Tim O’Brien never lies. While we realise at the end of the book that Kiowa, Mitchell Sanders and Rat Kiley are all fictional characters, O’Brien is actually trying to tell us that there is a lot more truth hidden in these imagined characters than we think. This suggests that the experiences he went through were so traumatic, the only way to describe it was through the projection of fictional characters. O’Brien explores the relationship between war experiences and storytelling by blurring the lines between truth and fiction. While storytelling can change and shape a reader’s opinions and perspective, it might also be the closest in helping O’Brien cope with the complexity of war experiences, where the concepts like moral and immorality are being distorted. “How to Tell a True War Story” and “Ambush” are stories that both explore on topics: truth, the real definition of a true war story, and the role of truth. O 'Brien starts off “How to Tell a True War Story” with “This is true.” Starting this story with such a bold sentence not only makes it seem more true, but to some extent, it acts as a comfort statement to the narrator’s own doubts, as if there were unspeakable uncertainties and lies of the narrator. The title of this story also comes into play, with a meta-fictional name “How to Tell a True War Story”, as if it were a guide, a manual, having a true war story tell the readers how to tell a true war story. However ironically, towards the middle of the story, us as
“War stories”, aren't really war stories. Tim O'Brien also believes that Kiley's story isnt true because thats what soldiers always do. They change the story to make it seem more realistic and to give more
Tim O’Brien and Brian Turner are both war veterans, who published books based on their war experience. Both of their books expresses their feelings and both have a unique way of telling war stories. However, Tim O’Brien’s The Things They Carried book captures the reality of war better than Brian Turner’s Here Bullet book. Tim O’Brien is very descriptive with his story, He is very direct and very good at telling a war story to make it more interesting.
For example in the chapter, O’Brien announces that “A true war story is never moral”(O’Brien 65), but, later on in the chapter he contradicts himself conveying that “ In a true war story, if there's a moral at all, it’s like the thread that makes the cloth ”(O’Brien 74). He starts off saying a true war story has no morals, but then he explains that the moral means everything to a war story, which contradicts his earlier statement. This contradictory excerpt from the chapter parallels the idea of the Vietnam war in the fact that to make peace, there had to be war and bloodshed to solve the problem that the United States and North Vietnam had with one another. War is contradictory in itself ,and O’Brien’s contradictory motif illustrates it well. In fact, the idea of war is a reoccurring topic in “How to Tell a True War Story,” and O’Brien illustrates this idea of war with many other devices as
This story is a success because it features components of what O’Brien says is a true war story. This certain short story includes, embarrassment, love, memory, and, shame. This story perfectly depicts the theme of one's conscience versus the society around them. It portrays this theme because it is the perfect example of the fight between what he believe is right and what society believes is wrong and is “unpatriotic” while what he believes is wrong and unworthy of such violence, yet society believes is right. According to O’Brien, in order for war stories to be true they must possess at least some of the elements from his specific definition.
O’Brien not only is the writer but also puts himself in the story by being an actual character. O’Brien says that his novel is a combination of short stories, essays, and journalisms. Several times throughout the story, O’Brien mentions how he feels like he is completely reliving the past and sometimes its sad, sometimes its happy. One of the most important stories throughout the book is "How To Tell A True War Story," and the title does not refer to how to simply tell a true war story but how to tell if a war story is true or not. An important theme in the novel that centers on the difference between how war is perceived by people who have not experienced it first hand as opposed to what war really is
O’Briens intended audience is people who have an interest in war, and uses mortality and death, along with morality to help the audience get a deeper understanding of what could possibly occur at war. First, O’Brien discusses how mortality and death greatly affected many of the men around him. In the chapter ” In the Field” Kiowa is gone and there is nothing they could do to save him. The
War’s Reality We as humans find conflict to be rash and futile, but to the soldiers that fight for our freedom, it is an honor and a privilege, but it is dreadful nonetheless. We are going to be discussing Tim O'Brien's intentions in writing the short story “Where Have You Gone Charming Billy.” It is my understanding that he wrote the story to tell us about war as it is hard to imagine its entirety and that war takes lives. Finally, I believe that he wants us to see how dangerous and terrifying war really is.
Firstly, both of the authors’ stories end with the protagonists surviving the war, but making them feel regretful and unworthy of living. O’Brien survives after being a soldier during the
This chapter “The Ghost Soldiers”, showed us how Tim O’Brien and the other soldiers were dealing with the war both physically and psychologically. It also shows us how the Tim O'Brien behaved and felt when he was shot, wounded and had a bacteria infection on his butt and how the war changed the way he thought, and viewed the other soldiers around him. This chapter also contain a lot of psychological lens. From the way Tim O’Brien felt when he was shot and separated from his unit to a new unit to when he wanted revenge on Bobby Jorgenson for almost “killing” him.
(page 68). This is why Tim O’Brien writes the way he does. He wants the reader to believe his story and get a sense of what war is truly
In The Things They Carried, O’Brien’s story-telling method is an attempt to show that the lines between fiction and reality are often not that far. Even though the names or details may not be fully accurate, this does not change the fact that they are a reality for many. Additionally, he challenges the importance that we place on war and links it to a storytelling aspect because he’s pointing out that not every story has a moral to it. With tragic events, we typically want some sort of meaning behind them, some sort of assurance that the incident was not for nothing. However, this is not always true, as a character “Yeah, well…I don’t see no moral”…
Tim O’Brien informs the readers’ stories that expose the reality of the war and the fear of soldiers. Tim O’Brien along with many other soldiers covered up their fear and embarrassment in order to not see the truth of war. Jimmy Cross
True war stories are hard to tell, because of the guilt from things seen and those not seen. True stories do not allow the author to see things he never saw, so creating new images are necessary to create the story. True war stories are too subjective; even if it is true to someone it may not be true to the other. O’Brien says the only thing a true war story needs is to be asked if it is true, “and if it matters you got your answer” (O’Brien 79). It does not need to be factually true to make it a true war story.
No one returns from war the same person who went. War opens an unbridgeable gap between soldiers and civilians. There’s no truth in war—just each soldier’s experience. “You can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (from “How to Tell a True War Story,” in O’Brien’s story collection “The Things They Carried”). Irony in modern American war literature takes many forms, and all risk the overfamiliarity that transforms style into cliché.
O'Brien uses a lot of offensive words in this story of Kiowa dying in the field, "As first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil," (65-66). The evil in the story is the enemy soldiers or the opposite side that you are fighting. While obscenity is the curse words, which the soldiers use in the story. But it is also the author who uses these words to describe a place or person in the story. As well evil is in most war stories, because there is always a point in the story where your friend got killed by enemy soldiers or if one of the soldiers was going against his friend.