Narratives In Jean Twenge's How To Tell A True War Story

1618 Words4 Pages

Narratives are an important part of an essay as they create a sense of tone needed to describe a story or situation with ease. If the narrative is not correct, it can leave a false impact on the readers or viewers because it lacks the main tone of the story. Having a perfect narrative can not only enhance a story, but it can also prove evidence. In her essay, “An Army of One: Me”, Jean Twenge provides some of the best examples of how narratives enhance a story and she also emphasizes on how the tone of storytelling matters on the impact that the story would have on its readers or listeners. Apart from Twenge, Tim O’Brien also focuses on how the narrative of the story can help in understanding the truth and falsity of the story in his essay, “How to Tell a True War Story.” In addition to O’Brien, Ethan Watters also emphasizes on the narrative of cultural progress in his essay, “The Mega-Marketing of Depression in Japan”, when he talks about the anti-depressants to be sold in Japan. All three authors agree to the fact that narrative, the art of telling a story or explaining a situation, has a major impact on the story and on how it is taken by the audience.

Show More
Related

  • Tim O’ Brien’s How to Tell a True War Story

    602 Words  | 2 Pages

    Many times readers lose interest in stories that they feel are not authentic. In addition, readers feel that fictitious novels and stories are for children and lack depth. Tim O’ Brien maintains that keeping readers of fiction entertained is a most daunting task, “The problem with unsuccessful stories is usually simple: they are boring, a consequence of the failure of imagination- to vividly imagine and to vividly render extraordinary human events, or sequences of events, is the hard-lifting, heavy-duty, day-by-day, unending labor of a fiction writer” (Tim O’ Brien 623). Tim O’ Brien’s “How to Tell a True War Story” examines the correlation between the real experiences of war and the art of storytelling. In O’Brien’s attempt to bridge the gap between fiction and non-fiction the narrator of the story uses language and acts of violence that may be offensive to some. However some readers agree that Tim O" Brien's "How to Tell a True War Story" would lack authenticity and power without the use of crude language and violence.

    Read More

  • Flannery O'Connor's Use of Religious Allegory

    2386 Words  | 5 Pages

    Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”

    Read More

  • Deviance In Society: Wideman's Our Time

    1337 Words  | 3 Pages

    Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.

    Read More

  • How to Tell a True War Story by Tim O’ Brien

    500 Words  | 1 Pages

    According to the Indian Times, madness is the rule in warfare (Hebert). The madness causes a person to struggle with experiences while in the war. In “How to Tell a True War Story”, the madness of the war caused the soldiers to react to certain situations within the environment differently. Tim O’Brien’s goal with the story “How to Tell a True War Story” is to shed light on the madness the soldiers face while in the war. Tim O’Brien tells the true story of Rat experiences of the war changing his life.

    Read More

  • The Ambiguity of Truth in How to Tell a True War Story by Tim O’Brien

    801 Words  | 2 Pages

    In “How to Tell a True War Story” by Tim O’Brien, Orwell’s ideas are questioned and the competition between the truth and the underlying meaning of a story is discussed. O’Brien’s story depicts that the truth isn’t always a simple concept; and that not every piece of literature or story told can follow Orwell’s list of rules (Orwell 285). The story is told through an unnamed narrator as he re-encounters memories from his past as a soldier in the Vietnam War. With his recollection of past encounters, the narrator also offers us segments of didactic explanation about what a “true war story” is and the power it has on the human body (O’Brien 65). O’Brien uses fictional literature and the narration of past experiences to raise a question; to what extent should the lack of precision, under all circumstances, be allowed? In reality, no story is ever really truthful, and even if it is, we have no proof of it. The reader never feels secure in what they are being told. The reliability of the source, the author, and the narrator are always being questioned, but the importance of a story isn’t about the truth or the accuracy in which it is told, but about the “sunlight” it carries (O’Brien 81).

    Read More

  • A True War Story Analysis

    1276 Words  | 3 Pages

    Create a list of O'Brien's criteria of how to tell a true war story and give an example of each criteria in outline form.

    Read More

  • The Meaning of “Story-Truth” and “Happening-Truth”

    1005 Words  | 3 Pages

    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.

    Read More

  • Theme Of Storytelling In The Things They Carried

    1432 Words  | 3 Pages

    Throughout Tim O’Brien’s novel, The Things They Carried, a plethora of stories are told concerning the lives of a select number of soldiers in and out of the Vietnam War. In his writing, O’Brien also conveys his own thoughts on the art of storytelling and the nature of stories themselves. In these passages, O’Brien provides a detailed analysis of the challenges of storytelling, the effects of time on memory, the role of imagination in storytelling, the reason for retelling a story, and a story’s purpose and process for the reader.

    Read More

  • The Drummer Boy of Shiloh

    1373 Words  | 3 Pages

    A narrative is specified to amuse, to attract, and grasp a reader’s attention. The types of narratives are fictitious, real or unification or both. However, they may consist of folk tale stories, mysteries, science fiction; romances, horror stories, adventure stories, fables, myths and legends, historical narratives, ballads, slice of life, and personal experience (“Narrative,” 2008). Therefore, narrative text has five shared elements. These are setting, characters, plot, theme, and vocabulary (“Narrative and Informational Text,” 2008). Narrative literature is originally written to communicate a story. Therefore, narrative literature that is written in an excellent way will have conflicts and can discuss shared aspects of human occurrence.

    Read More

  • The Things They Carried and Unbroken: Comprehending the Incomprehensible Pain of War

    1050 Words  | 3 Pages

    ...is painful, but without direct experience, these values hold incomplete meaning. A writer’s job is to color in the holes—to paint an entire picture of the immense, excruciating pain war inflicts. Beyond monotonous explanation, a writer produces engaging moving pictures which arouse all the senses. Once keenly aware of seemingly indescribable suffering, an audience may evaluate the purpose and significance of war’s pains. A writer latches onto an audience’s change in perception to introduce his or her own viewpoint. Powerful description not only reproduces an immersive experience but also communicates and encourages the development of new ideas.

    Read More

  • Truth In The Things They Carried

    613 Words  | 2 Pages

    The difficult association between the occurrence of war and storytelling is told through the eyes of Tim O’Brien; he explains that a true war story has a supreme adherence to offensiveness that provides a sense of pride and courage commonly found in storytelling. “The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you, and in this way memory and im...

    Read More

  • Analysis of Two Kinds by Amy Tan

    1425 Words  | 3 Pages

    In the story “Two Kinds”, the author, Amy Tan, intends to make reader think of the meaning behind the story. She doesn’t speak out as an analyzer to illustrate what is the real problem between her and her mother. Instead, she uses her own point of view as a narrator to state what she has experienced and what she feels in her mind all along the story. She has not judged what is right or wrong based on her opinion. Instead of giving instruction of how to solve a family issue, the author chooses to write a narrative diary containing her true feeling toward events during her childhood, which offers reader not only a clear account, but insight on how the narrator feels frustrated due to failing her mother’s expectations which leads to a large conflict between the narrator and her mother.

    Read More

  • The Usefulness of Structuralism as an Analytical Tool for Uncovering How Meaning is Generated in The Wizard of Oz

    1920 Words  | 4 Pages

    In the simplest form, there is a basic structural pattern to narratives, as expressed through Tzvetan Todorov’s explanation of narrative movement between two equilibriums. A narrative begins in a stable position until something causes disequilibrium, however, by the end of the story, the equilibrium is re-established, though it is different than the beginning (O’Shaughnessy 1999: 268). Joseph Cam...

    Read More

  • Education And War Time Experience In Kurt Vonnegut's Slaughterhouse Five

    1610 Words  | 4 Pages

    The story is told by narration, however such narrator who evidently is involved throughout the story is never entirely revealed. However with further research in the time period, and other important factors of the story, this gap can be closed. By implementing the traditional analytical approach one vividly notices the sheer similarities of education, occupation and war time experiences, who the author Kurt Vonnegut and the narrator of the story both share; deeming Vonnegut the narrator

    Read More

  • Modernism: Hills Like White Elephants, by Ernest Hemingway

    1592 Words  | 4 Pages

    Some of the characteristics of Modernism are: a desire to break conventions and established traditions, reject history, experiment, remove relativity, remove any literal meaning, and create an identity that is fluid. The rejection of history sought to provide a narrative that could be completely up for interpretation. Any literal meaning no longer existed nor was it easily given; essence became synonymous. Narrative was transformed. Epic stories, like “Hills Like White Elephants”, could occur in the sequence of a day. Stories became pushed by a flow of thoughts. The narrative became skeptical of linear plots, preferring to function in fragments. These fragments often led to open unresolved inconclusive endings. This echoes in the short story’s format. The short story functions in fragmented dialogue. Focusing on subjectivity rather than objectivity. Creating characters with unfixed, mixed views to challenge readers.

    Read More

More about Narratives In Jean Twenge's How To Tell A True War Story

Open Document