the same title, and in this memory O’Brien lists all of the things that the members of the squadron carry. In the description of what each person carries, the reader can get some image of what each character is like in appearance and personality. Also in this story, O’Brien describes one instance of destroying enemy tunnels which ends with one of their company, Ted Lavender, dying. “Love,” the second story is about Lieutenant Cross visiting O’Brien after the war has ended and discussing his love Martha. The next story, “Spin,” is a bit more relaxed and less violent in remembering fragmented memories of days when no battles are fought. O’Brien received his draft notice in “On the Rainy River,” and with this new information he runs away to Canada, but not before stopping at Tip Top Lodge to think about his decision; he decides to go and fight in the war. “Enemies,” and “Friends,” are the next two stories that tell the story of how Lee Strunk and Dave Jensen were foes that became friends. O’Brien prefaces “How to Tell a True War Story” saying that it is true. This story is the only one that has this proclamation. This story is more of a love story than a war story because after Curt Lemon dies, Rat Kiley writes his sister including in the letter all the great stuff that Lemon did. In “Dentist,” Curt Lemon’s story and fears are expanded. O’Brien tells a story Rat Kiley told him about the Song Tra
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
Tim O’Brien’s The Things They Carried has readers and critics alike scratching their heads with wonder about the meaning of “story-truth” and “happening-truth.” Although, he served in the Vietnam War from 1968 until 1970, he fabricates the events of the war throughout The Things They Carried. At the same time, he insists that the truth lies at the heart of the emotion in the story, an idea that many readers question. Furthermore, it is pointless for the reader to attempt to sort through the stories and differentiate between the “story-truth” and “happening-truth,” because it is nearly impossible. This tactic is one of O’Brien’s more ingenious writing methods. He does not want the reader to know the difference between the two because in his opinion that fact is irrelevant. O’Brien obviously thinks outside the box and has everyone questioning reality. However, this fact is truly ironic, because the point is not to care what type of “truth” it is, but to instead feel the raw beauty of the emotion and to accept it as the truth. While trying to define “story-truth” and “happening-truth,” a couple chapters in particular focus on the idea of truth, “How to Tell a True War Story,” “The Man I Killed” and “Good Form.” O’Brien believes that the most important thing for a reader is to experience the emotion of the story, be it “story-truth” or “happening-truth,” as long as the real emotion is conveyed and understood by the reader, then it is as true as it could possibly be.
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
O’Brien explicitly asserts that “A thing may happen and be a total lie; another thing may not happen and be truer than the truth” (139). O’Brien, as demonstrated here, is not interested in the physical reality of what happens, rather he is writing from an emotional standpoint. He also directly states “I feel guilty sometimes. Forty-three years old and I’m still writing war stories” (61). Writing war stories and guilt are clearly related things in his mind and he writes in order to cope with this guilt. This entire work, every little story, every random detail, and every character is a direct reflection of O’Brien working through his guilt in the only way he knows how:
O’Brien later says that he distorted the story; this did not actually happen. He says that what happened was that he was a soldier and he pulled the trigger and is not certain whether his bullets hit people or not. If O’Brien said that however, readers would not understand the way he felt as he pulled the trigger. He gives the story how he threw a grenade and killed the man because that was the way he felt. He tells of his grief afterwards and, as civilians, readers are able to grasp why he felt that way. It would be difficult to sympathize with him if he said that he didn’t know if he killed but felt the grief anyway. The distortion of the story makes it more effective because readers can understand the way he feeling and as O’Brien says, a war story is about the human heart. The distortion of this story allows readers to grasp the story that O’Brien wanted to
The truth plays little to no part in a truly good story. Mostly, there is one main difference between good stories and bad ones; the use of facts. Poor storytellers get hung up on every inane detail of the truth, good storytellers provide room for interpretation by the reader (McLeod). By focusing more on feeling and not the truth, readers are able to connect more with a story. If the pure facts are predominant, a story becomes too exact, boring even. In Tim O’Brien’s book “The Things They Carried,” Tim remembers his friend Norman wanting Tim to write a story about him. The first version ended up being a disappointment, so Tim rewrote it and said “The piece has been substantially revised,
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