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. In the chapter Good Form O’Brien talks about the difference between story truth and happening truth. He mentions how both can be true at the same time saying, “I can say honestly, “Of course not.” Or I can say, honestly, “Yes.” (O’Brien …show more content…
O’Brien’s story of killing a man was completely fabricated as he even admitted, but despite the falsehood it could be true to him. This is one reason for true war stories to be so hard, as the one telling it cannot always devise truth from the false claims he is making. This is noticeable the Man I killed, the chapter does not discern truth from fiction, it speaks in truth, but is all made up. It is impossible for the narrator to tell that he did not kill a man in the story, because he feels he must have. He was at war, many people died and he witnessed many of those deaths, so how could he not have been responsible. War stories project one person on to another too often for them to actually be true, if the man was real then someone else killed him, but the guilt crept into O’Brien and led him to blame himself for the death. If …show more content…
In the in the description of Curt Lemons death, O’Brien says “how the sun gathered around him and pick him up and lift him high into a tree” (80). The true story could have easily been used, but often in order for it to be true a story would either need to be void of imagery or too gory. The true story of this is that he was blown up into the tree by a mine, even if he says true events he ignores describing the true events in detail, all the detail of the actual death is summed up in the statement, “When a booby trap explode, you close your eyes and duck and float outside yourself” (O’Brien 68). It does not work to pour heart into a war story and keep it all true, the effect of it might be more lasting, but it entails many problems in the reactions it receives. Rat Kiley writes a letter that is true of how great a guy Lemon was and sends it to Lemon’s sister. The problem was it got no response from Lemon’s sister for one reason or another she did not respond. This is likely because truth is the hardest thing to accept because it is not beautiful like falsehoods are, especially in times of war. War is often not full of the valor that is displayed in many stories of war, but it actually just men who are scared and trying to survive nothing else. O’Brien seems to echo these sentiments in the chapter Speaking of Courage,
“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
Throughout the book the reader knows it is fiction but some of the stories seem to ring a bit of truth. In “Good Form”, Tim O’Brien, straight up, voices that it is all made-up. In addition, this is where he introduces story-truth and happening-truth. He stresses; “I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth” (171).
As Tim O'Brien discusses Curt Lemon's death, he effectively highlights the underlying paradoxes of a war story's truths by telling the same story in three accounts that each differ in diction, mood, tone, and sometimes imagery. For example, in the first paragraph, O'Brien utilizes a neutral, objective tone as he briefly lists the events before, during, and after Lemon's death. How so? O'Brien implicates his staunch neutrality in the middle of the first paragraph, where he nonchalantly recants, "He [Curt Lemon] was playing catch with Rat Kiley, laughing, and then he was dead." Here O'Brien seems to be playing with the audience's emotions, as he intentionally uses phrases such as "playing catch" and "laughing" to indicate vibrancy and child-like
“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
“But the strain I am under, the uncertainty, the hunger, the danger, these hours with the dead man have made me desperate…” Truth is the information and ideas that matter. Although war cannot be generalized, truth is a generalization of the feelings, lessons, and effects of an event. If someone was not present for an event, and they’re not going to ever witness it through a video, then the details of a story don’t matter. Only the lasting feelings and thoughts matter. In O’Brien’s piece, he talks about a man named Mitchell Sanders telling a story of 6 soldiers in the mountain.
This is the man O’Brien killed, or felt he killed. O’Brien implies that he never actually killed this man, but he still felt he was responsible for this man’s death. Being a young, fearful soldier, Tim O’Brien was too afraid to look at the faces and bodies that surrounded him and take responsibility for their deaths, which resulted in a future O’Brien writing, “And now, twenty years later, I’m left with faceless responsibility and faceless grief” (172). Through his stories, O’Brien is able to use his emotions and remorse to recreate his young self as a man who looked at these lifeless bodies and felt responsible for their fates. O’Brien can also utilize his emotions to fabricate a story that included his true thoughts and feelings when encountering death in Vietnam.
Have you ever been walking down the hallway at school, or any public place, and you just so happen to hear a curse word, or maybe see someone fighting? It draws you in. Your attention is no longer toward you walking. This happens as well when reading a book, most people are not used to seeing violence or profanity in books. Then when you do, you become more engaged with the story.
In Tim O'brien's The Things They Carried, Tim portrays his argument of “I want you to know why story-truth is truer sometimes than happening-trust.” Which is correct. Story-truth is truer because it captures the emotional side of a story. When people tell a story they can not only talk about the events but recall how they felt when they went through that experience. The story telling truth can be important with traumatic events because it shows how the experiences affected them and will continue to their whole life.
In the short story, “The Man I Killed,” O’Brien focuses on this to show that everyone fighting in a war has a story. He spends the story describing the man he killed and searching for justification of his actions. He carries around guilt with him because of it, and his fellow soldiers try to help him justify and come to terms with his action by saying things like, “You want to trade places with him? Turn it all upside down= you want that? I mean, be honest,” (126) and “Tim, it’s a war.
This quote is Important because Tim O 'Brien is explaining how he felt like every eye in his town was on him. Felt embarrassed because he didn 't wanted to go to war. He could hear people screaming at him,Traitor ! he couldn 't endure the mockery or the disgrace or the patriotic ridicule .And right then he Submitted.
“A true war story is never moral [...] if the story seems moral, do not believe it” (page 68). Tim O’Brien explains to us that if one of the stories teach you something; the story was stretched, if it makes us feel good; it was a lie. Even if the writer tried to make the story true, the mind blocks the heart stabbing and the brain boggling details from what happened in order to save yourself tragedy, so the so called “True Story” isn 't all that true.
(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
O'Brien shows us that "In many cases a true war story cannot be believed. If you believe it, be skeptical. It's a question of credibility. Often the crazy stuff is true and the normal stuff isn't, because the normal stuff is necessary to make you believe the truly incredible craziness." (pg. 71).
This quote epitomizes the trauma caused by war. O’Brien is trying to cope, mostly through writing these war stories but has yet to put it behind him. He feels guilt, grief, and responsibility, even making up possible scenarios about the life of the man he killed and the type of person he was. This
O’Brien tells a graceful version of a gruesome story. Many people prefer thinking of Lemon being killed by sunlight. That version is much more graceful than the truth, “In the mountains that day, I watched Lemon turn sideways. He laughed and said something to Rat Kiley. Then he took a peculiar half step, moving from shade into bright sunlight, and the booby-trap 105 round blew him into a tree.