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). A story or experience can be told in many different versions, truthfully or not and they’re all equally valid, each carrying its own equal resonating affect. This occurs in the four versions of Curt Lemon’s death; the narrator makes the puzzling statement, “this is true” but continues to provide us with four different occurrences of what “really” happened (O’Brien 65). One of them describes his death as “almost beautiful”, another as “horrible” and we’re never given the actual truth, in fact, the reader questions if there even is one truthful story ... ... middle of paper ... ...The precision or real truthfulness of a story is irrelevant, “a thing may happen and be a total lie; another thing may not happen and be truer then the truth” (O’Brien 80). In reality, truth isn’t about occurrence, but about imagination and perception, a story can be factual or fictional but its meaning will be the same. Therefore, the lack of precision is what actually provides us with the truth, nothing is accurate and this will always be the case, at times, the truth is so powerful that it cannot simply be put into words as Orwell would like, it can only exist in the intricacy of the human mind. Works Cited O’Brien, Tim. “How to Tell a True War Story.” The Things They Carried. Boston and New York: Mariner Books, 2009. 64-81. Print. Orwell, George. “Politics and the English Language.” George Orwell: Critical Essays. London: Harvill Secker: 2009. 270-286. Print.
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...
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 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...
Through The Things They Carried, Tim O’Brien moves beyond the horror of fighting in the Vietnam War to examine with sensitivity and insight the nature of courage and fear. Included, is a collection of interrelated stories. A few of the stories are brutal, while others are flawed, blurring the distinction between fact and fiction. All the stories, however, deal with one platoon. Some are about the wartime experiences of soldiers, and others are about a 43-year-old writer reminiscing about his platoon’s experiences. In the beginning chapter, O’Brien rambles about the items the soldiers carry into battle, ranging from can openers, pocketknives, and mosquito repellent o 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).
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.
War veterans wrote Slaughterhouse-Five and The Things They Carried. Some parts of the book are made for readers to believe and the other parts give realistic examples of war. The authors introduce their plots as truth-based on purpose. In the chapter “Notes”, O’Brien admits: “that part of the story is my own.” (O’Brien 151). In the first chapter of Slaughterhouse-Five, Kurt Vonnegut begins with: “All this happened, more or less.” (Vonnegut 1). The authors create a picture for the reader on their past experiences to make their stories real. Even the parts that are fiction are not lies, because the writers have the knowledge to be able to generalize, shorten, and produce events in the book. O’Brien writes: “story-truth is truer sometimes than happening-truth.” (O’Brien 172). It seemed as if Vonnegut and O’Brien used fiction to make the story more exciting. They write abo...
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 narrative, How to Tell a War Story depicts the livelihood and experience of American soldiers during the Vietnam War. More so evaluating the life Tim O’ Brien and several other characters in his platoon. The sequences of stories reveals the thoughts and behavior of many post-Vietnam veterans and also can be related to the behavior of many veterans today. Throughout the segments of stories, “How to tell a War Story”, “Speaking of Courage and Notes”, and “The Things They Carried”, O’ Brien illustrates a common theme of guilt and sacrifice among the key characters Lieutenant Cross, Rat, and O’ Brien himself. Each character are presented with an unexpected responsibility and are forced to serve their state. A sense of discomfort
In his assessment of storytelling, O’Brien highlights the challenges of telling stories by including many tales that take place after the Vietnam War. For example, back in America, the soldier’s of Vietnam found
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
Works Cited for: Orwell, George. 1984. The 'Standard' of the ' London: Penguin Books, 2008. Print. The.
Many times in order to make the story seem right there has to be something filled in with a little lie or two. For example in O’Brien’s story rat is the one who writes to the friends’ sister but there was also some other guys who say what happened. One of the other guys tells his version of how the guy died, but he explained more what happened before the death and after. He explains how Rat and his buddy named Curt Lemon where enjoying time together playing with some smoke grenades and how one of them loses their life was pretty descriptive to us. Just that when he describes how Curt’s’ death occurs is a little hard to believe. The reason why I say that is because he describes the guy’s death in a more like romanticized moment for him. He be describes how it was a terrible moment but seamed very different in his words “when he died it was almost beautiful” He was saying how they were in the darkness and Curt stepping on a mine which made him lifted in the air seamed beautiful when the sunlight hit him at the moment of his death. At that moment he basically glorified the way Lemon died. Since he claims he saw the whole thing the part where he describes Lemons death is very skeptical. For me I think he made it up because it’s hard to believe you would see a death in that
Telling a “true” war story is simple. Make it sound exciting, tell it with a straight face, and create an underlying narrative that cannot be called into question. Tim O’Brien in, “How to Tell a True War Story”, views one’s perception of reality and one’s truth as both objective and subjective. Much like Jayanthi and Alicia in Leslie Bell’s article, “Hard to Get: Twenty-Something Women and The Paradox of Sexual Freedom,” they also tell “ true war stories” of the times when they were raped. However, these girls cope with their traumatic experiences by disassociation and recreating their own perception of reality. And likewise in Azar Nafisi, “Selections From: Reading Lolita in Tehran,” the women in Nafisi’s reading group disassociate from their
Based on the two essays, George Orwell is a vivid writer who uses a unique point of view and strong themes of pride and role playing to convey his messages. His writings are easy to pick out because of the strengths of these messages. Just like politicians in government, people with power turn corrupt to stay in power and keep their reputations. Anyone who takes on power must be prepared to live with the consequences of his actions. Orwell knows this challenge well and conveys this principle in his writing. After all, his narration is based on real life experiences and not fictional fantasies.
For much time the gruesome, jaw-dropping nature of war stories has lead readers to question their truth. This is particularly true in the emotional anecdotes told about the Vietnam War. Tim O’Brien, author of The Things They Carried, is one of the first to address the idea of truth in his novel itself. Since O’Brien never confirms whether the factuality of his tales, many readers question whether the stories he weaves are actually true. O’Brien does not want for his audience to read so deeply into the facts and figures. To him it should not matter whether his tales truly happened. O’Brien’s greater purpose in writing of Vietnam is to share the stories he physically could not tell in a way that saves himself and society. He aims to use writing as self-release while also warning his audience of the horrors of war.