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Essays on death in literature
Summary of ambush by tim o brien
Essays on death in literature
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The story Ambush is the best story this semester. It has meaning and purpose behind it. A. O'Brien tone of Ambush makes a very clear understanding of how he feels on the subject of war. 1. "Kathleen asked if I had ever killed anyone" ( O'Brien 1). a. His daughter in the story questioning one of his worst experiences he has gone through, made his stomach drop. It paints a picture of the pain and guilt on his face when being asked this question. 2. “'Of course not,' and then to take her onto my lap and hold her for a while" ( O'Brien 1). a. Protecting his daughter from the truth shows his love he has for his daughter. He does not want his daughter to view him as he views himself and how he feels about hisself. b. He is very harsh about war he does not like the subject. This is a …show more content…
His tone brings out a good mood for the story. It makes one feel like they were in his shoes and how hard it is to live with this overwhelming guilt. 3. "He lay at the center of the trail, his right leg bent beneath him, his one eye shut, his other eye a huge star-shaped hole" (O'Brien 2). a. This story haunts him, it is easily shown that it haunts him on how he writes. O'Brien writing style is short and to the point because he does not want to remember the story and the details of him killing someone. That is a reason why it is short and to the point. b. This is one of the reasons that's make Ambush the best story's, this story is easy to understand because it is short and to the point, but it is still full of meaning. His story can relate to so many other people who have struggles after the war. 4. It can also relate to high school students. It shows us even if it was the right thing todo it might not always be a easy decision and it's also really difficult to make the right decisions. It shows how decisions can affect others. If he would not of killed him, what would the man have done? 5."Sometimes I forgive myself, other times I don’t"(O'Brien
58. According to the passage, O’Brien believes that storytelling conveys a stronger meaning than any real account. It amplifies the message one is trying to assert by engaging an audience through vivid, but fictional detail. O’Brien uses false events to represent greater emotional truths, which is best displayed through fictional accounts. This is a prevalent and recurring ideal throughout the
I felt emotional while on page 100, paragraph 7 where he stated: “I guess I should have told someone, but I was too humiliated”. The fact that his father had abandoned the family and his brother who is his No 1 confidant was down with leukemia didn’t give him the courage to speak out, he was scared to the point of losing his mind, he became depressed, irritable, hypervigilant and ashamed thereby hating
12. If you were the author, would you have ended the story in a different way? Why? How so?
He was a young man in his twenties, pressured by his family and peers to fight for his country despite not wanting to. The use of imagery allows the reader to see through his eyes. Though untrue, the fact is it could have happened. This gives the reader a “taste...
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.
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.”
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.
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.
...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.
In much of The Things They Carried, stories are retold time and time again. One reason for this is the idea of keeping a story’s story-truth alive. In “Good Form,” O’Brien differentiates what he calls story-truth from happening-truth. Story-truth seems to give us a better understanding of O’Brien’s sentiment in a particular story even though the story itself may not be true at all. On the other hand, happening-truth is what actually happened in the story, but may not contain as much emotional authenticity as story-truth. According to O’Brien, story-truth is therefore truer than happening-truth. Relating back to storytelling, O’Brien retells stories continuously to maintain their sentiment and emotional value. Without this continuous repetition, this sentiment fades away and the emotional value of the story is lost.
...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.
The statement of the mother for her daughter also shows an assertion that her daughter would not do something bad or involve herself into something that is bad and in the case, something about her husband.
O’Brien’s narrative structure demonstrates the confusion of war. In no particular sequence, he explores three separate narratives, but only two of these narratives happen according to a logical progression. The observation post narrative starts with Berlin at the beginning of his night shift and proceeds to the morning. The Cacciato chapters similarly follow a chronological order, common in most fictional novels; however, the chapters which document Berlin’s real war memories intentionally follow no order, only separately cataloging his fallen comrades. Jack Slay describes these chapters as “a litan...
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
He presents a few hypothetical stories and one real one to get the students to think this question through. In one of the illustrations used the professor asks how many in the audience would actually push a “fat man” over a bridge onto the tracks below to stop a runaway trolley from killing five workers who were on the tracks in the way of the unstoppable trolley. I was surprised to see that a few hands actually went up. The argument of a student that had raised their hand in hypothetical agreement to pushing the man over the bridge, for the greater good, was that five other lives would be saved for the life of this one. Opposing views, of which whom I agreed with, were that by pushing the “fat man” over the bridge you were actually choosing and making a conscious decision to take a life; who are we to decide whose life is more valuable than