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Literary impacts of world war 1
World War 2 propaganda writing
Literary impacts of world war 1
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The soldiers who fought in Vietnam showed courage. They were not impervious to fear. They had the same fears of pain and death as the draft dodgers. They feared communism. However, their sense of duty forced them to fight instead of run away because they did not agree with the war. Only a select few have the specific mindset to show courage.
In Going after Cacciato, Berlin was searching for courage. He was searching for a way to be deal with his fear for the war. He felt obligated to fight, but he doubted the purpose of the war. Since “the war was still a war, and he was still a soldier. He hadn’t run. This issue was courage, and courage was will power” (322). He wanted to be courageous. Leaving and remaining in Paris would not have been
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Like Berlin, he searched for the courage that would allow him to stay and fight. Since he did not believe in the purpose of the war, he lacked dedication. But at the same time, he did not want to be the person who was unwilling to fulfill their requirement to serve. While fighting, Tim gained an Understanding of Plato’s definition of courage in Laches. Plato said “courage is nothing to laugh at, not of it is proper courage … Proper courage is wise courage. It’s acting wisely when fear would have a man act otherwise. It is the endurance of the soul in spite of fear - wisely” (136). Tim understood that even though he might not win a medal, agreeing to fight in an unwinnable war was courageous. Despite his realization, others did not have the same …show more content…
His unique storytelling combined personal events with fiction. This allowed him to write about a controversial war and have the book become a critically acclaimed book. In an interview, O’Brien said that he “wanted to write work of fiction that would feel to the reader as if this had occurred or, in a way, is occurring as I read it” (“Looking Back”). He achieved his goal by inserting personal experience; it made the books more relatable for the audience. Hearing about the Vietnam War in a social studies class is very different than reading a Vietnam War book written by a veteran. Social studies provided facts while storytelling provided emotions and thoughts. Placing himself in the narrative also helped to obscure the distinction. But in the books that he did not insert himself, his exploration of the purpose, obligation, and courage also helped to blur the line. His personal experience made a fictional story, Going after Cacciato felt realistic. Even though events in the novel did not take place, the characters actions and thoughts made it feel real. Despite his unique storytelling, he was unable to write a true war
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
Think that O'Brien is still suffering from what he experienced in Vietnam and he uses his writing to help him deal with his conflicts. In order to deal with war or other traumatic experiences, you sometimes just have to relive the experiences over and over. This is what O'Brien does with his writing; he expresses his emotional truths even if it means he has to change the facts of the literal truth. The literal truth, or some of the things that happen during war, are so horrible that you don't want to believe that it could've actually happened. For instance, "[o]ne colonel wanted the hearts cut out of the dead Vietcong to feed to his dog..
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.
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...
This form of writing appeals to the audience’s emotions by making the connection seem more personal, as if O’Brien is speaking directly to each reader. The constant changing of forms of writing within a single novel is unusual, and sometimes they appear to not make sense. O’Brien uses a variety of writing forms in order to make the novel a “true” war story, rather than a novel for purely entertainment purposes. In this chapter the audience is first told of O’Brien’s purpose within the novel: to feel the way he felt. The sometimes confusing and unexpected changes of forms of writing allows the readers to better relate to O’Brien’s own
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 John Marsden’s Tomorrow When the War Began, the quote from David Seabury “Courage and convictions are powerful weapons against an enemy that depends upon only fists and guns”, is evident throughout the novel with the character’s various successes. Conviction (willpower) is very strong in the main characters, as the stakes are high with their entire town invaded leaving very few free. This conviction is also essential for courage, which as Ellie explains in the book, can only be found amidst fear. “I guess true courage is when you're really scared but you still do it” p.25. There are various frightening moments in this book, like when the ride on mower was used like a bomb or having to rescue Lee using heavy machinery. These are all moments the characters used their will to survive to propel them to do something that they were terrified to do. The characters also face daunting themes head on despite the previous stress. This is courage, found within conviction, and it has proved to be a good weapon against those with physical weapons.
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. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place” (O’Brien 21). The soldiers did not go to war for glory or honor, but simply to avoid the “blush of dishonor” (21). In fact, O’Brien states “It was not courage, exactly; the object was not valor. Rather, they were to...
He wants the readers to be able to feel how he felt and understand how everything happened as he tells the story. He wants to provoke the emotional truth. O’Brien tries to prove that imagination is not completely a bad thing and that it is also a good thing. O’Brien starts to create stories about what could have happened and what he could not do at the war, in addition to the original war story. With the power of imagination, O’Brien is able to talk about something that he could have done but did not do in his past.
O’Brien’s unique verisimilitude writing style fills the novel with deep meaning and emotion. Analyzing the novel through a psychological lens only adds to its allure. Understanding why characters act the way they do helps bring this novel to life. The reader begins to empathize with the characters. Every day, the soldiers’ lives hang in the balance. How these soldiers react to life-threatening situations will inspire the reader. Life has an expiration date. Reading about people who are held captive by their minds and who die in the name of war, will inspire the reader to live everyday as if they are currently in the
They were essential in showing the key parts in O’Brien’s life that lead to the turning points which lead to the creation of this novel and his ability to be at peace with what had happened in Vietnam. He finally accepted what had happened and embraced it instead of avoiding it. Works Cited Novel O'Brien, Tim.
...ien writes this story in a completely non traditional way and manages to create a whole new experience for the reader. He takes the reader out of the common true, false diameters and forces the reader to simply experience the ultimate truth of the story by reliving the emotional truth that the war caused him. Although this may be a bit challenging for the reader, it becomes much easier once the reader understands the purpose for the constant contradictions made by O’Brien. The difference between “story-truth” and “happening-truth” is that “story-truth” is fictional, and “happening-truth” is the actual factual truth of what happened. The “story-truth” is the most important when it comes to O’Brien, and understanding his work. It is meant to capture the heart and mind of the readers and take them on a journey through war with the O’Brien, as he experienced and felt it.
...hermore, going to war was an act of cowardice. He had to put aside his morals and principles and fight a war he did not believe in.
Fear itself can be an immobilizing force, wrecking lives, destroying cities and even conquering civilizations. Without fear there is no bravery, but with bravery all fear can be conquered. Pitsenbarger conquered that fear the moment he rappelled down the rope from his Kaman HH-43 Huskie helicopter and into the dense jungle of Vietnam. Daniel Kirby, a Company C rifleman recalled Pitsenbarger’s actions “I was stunned that somebody was coming down to put themselves in that situation. It’s hard to believe that someone would voluntarily come into that battle and stay with it. He had to be the bravest person I’ve ever known.” (Daniel Kirby former Company C rifleman) With this selfless action Pitsenbarger faced his fears and overcame them in a pure act of
"Speaking of Courage" in Tim O'Brien's The Things They Carried, is more than a story about a soldier's personal experience of the Vietnam War. It is more than a story about his fight for his country, God, and fellow soldiers, and not to mention his return home. "Speaking of Courage" is not only an allegorical story about the disconnection between Vietnam and the rest of the world, but also an allegory about the disconnection between the soldiers and the life they once led.