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.
This is another main thematic concern in Slaughterhouse Five that is simultaneously conveyed through the narrator’s blurring of boundaries between reality and fiction. Rather than use analepsis and prolepsis as narrative time devices, as proposed by Genette (Barry 226), the narrator attempts to reconcile the gap between reality and fiction through the use of time travel as a narrative technique in order to allow readers to experience a similar disconcerting effect of war, bridging the gap between the fictional element of the narrative and the reality of war for the
Literature is a wonderful thing; it explores the relationships between humans and their nature, historical events, and can be used to express one’s creativity. It can also be used to give moral guidance; this was Arthur Miller’s reasoning behind writing The Crucible. In this dramatic retelling of the Salem trials, Miller ensnares his reader with stories of adultery, betrayal, and material greed. His intention, however, is not to entertain with operatic drama. This play is a cautionary tale about finger pointing and its potentially fatal consequences.
Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature. Ultimately, the central purpose of an author’s novel is to engross the reader, by writing in a genre and movement that is appropriate the book. Appropriately, Kurt Dinan engages the reader with both a Mystery genre and Postmodernist elements in his novel, Don’t Get Caught. Postmodernists believe that traditional authority is false and corrupt, and the central theme of Don’t Get Caught is that the powerful students play pranks and humiliate the less influential students. There exists a social elite club known as the Chaos Club that plays pranks on the school and faculty, and nobody can figure out the leader of the club is or who the members’ are.
Frequently, happening truth is placed in the book to show the events the men went through in the war and what really was going on. On the other hand, story truth is adjusting what really happened to what's more believable and what feels right. O’Brien claims that as long as the story is told, it is not relevant if it's true. He believes that something isn't true unless it feels true, so when telling the reader his truth, he said ”I want you to feel what I felt”( O’Brien 171), so with the stories O’Brien tells, he changes the truth to make it feel right. According to O’Brien, something can be true, even if it never really happened in the war.
The Things They Carried by Tim O’Brien is a collection of fictional stories in and about the Vietnam War. O’Brien is a Vietnam veteran and wrote this book after his time serving in the military. He uses his understanding of the traumatic experiences that happen in war and how they stick with people in order to paint realistic depictions of soldiers in Vietnam. These stories are all written from different viewpoints with different narrators, and when read consecutively show how narrators affect the meaning of stories. In the book The Things They Carried, Tim O'Brien uses multiple distinct narrators in order to analyze what the point of a story is at its core and how stories are affected by the people that tell them.
At this point he is admitting fault with lying to Ender about the battles just being a game, and not the actual war. At this point in the book, Card intends that the reader catches on to the fact that Ender dislikes lying, if the reader has not done so already. After this point in the book, Ender does not tell a lie, but only tells the truth. This is how Ender was able to rise up as a person from such a traumatic event, and learn quickly that lying is never the answer, and that it will result in nothing good in the end. Ender even admits earlier that Colonel Graff was indeed right in his speculation of Ender not being able to kill off the bugger species if he had known exactly what he was doing.
Dom Casmurro is narrated in the first person narrative by the self-proclaimed protagonist Bento, nicknamed Dom Casmurro for his stubborn nature. The story is told solely from his perspective and therefore automatically creates a biased view of the events that come to pass in the novel. The flawed narrator (Bento) writes the story from his point of view completely muting out the opinions and speech that do not directly support his case in order to rally sympathy and build trust between himself and the reader. Despite the fact that all we have to believe is Bento’s thoughts and what he writes down, because of Machado’s writing technique we are able to see what Bento tries to do, which is to play the victim in the story. Driven by jealousy and self-consciousness, Bento tries to persuade the reader that he is being victimised.
Tim O’Brien’s novelThe Things They Carried focuses on the US war in Vietnam. In this novel the author providesnumerous details about the war and tries to rise as many themes as possible which are important according to the situation. O’Brien was a participant in the war himself. Almost all of the chapters in this book are narrated in a unique way. O’Brien emphasizes the theme of shame in his novel.
The Great War is the object of memorial, but seldom is an effort made to truly understand it in the full context of its causes and implications. Revisionist historians seek to correct certain assumptions regarding the Great War, such as the idea that the British commanders were incompetents. The difficulty facing such individuals is that since the current view of the war has been shaped by war poets, any alteration to the accepted stance can be interpreted as an attack on the writers, and since the weight given to these writers is due to their frontline experience, any attempt to revise their account of events is liable to be taken as belittling or dishonouring their sacrifice.