...In “How to Tell a True War Story”, the message that the story creates is that it really isn’t about war. What O’Brien is trying to say it that it never really is in most of the stories that pertain to war, if you think about it. For instance, on page 496, in this story he claims “it wasn’t a war story. It was a love story. It was a ghost story”. He creates this message simply by describing in detail the emotional impact losing your friends can have on a person. When you read or listen to this story, you have to have actually be able to understand the story otherwise you will just be another “dumb cooze”, you know? Then again, it is a pretty complex story. Asking if the author’s message is effective is a tricky question because it is both a...
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...Analyses How to Tell a True War Story In “How to Tell a True War Story,” Tim O’Brien varies from a straight forward approach because of the horrifying contents of war. Instead, his approach is one of repetition, where he retells the death of Curt Lemon, but with different versions. He adopts this structure to make it more tolerable to his audience, express that true war stories never seem to have an end, and demonstrate how truths become contradictory. True war stories by nature are so gruesome and devastating, that the author has to compromise its accuracy by inserting nonfactual, yet more palatable details to cause his listener to believe. The author supports this point when he says, “All you can do is tell it one more time, patiently, adding and subtracting, making up a few things to get to the real truth” (296). In another section he says, “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” (289). Interestingly, O’Brien reinforces this idea again with the example of the story that Mitchell Sanders tells. Sander says to him, “I got a confession to make… last night, man, I had to make up a few things… yeah, but listen, it’s still true…those six guys, they heard wicked sound out there…they heard sound you just plain won’t believe.” In those examples, we clearly observed how the author uses his peculiar structure to reveal the necessity to season war stories to transform...
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...As a writer, Tim O'Brien is responsible for telling his story accurately and well. Not because it is true, but because it is his commitment as a writer, and because he is the only one who can tell his story. In How to Tell a True War Story, O'Brien discusses many horrific events that took place during his time fighting in Vietnam. As he tries to recall stories from the war, he very heavily relies on imagery to convince the reader, as well as himself, that the story he is telling is completely true. Many events in this story are described using images and sounds, for it is essential in telling the story as a whole. As O'Brien recalls the events of the war, he relies on imagery to depict not only the scenery but actual events as well. An important...
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...Tim O’Brien’s “How to Tell a True War Story” starts with the brief tongue-in-cheek statement, “this is true.” While most authors seek to build credibility with their reader, O’Brien actively undermines his own trustworthiness in order to convey the skepticism with which he believes audiences should treat all ‘true’ war stories. His most effective strategy for doing so is the interweaving of a potentially fictitious narrative within a formal essay, further developing “How to Tell a True War Story’s” message of disillusionment with the attributes characteristically attributed to war and the dubious nature of war stories by creating a sense of suspicion and general distrust between the reader and the speaker. As O’Brien interweaves narrative within his essay, such stories are...
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...to someone who hasn’t experienced it in the way you have. Events affect people differently and without stories it would not be possible to even try and comprehend the pain of others. How a story is told changes the emotional response of the audience and with that their understanding of the events. Tim O’Brien explores the necessity of ambiguity between fact and fiction in order to create a visceral response to war in his short story “How To Tell A True War Story” which is a chapter in the novel The Things They Carried. O’Brien is able to examine this more thoroughly through the use of irony in title, the narrator’s internal conflict with truth and fiction, juxtaposition of writing styles and the nature motif. Margaret Atwood also investigates how real stories are portrayed in her poem “It Is Dangerous To Read Newspapers” by utilizing juxtaposition. Internal conflict is the basis of this entire story; O’Brien is struggling with how to tell his story and whether the things he experienced really are true to others. The style of this piece is similar to that of a debate with the evidence, or war story, being presented and then explained as to why it is correct. The critical essay “Metafiction in The Things They Carried” also references this writing style: “By defining a war story so broadly, O'Brien writes more stories, interspersing the definitions with examples from the war to illustrate them” (Calloway 4). Calloway says that this effective in emphasizing the lack of definitive...
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...Tim O’Brien’s “How to Tell a True War Story,” centers on the principle that a reader cannot always trust the narrator of a story to tell the truth. The reader can listen, but must never cease to analyze in order to decipher the truth in each story. In Tim O’Brien’s short story, his narrator is naturally accepted and assumed to be the author of the story. Through this narrator, a story of personal Vietnam War experiences unfolds. Because this appears to be true stories told by O’Brien, the reader is left to assume all the tales are true encounters when in fact, O’Brien mixes truth and fiction in order to make the story believable. It is important to remember that the soldier telling the war story can only relay the facts that he remembers from the event. He may be sincere in telling the events as he remembers, but not accurate in reporting the entirety of the historical picture.. The setting is the Vietnam War; a war filled with controversy, and soldiers and civilians struggling to make sense of it all. In the story, O’Brien creates a believable setting with believable characters. He describes a setting that one would expect to find in Vietnam: rugged terrain, foxholes, jungles and muddy rivers. He also uses the giant canopy of a tree (as one would expect in this area) to tell the details of the death of his friends, Lemon and Rat. Describing the smell of the moss, the white blossoms and the lack of sunlight allowed by the tree, O’Brien creates a soothing feeling...
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...Richie Burner ENWR-106 How to Tell a True War Story 26 February, 2013 If you don’t know how to analyze writing and don’t understand metaphoric speaking then this is not a story for you. O’Brien constantly goes against every Americans thoughts of a war story; he tells the reader that they’re all fake. O’Brien believes war stories don’t actually have to do with people do with heroic things, because every solider is a hero. The average person who was not in combat would not get a true war story because no one has experienced what soldier’s experience. They have seen things and felt things emotionally that no other person will ever see or feel. A ex soldier out look on life is completely different than your average person because they are use to different life style. So all this boils down to one thing, no one will ever understand soldier’s and O’Brien uses “How to Tell a True War Story” to prove this. Through out the story O’Brien talks to the reader as if they don’t know anything. Although he has to approach the reader like this so he can thoroughly explain his point. Since no one understands a soldier’s life he has to write this way, the misunderstanding of soldiers is proven within the first page of the story when rat explains his friend to his sister in a letter that he sent her. “ Stainless steel balls, Rat tells her. The guy was a little crazy, for sure, but crazy in a good way, a real daredevil, because he liked the challenge of it, he liked testing him self, just...
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...and How to the War Story Told I decided to choose the “A Soldiers Home” by Ernest Hemingway and “How to tell a War story” by Tim Obrien. I will explain each story and how the story are very similar in theme. “How to Tell a True War Story” examines the complex relationship between the war experience and storytelling. It is told half from O’Brien’s role as a soldier, as a reprise of several old Vietnam stories, and half from his role as a storyteller, as a discourse on the art of storytelling. In Tim O'Brien's short story, "How to Tell a True War Story", Rat Kiley's friend is killed. He writes to his friend's sister and when no response is given, he becomes frustrated. Due to this frustration he calls her a "dumb cooze." Following this O'Brien argues that this is a true war story because it is not moral, never to believe a war story if it seems moral. Next the story jumps to a forest where men need to be quiet for weeks. After a period of time goes by they are no longer sane. They begin to hear noises that scare them, and when they cannot take the silence and the creepiness of the forest they return to camp. When question about their return, the men do not respond, their story is in their eyes and that is enough for anyone who knows that a true war story "never seems to end," it is continuous even after it is done being told. A true war story is also never moral and does not generalize. The truth is so hard to reach. A person can go looking for the moral of the story, but...
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...How to Tell a True War Story from The Things They Carried In a true war story, if there's a moral at all, it's like the thread that makes the cloth. You can't tease it out. You can't extract the meaning without unraveling the deeper meaning. And in the end, really, there's nothing much to say about a true war story, except maybe "Oh." True war stories do not generalize. They do not indulge in abstraction or analysis. For example: War is hell. As a moral declaration the old truism seems perfectly true, and yet because it abstracts, because it generalizes, I can't believe it with my stomach. Nothing turns inside. It comes down to gut instinct. A true war story, if truly told, makes the stomach believe. This one does it for me. I've told it before - many times, many versions - but here's what actually happened. We crossed that river and marched west into the mountains. On the third day, my friend Curt Lemon stepped on a boobytrapped artillery round. He was playing catch with Rat Kiley, laughing, and then he was dead. The trees were thick; it took nearly an hour to cut an LZ for the dustoff. Later, higher in the mountains, we came across a baby VC water buffalo. What it was doing there I don't know - no farms, no paddies - but we chased it down and, got a rope around it and led it along to a deserted village where we set up for the night. After supper Rat Kiley went over and stroked its nose. He opened up a can of C rations, pork and beans, but the baby buffalo...
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...War Stories Earnest Hemingway and Tim O'Brien both draw from personal experiences in war to write “A Soldiers Home” and “How to Tell a True War Story”. The character Krebs in “Soldiers Home” and the narrator in “How to Tell a True War Story” both display the psychological and emotional tolls that war takes on those who have experienced it. Both of these stories give the reader a view of the experience of war from a soldier’s perspective. While Hemingway focuses the emotional apathy of Krebs, O'Brien's perspective is much more graphic and detailed, with strong descriptions of the scenery, the sights and sounds. The methods used by O'Brien and Hemingway vary, but the end results are similar. Both authors draw from personal experience from war to tell their stories and create the characters there in. In “Soldiers Home” Krebs has a hard time rejoining society. He feels out of touch and unappreciated. This is pointed out when Hemingway states “By the time Krebs returned to his home town in Oklahoma the greeting of heroes was over” (Hemingway 187). Krebs was unable to relate to the people in his home town, as most had already heard the war stories and “His town had heard too many atrocity stories to be thrilled by actualities. Krebs found that to be listened to at all he had to lie, and after he had done this twice he, too, had a reaction against the war and against talking about it” (Hemingway 187). The fact was that the truth was either too boring or too strange. The narrator...
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...and the political issues at stake there. The Vietnam War was in many ways a wild and terrible work of fiction written by some dangerous and frightening story tellers. First the United States decided what constituted good and evil, right and wrong, civilized and uncivilized, freedom and oppression for Vietnam, according to American standards; then it traveled the long physical distance to Vietnam and attempted to make its own notions about these things clear to the Vietnamese people—ultimately by brute, technological force. For the U.S. military and government, the Vietnam that they had in effect invented became fact. For the soldiers that the government then sent there, however, the facts that their government had created about who was the enemy, what were the issues, and how the war was to be won were quickly overshadowed by a world of uncertainty. Ultimately, trying to stay alive long enough to return home in one piece was the only thing that made any sense to them. As David Halberstam puts it in his novel, One Very Hot Day, the only fact of which an American soldier in Vietnam could be certain was that "yes was no longer yes, no was no longer no, maybe was more certainly maybe." Almost all of the literature on the war, both fictional and nonfictional, makes clear that the only certain thing during the Vietnam War was that nothing was certain. Philip Beidler has pointed out in an impressive study of the literature of that war that "most of the time in Vietnam, there were some...
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...If something exciting, horrific, or life changing happens in our lives, then what do we do? What we do is that we tell the people that did not see or has not experienced it, and just like that, the soldiers from the book, “The Things They Carried,” tells their own happenings and experiences. So many ways the storytellings are examined, but it all sums up and makes sense. There is a lot we can get from the way Tim O’Brien writes about storytelling and how he portrays it. In the end we can understand why the stories are so important. Just from the way storytelling is portrayed we can understand that it is something hard for anyone to retell the way it is supposed to be, for many different reasons. While reading the different stories being told...
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...The Vietnam War of the 1970s brought about much controversy when the soldiers returned from war to being completely disrespected by protesting against them. Due to this the soldiers were mostly traumatized after the effects of war and some went as far as suicide due to the remorse. Of these many soldiers many came home with the vivid memories of war and went on to tell their friends and family of the experiences of war. One such soldier named Tim O’Brien returned from the war and began writing the stories of his fellow soldiers in war. In The Things They Carried, O’Brien suggests that retelling stories creates a juxtaposition of what happened from what seemed to happen in order to induce emotion out of the reader. He composes the stories particularly to...
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...what a war really is or which consequences you may face when joining the army. There are two stories that help to explain what exactly you do in the army and the effects it has on you. One of the stories is "Soldier's Home" by Ernest Hemingway and the other one is "How to Tell a True War Story" by Tim O'Brien. Both stories have similarities and differences. They are told from different points of view and different situations. “Soldier’s Home” is mainly about a boy named Krebs. Krebs is a boy who enlisted in the Marines in 1917 and did not went back home until summer 1919. I think that Krebs is the way he is because he went away to war without being fully mature. He ended up growing up while in the war, away from his family and everyone he loved. He came home from war so much later because he did not want to face the changes that have happened in his town. I think he was scare to come home because war also changed his way of thinking. Krebs does not get involved with women once he's home because he does not want to work to get a girl. He thinks that American girls are too complicated and that he needs to go through many things to get one of them. He got used to the way European women were because without you talking to them, they would become your friend. Now, thanks to his mother's advice, he is thinking of becoming successful in live. Things like getting a job are rounding his mind. “How to Tell a True War Story” is about O’Brien’s own experience as a soldier and a story his friend...
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...were skeptical of the “true” story he was about to tell them. The story was about Mark Fossie’s girlfriend, Mary Anne, who at first arrived at Vietnam for their amusement, but then quickly grew obsessed with the elements of the wilderness. When Fossie pressured her to return to the states, Mary Anne decided to leave and escape into the jungles, describing in detail how she changed and wore a necklace made of human tongues. Kiley stopped there abruptly, which irritated Sanders as “it’s against the rules” to finish the story without an ending. Later resuming his tale and satisfying Sander’s curiosity, Kiley reminded him that the ending was not from personal experience but a speculation. In this chapter, the author had two purposes: prove how fiction and truth are often blended together...
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