Metafiction allows writers like Tim O’Brien to manipulate what is held to be truth, and fabricate certain details in an attempt to enhance or reinforce the meaning of a story. There is no doubt that O’Brien actually went to Vietnam, however, there is some doubt that events that occurred within the text actually happened. When addressing these occurrences, he uses language that leads the reader to believe that the account itself may be fictional. For example, in “How to Tell a True War Story” alone, O’Brien essentially convinces the reader that many of his accounts in Vietnam are fabricated. He goes to the extent of saying things like: “In many cases a true war story cannot be
In the chapter How to Tell a True War Story, O’Brien includes us through several different variations of how character Kurt Lemon died, each version being more uncomfortable from the next. O’Brien introduces this chapter by saying “This is true.”(The Things They Carried 64). However, the only thing true about these stories is that they are being altered right in front of us. According to O’Brien, you only “tell a true war story” “if you just keep on telling it”. (The Things They Carried 91).
Although the author set himself the task of using the natural materials of this case to write a nonfiction novel, it is clear that the audience is given information about the murders, and murderers however, the author’s emotions are also present. Capote's tone in the novel strives to be objective, but he cannot help but let his compassion towards the criminals and the Clutter family emerge. His compassion shifts the novel in a way to pull on the heartstrings of the audience and to allow for a deeper understanding of his purpose. Many of the tones included in the book brings out the importance of the American Dream and life being a gift. The quote, “Then, touching the brim of his cap, he headed for home and the day’s work, unaware that it would be his last,” is an example of the author’s serious tone to support his purpose of how the gift of life can be taken so unexpectedly.
Realistic elements in a story create vivid images in the mind of a reader. An author may choose to write in the style of realism in order to show the reader a situation in a realistic and genuine way so that the topic of a story may be understood better. The use of realism creates believable emotions and ignite empathy in the reader. Realism, as used in “Where Have You Gone, Charming Billy”, gives the reader an insight into the reality that the characters live. Tim O’brien uses the style of realism to demonstrate to the reader that a soldier fighting during a war was really very afraid and strongly affected by the danger that they faced rather than the common view that through their bravery soldiers are unemotional.
Based on source B, “... fiction and nonfiction do tend to deploy different methods for getting to the truth. Fiction, we have been told, tells the truth but it slant.” It is claiming that fiction is just a different way of presenting nonfiction. That argument is completely implausible, fiction will never be nonfiction. And nonfiction will never be fiction. How can nonfiction be present in a fictional way when they are complete opposites of each other?
The art of storytelling. Throughout the novel the author gives advice on how to tell a true war story and how to decide whether a story is true or not. The book concludes by saying that stories bring the dead back to life and associates a form of magic with stories. Morality. The war makes people forget their morals and values causing people to do horrible things.
The war stories with morals and deeper meaning gives war character which it does not have. It glamorizes war into something that could be good and happy situations but this is also not the case. The concept of character makes the idea of a true war story, supposed to a fake one, more understandable. Malcolm Gladwell defines character and how it can change. He writes, “Character is more like a bundle of habits and tendencies and interests, loosely bound together and dependent, at certain times, on circumstance and context.
The Complexity of Forgetting In the short story Love and Honour and Pity and Pride and Compassion and Sacrifice by Nam Le, readers are acknowledged the reason behind the conflict between the two protagonists, the father and the son, that it is rooted from overly strict nurturing. Not to let readers dislike the character of the father too far, the story of Thanh, the father, about his experience in Vietnam War is inserted to offer the reason of his suffering from the memory of the war which, perhaps, leads him to bring up Nam, the narrator and his son, strictly as if his life is in the war camp. The story probably arouses some readers ' pity, understanding, or interest in his attempt to forget the battle considered both his action and speech. Yet, in the meantime, although Thanh, in the first place, tries not to mention the years of service as a soldier as if to imply that it should be forsaken, getting confused later by his inconsistent actions and speeches, some readers may question whether Thanh really wants to forget the bitter experience in Vietnam War or not. There are two possibilities to consider the case: he really wants to forget the event but he cannot, or he is unable to forget because he still never puts all the effort in trying to forget it.
In the final analysis, the author of Fallen Angels incorporates imagery, irony and metaphors to convey the theme that warfare often forces soldiers to reconsider their traditional notions of right and wrong. This theme is important because it helps show what soldiers had to deal with. After reading Fallen Angels and contemplating the theme, the reader cannot help but wonder what their opinion on right and wrong would
In fact, during the rudimentary monologues of characters like Colonel Cathcart, Captain Black and Major Major that make the novel a swashbuckler, it all involves them questioning the almost dreamlike existence of man with a name like that. Yossarian: a character that the author did tribute to by writing Closing time, his 1992 reprisal to Catch-22, and did not fail to add in the latter book’s paperback introduction that his major creation will never die in his own hands but in another’s. So much for James Heller. So much for us the readers who have to keep our ribs on hold tickled by many trials within the book, poignantly metaphysical, where a character asks ‘who is’ that stepping on his feet while a court martial is going on. That alone, if it does not give a hint of how boring, pettish and deviating