The Things They CarriedThe Things They Carried

Tim O’BrienTim O’Brien

The Things Writers CarryThe Things Writers Carry

Preliminary thoughtsPreliminary thoughtsMemory can be highly unreliable. Our Memory can be highly unreliable. Our

remembered truths may be completely remembered truths may be completely different from the remembered truths of different from the remembered truths of those who grew up in the very same those who grew up in the very same house.house.

Humor is the writer’s armor against hard Humor is the writer’s armor against hard emotions – and therefore, in the case of emotions – and therefore, in the case of memoir, one more distortion of the truth. memoir, one more distortion of the truth.

The Things Writers CarryThe Things Writers Carry

From author Toni Morrison:From author Toni Morrison: ““The act of imagination is bound The act of imagination is bound

up with memory. They up with memory. They straightened out the Mississippi straightened out the Mississippi River in places to make room for River in places to make room for houses and live-able acreage. houses and live-able acreage. Occasionally, the river floods Occasionally, the river floods these places. ‘Floods’ is the word these places. ‘Floods’ is the word they use, but it’s not flooding, it’s they use, but it’s not flooding, it’s remembering. Remembering remembering. Remembering where it used to be. All water has where it used to be. All water has a perfect memory and is forever a perfect memory and is forever trying to get back where it was.”trying to get back where it was.”

The Things Writers CarryThe Things Writers Carry

Writers are like that: remembering where we Writers are like that: remembering where we were, what valley we ran through, what the were, what valley we ran through, what the banks were like, the light that was there and the banks were like, the light that was there and the route back to our original place. It is emotional route back to our original place. It is emotional memory: the rush of our imagination is the memory: the rush of our imagination is the flooding.flooding.

All of us live with a life history in our mind. We All of us live with a life history in our mind. We are storytelling creatures. The crux is how well are storytelling creatures. The crux is how well we tell our stories and how well we recognize we tell our stories and how well we recognize that there is no true history.that there is no true history.

The Things They CarriedThe Things They Carried

ThemesThemes

Physical and Physical and emotional burdensemotional burdens

Fear of shame as Fear of shame as motivationmotivation

Subjection of truth Subjection of truth to storytellingto storytelling

The Things They CarriedThe Things They Carried

StorytellingStorytelling

Fact and fiction is blurred: Fact and fiction is blurred: The objective truth of a war The objective truth of a war story is less important than story is less important than the act of telling the story the act of telling the story itself.itself.

Technical facts around any Technical facts around any one event are less one event are less important than the important than the subjective truth of what the subjective truth of what the war meant to the soldiers war meant to the soldiers and how it changed them. and how it changed them.

Notes adapted from Jill Collela,Wiley Publishing Inc. New York Notes adapted from Jill Collela,Wiley Publishing Inc. New York 20012001

The Things They CarriedThe Things They CarriedThe book’s different storytellers are designed to relate the “truth of experience.”The book’s different storytellers are designed to relate the “truth of experience.”

O’Brien: Stories contain immense power; tellers and listeners confront past together O’Brien: Stories contain immense power; tellers and listeners confront past together and share otherwise unknowable experiences.and share otherwise unknowable experiences.

By telling stories, By telling stories, O'Brien is able to gain some distance from the harrowing O'Brien is able to gain some distance from the harrowing experience he had in Vietnam. But while sexperience he had in Vietnam. But while stories are a coping mechanism, they are tories are a coping mechanism, they are also blueprints for communicating in life.also blueprints for communicating in life.

““On The Rainy River”On The Rainy River”

Explores the role of shame in war and Explores the role of shame in war and embarrassment as a motivating factor.embarrassment as a motivating factor.

This story is a most obvious example of This story is a most obvious example of O’Brien’s fiction-as-truth: Its point is to O’Brien’s fiction-as-truth: Its point is to convey an emotional truth, not facts.convey an emotional truth, not facts.

He clearly puts the reader in his position He clearly puts the reader in his position as a young, naïve person facing a difficult as a young, naïve person facing a difficult decision.decision.

““On the Rainy River”On the Rainy River”

How the Vietnam War differed from other warsHow the Vietnam War differed from other wars Average age of soldier: 19 (WW II: 26)Average age of soldier: 19 (WW II: 26) In Vietnam War, many went to college to avoid warIn Vietnam War, many went to college to avoid war Men had to explain why they served: not serving was Men had to explain why they served: not serving was

acceptableacceptable Soldiers served a tour of dutySoldiers served a tour of duty In combat, there was no safety in the rear – there was no In combat, there was no safety in the rear – there was no

rear in Vietnamrear in Vietnam There was little support for either the soldier or the war There was little support for either the soldier or the war

from the general population of the U.S.from the general population of the U.S. Vietnam had not directly threatened the U.S.Vietnam had not directly threatened the U.S.

““On the Rainy River”On the Rainy River”

The war was fought in a country whose history, culture, The war was fought in a country whose history, culture, religions, and values were quite different from oursreligions, and values were quite different from ours

The war’s goal was unclear: There was never a clear The war’s goal was unclear: There was never a clear indication that America would do whatever was indication that America would do whatever was necessary to winnecessary to win

The officers in charge were often inexperienced and/or The officers in charge were often inexperienced and/or inconsistent. Fragging occurredinconsistent. Fragging occurred

Fighting casualties exceeded those in WW IIFighting casualties exceeded those in WW II Territory was taken, lost, and taken repeatedlyTerritory was taken, lost, and taken repeatedly There were no clear combat zones; there was no frontThere were no clear combat zones; there was no front No emotional support was offered returning soldiersNo emotional support was offered returning soldiers

““On the Rainy River”On the Rainy River”

All of the soldiers did not return home at the same All of the soldiers did not return home at the same timetime

No war since the Civil War caused such a split in No war since the Civil War caused such a split in U.S. public opinion, leading to social unrest and U.S. public opinion, leading to social unrest and violenceviolence

Vietnam was the first war the U.S. lostVietnam was the first war the U.S. lost The war was broadcast on TV dailyThe war was broadcast on TV daily Drug use was part of the combat scene; problems in Drug use was part of the combat scene; problems in

the military included financial corruption, racism, low the military included financial corruption, racism, low morale, theft, murder, and suicidemorale, theft, murder, and suicide

““The Things They Carried”The Things They Carried”

Hand grenadesHand grenades smoke bombssmoke bombs M-16 assault rifle (7.5 pounds, unloadedM-16 assault rifle (7.5 pounds, unloaded

with 8.5 to 14 pounds of ammunition)with 8.5 to 14 pounds of ammunition) M-16 maintenance gear: 1 poundM-16 maintenance gear: 1 pound Hatchet (7 pounds)Hatchet (7 pounds) flashlight (2 pounds)flashlight (2 pounds) Poncho (2 pounds)Poncho (2 pounds) Steel helmet (5 pounds)Steel helmet (5 pounds) Flak jacket (7 pounds)Flak jacket (7 pounds) jungle boots (7 pounds)jungle boots (7 pounds) M-60 (23 pounds, unloaded: 10-17 pounds of ammo)M-60 (23 pounds, unloaded: 10-17 pounds of ammo) PRC-25 radio (26 pounds)PRC-25 radio (26 pounds) Medic gear: 20 poundsMedic gear: 20 pounds M-79 grenade launcher: 6 pounds; 50 pounds of ammoM-79 grenade launcher: 6 pounds; 50 pounds of ammo

““The Things They Carried”The Things They Carried”

C-rations: 2 lbs C-rations: 2 lbs P-38 can openersP-38 can openers Pocket knife: 1 lbPocket knife: 1 lb Heat tabsHeat tabs WatchWatch Dog tagsDog tags Insect repellentInsect repellent Gum/candyGum/candy Cigarettes/lightersCigarettes/lighters salt tabletssalt tablets Iodine tabletsIodine tablets Kool-Aid packetsKool-Aid packets Sterno/matchesSterno/matches Sewing kitsSewing kits 2 or 3 canteens of water2 or 3 canteens of water

Total: 15 to 20 pounds, depending on the manTotal: 15 to 20 pounds, depending on the man

The Things They CarriedThe Things They Carried

The Things They The Things They (and we) Carry(and we) Carry

The metaphor of The metaphor of carrying gives weight carrying gives weight to the idea that the to the idea that the things we carry —things we carry —whether physical or whether physical or emotional —enable emotional —enable us to navigate life’s us to navigate life’s inconsistencies. inconsistencies.

The Things They CarriedThe Things They Carried

The notion that people carry heavy emotional The notion that people carry heavy emotional burdens is a universal one: O’Brien switching burdens is a universal one: O’Brien switching between first-person narrative and third-person between first-person narrative and third-person throughout the book reflects his belief that by throughout the book reflects his belief that by telling his own story, he is telling the story of many.telling his own story, he is telling the story of many.

““The Things They Carried” and The Things They Carried” and “Platoon”“Platoon”

Possible character parallelsPossible character parallels

TTTCTTTC PlatoonPlatoonO’BrienO’Brien TaylorTaylorLt. CrossLt. Cross Lt. WolfeLt. WolfeKiowaKiowa KingKingLavendarLavendar GardnerGardnerRat KileyRat Kiley RhahRhahAzarAzar BunnyBunnyHenry DobbinsHenry Dobbins Big HaroldBig Harold

““Love”Love”

Lt. Cross shows how repression of Lt. Cross shows how repression of painful memories can be essential for painful memories can be essential for survival.survival.

The feelings behind the story are the The feelings behind the story are the investment for the reader, rather than investment for the reader, rather than what is truth and fiction.what is truth and fiction.

In a twist, we don’t know if what Cross In a twist, we don’t know if what Cross has asked O’Brien to leave out of the has asked O’Brien to leave out of the story is in there or not.story is in there or not.

““Love” Love” At the end of the “Love” chapter, Jimmy Cross At the end of the “Love” chapter, Jimmy Cross

says, “Don’t mention anything about – ” but is says, “Don’t mention anything about – ” but is cut off by O’Brien. What two questions does this cut off by O’Brien. What two questions does this create for the reader about the story and about create for the reader about the story and about O’Brien?O’Brien?

The ambiguous ending reflects veterans’ The ambiguous ending reflects veterans’ difficulty in articulating traumatic experiences: a difficulty in articulating traumatic experiences: a task storytelling can address. task storytelling can address.

““Spin”Spin”

The unconnected anecdotes here echo The unconnected anecdotes here echo the fragmentation of the war experience.the fragmentation of the war experience.

War has no winners or losers, unlike War has no winners or losers, unlike Dobbins and Bowker’s game of checkers.Dobbins and Bowker’s game of checkers.

O’Brien’s relationship with his daughter, O’Brien’s relationship with his daughter, Kathleen, reveals the importance of Kathleen, reveals the importance of storytelling: to deliver the past into the storytelling: to deliver the past into the future, for giving perspective and future, for giving perspective and understanding.understanding.

““Spin”Spin”

Jot down these important quotes:Jot down these important quotes:

As a writer, “You take your material where you As a writer, “You take your material where you find it, which is in your life, at the intersection of find it, which is in your life, at the intersection of past and present.”past and present.”

““Remembering leads to a story, which makes it Remembering leads to a story, which makes it forever. That’s what stories are for. forever. That’s what stories are for. Stories are Stories are for joining the past to the futurefor joining the past to the future. Stories are for . Stories are for eternity, when memory is erased, when there is eternity, when memory is erased, when there is nothing to remember except the story.”nothing to remember except the story.”

““Enemies/Friends”Enemies/Friends” O’Brien presents a fight within a war: a O’Brien presents a fight within a war: a

microcosm to the macrocosm of Vietnam.microcosm to the macrocosm of Vietnam. The meaninglessness of the fight: It was over a The meaninglessness of the fight: It was over a

stolen jackknife.stolen jackknife. This is a metaphor for the meaninglessness the This is a metaphor for the meaninglessness the

men feel over the war itself.men feel over the war itself. This is seen when Strunk laughs when Jensen This is seen when Strunk laughs when Jensen

breaks his own nose: After all, Strunk thinks breaks his own nose: After all, Strunk thinks Jensen was justified in his fight with Strunk, Jensen was justified in his fight with Strunk, because Strunk does admit he stole Jensen’s because Strunk does admit he stole Jensen’s jackknife.jackknife.

““Enemies/Friends”Enemies/Friends”

However, the fight is more personal and However, the fight is more personal and emotional than the war: Strunk’s nose is broken emotional than the war: Strunk’s nose is broken because his “enemy” relentlessly beats him and because his “enemy” relentlessly beats him and crushes his nose.crushes his nose.

Strunk loses his leg for no reason other than Strunk loses his leg for no reason other than where he stepped. He could not have known or where he stepped. He could not have known or prevented it.prevented it.

So in the fight between the two men, the enemy So in the fight between the two men, the enemy is visible and is physical. Conversely, the war is visible and is physical. Conversely, the war often lacks a visible opponent.often lacks a visible opponent.

““How To Tell A True War Story”How To Tell A True War Story” This chapter really blurs the distinction between This chapter really blurs the distinction between

truth and fiction. O’Brien immediately brands the truth and fiction. O’Brien immediately brands the story as true; then he states later that “none of it story as true; then he states later that “none of it happened.”happened.”

He doesn’t lie: He changes the definition of He doesn’t lie: He changes the definition of telling the truth.telling the truth.

Lemon’s sister doesn’t get the “truth” of the story Lemon’s sister doesn’t get the “truth” of the story Kiley is telling her: Kiley’s brotherly love for Kiley is telling her: Kiley’s brotherly love for Lemon.Lemon.

On one hand, Lemon’s sister doesn’t respond to On one hand, Lemon’s sister doesn’t respond to Kiley’s letter; on the other hand, her “response” Kiley’s letter; on the other hand, her “response” is that she doesn’t answer Kiley’s letter.is that she doesn’t answer Kiley’s letter.

““How to Tell A True War Story”How to Tell A True War Story”

According to University of Maryland professor Jill According to University of Maryland professor Jill Colella, who has critiqued the novel, this suggests a Colella, who has critiqued the novel, this suggests a meaning that can be applied to readers and hearers meaning that can be applied to readers and hearers of stories: that they can “tell” when stories hold a of stories: that they can “tell” when stories hold a truth, whether the events of the story actually truth, whether the events of the story actually occurred, based on certain criteria.occurred, based on certain criteria.

Colella says that according to O’Brien, then, the Colella says that according to O’Brien, then, the truth of a story depends solely on the audience truth of a story depends solely on the audience hearing it told. hearing it told.

If it strikes you as “true,” then it is.If it strikes you as “true,” then it is.

““The Dentist”The Dentist” This chapter forces us to reconsider how and why we This chapter forces us to reconsider how and why we

honor the memory of war and war heroes. O’Brien finds honor the memory of war and war heroes. O’Brien finds it difficult to mourn Lemon’s death, because Lemon did it difficult to mourn Lemon’s death, because Lemon did not “earn that right” when he was alive.not “earn that right” when he was alive.

O’Brien sees Lemon as someone who strove for some O’Brien sees Lemon as someone who strove for some false image of machismo; Lemon was still afraid of the false image of machismo; Lemon was still afraid of the dentist, even after he had his healthy tooth pulled, but he dentist, even after he had his healthy tooth pulled, but he was more afraid of losing face with his fellow soldiers: an was more afraid of losing face with his fellow soldiers: an image he worked hard to maintain.image he worked hard to maintain.

So the issue for O’Brien: In a war, we tend to mourn So the issue for O’Brien: In a war, we tend to mourn people because they died, not for how they lived.people because they died, not for how they lived.

““Sweetheart of the Song Tra Bong”Sweetheart of the Song Tra Bong”

A spooky one with a compelling metaphor:A spooky one with a compelling metaphor: This is not truly a story of Mary Anne’s transformation: This is not truly a story of Mary Anne’s transformation:

It’s more about storytelling and the loss of innocence.It’s more about storytelling and the loss of innocence. Many of the soldiers are represented by Mary Anne: Many of the soldiers are represented by Mary Anne:

They, too, left America as young and naïve, and like her, They, too, left America as young and naïve, and like her, they lost their innocence in Vietnam. Eventually, they all they lost their innocence in Vietnam. Eventually, they all crossed over into the dark side of the war experience, crossed over into the dark side of the war experience, and their innocent selves were lost for good.and their innocent selves were lost for good.

The reason why the soldiers listening to the story want The reason why the soldiers listening to the story want Kiley to “get it right” and to tell them how it ends is two-Kiley to “get it right” and to tell them how it ends is two-fold: One, endings complete stories and make them fold: One, endings complete stories and make them “true.” Secondly, the men want to subconsciously know “true.” Secondly, the men want to subconsciously know how the “story” will end for them. how the “story” will end for them.

Will they, too, go to the dark side and never return? Will they, too, go to the dark side and never return?

““Stockings,” “Church” Stockings,” “Church”

In “Stockings,” Dobbins wears his girlfriend’s In “Stockings,” Dobbins wears his girlfriend’s panty hose around his neck because they panty hose around his neck because they symbolize love, home – and most of all, some symbolize love, home – and most of all, some kind of mojo that comes from both.kind of mojo that comes from both.

Even after his girlfriend breaks up with him, Even after his girlfriend breaks up with him, Dobbins wears the pantyhose to keep this state Dobbins wears the pantyhose to keep this state of mind, rather than memories of the girl. They of mind, rather than memories of the girl. They will continue to protect him as long as he will continue to protect him as long as he believes in them.believes in them.

““Stockings,” “Church”Stockings,” “Church”

The soldiers have blurred the boundaries The soldiers have blurred the boundaries between the war and church: something between the war and church: something Dobbins and Kiowa think is wrong.Dobbins and Kiowa think is wrong.

When Dobbins imitates the hand-washing When Dobbins imitates the hand-washing action, he doesn’t know what it means, action, he doesn’t know what it means, only that he is trying to make amends for only that he is trying to make amends for having violated this separation.having violated this separation.

““The Man I Killed”The Man I Killed”

O’Brien copes with his feelings about the young O’Brien copes with his feelings about the young man’s death by taking himself out of the man’s death by taking himself out of the narration: He focuses on physical characteristics narration: He focuses on physical characteristics of the young man, rather than on O’Brien’s own of the young man, rather than on O’Brien’s own feelings of guilt.feelings of guilt.

The reader can only infer what O’Brien is feeling. The reader can only infer what O’Brien is feeling. He creates an entire identity for the young man He creates an entire identity for the young man

– sharing many similarities with his own life – in – sharing many similarities with his own life – in coming to grips with his own mortality.coming to grips with his own mortality.

““Ambush,” “Style”Ambush,” “Style” Recounts “The Man I Killed” in first person: He is much Recounts “The Man I Killed” in first person: He is much

more direct about it, in part, for Kathleen’s benefit.more direct about it, in part, for Kathleen’s benefit. He has a clear memory of the man’s actual death that He has a clear memory of the man’s actual death that

only time and distance has allowed to crystallize. only time and distance has allowed to crystallize. In “Style,” just as in “Church,” the soldiers try to derive In “Style,” just as in “Church,” the soldiers try to derive

meaning from something they don’t understand; in this meaning from something they don’t understand; in this case, the girl’s dancing amid the destruction and human case, the girl’s dancing amid the destruction and human carnage.carnage.

It’s confusing. Dancing is purposeful, graceful, and It’s confusing. Dancing is purposeful, graceful, and meaningful: everything the war is not.meaningful: everything the war is not.

When Azar dances, he may be mocking the girl: Or he When Azar dances, he may be mocking the girl: Or he may be trying to derive meaning from the dance (and may be trying to derive meaning from the dance (and hence, the war).hence, the war).

““Speaking of Courage”Speaking of Courage” Intricate storytelling structure here: Whereas O’Brien Intricate storytelling structure here: Whereas O’Brien

writes in past tense, separating his current self from the writes in past tense, separating his current self from the self that fought in the war, Bowker is unable to use self that fought in the war, Bowker is unable to use storytelling as a way to deal with his war trauma.storytelling as a way to deal with his war trauma.

Bowker has no one to talk to as a way to leave his war Bowker has no one to talk to as a way to leave his war experiences behind him.experiences behind him.

Compelling metaphor: The sewage field represents an Compelling metaphor: The sewage field represents an unpleasant, meaningless battle that none of the soldiers unpleasant, meaningless battle that none of the soldiers can escape; literally Kiowa, and symbolically Bowker, can escape; literally Kiowa, and symbolically Bowker, whose wading into the lake he drives around (and even whose wading into the lake he drives around (and even tasting it) signals his desire to return to Vietnam to tasting it) signals his desire to return to Vietnam to change the events that ended Kiowa’s life.change the events that ended Kiowa’s life.

(Collela): “Bowker represents the paradox between the (Collela): “Bowker represents the paradox between the need for emotional truth and the pain many feel in need for emotional truth and the pain many feel in expressing it.”expressing it.”

““Notes”Notes” It’s here where we get to the crux of the It’s here where we get to the crux of the

question, “What is patriotism?” (page 156). question, “What is patriotism?” (page 156). This is O'Brien's search for authenticity in This is O'Brien's search for authenticity in

storytelling: Most of his writing comes from the storytelling: Most of his writing comes from the “simple need to talk,” illustrating that his writing “simple need to talk,” illustrating that his writing is his chosen form of relief from mental anguish.is his chosen form of relief from mental anguish.

As such, his success in dealing with his mental As such, his success in dealing with his mental anguish is directly related to his success as a anguish is directly related to his success as a storyteller: “By telling stories, you objectify your storyteller: “By telling stories, you objectify your own experiences. You separate it from yourself. own experiences. You separate it from yourself. You pin down certain truths.” You pin down certain truths.”

Bowker has no such avenue for relief.Bowker has no such avenue for relief.

““In The Field,” “Good Form”In The Field,” “Good Form” No one emerges emotionally intact from the No one emerges emotionally intact from the

three perspectives of “In The Field.”three perspectives of “In The Field.” Lt. Cross blames himself for not going against Lt. Cross blames himself for not going against

orders and setting up camp in a better spot.orders and setting up camp in a better spot. The young, unnamed soldier (Tim?) blames The young, unnamed soldier (Tim?) blames

himself for his carelessness, turning on the himself for his carelessness, turning on the flashlight to show Kiowa a picture of the young flashlight to show Kiowa a picture of the young soldier’s girlfriend.soldier’s girlfriend.

When the men discover Kiowa’s body, they are When the men discover Kiowa’s body, they are overwhelmed by the sense of “bad luck” that overwhelmed by the sense of “bad luck” that caused his death – bad luck that could have caused his death – bad luck that could have claimed (and still could claim) any one of them.claimed (and still could claim) any one of them.

““In the Field” “Good Form”In the Field” “Good Form”

Consider how this same “luck” visited the Consider how this same “luck” visited the Viet Cong soldier “O’Brien” killed in “The Viet Cong soldier “O’Brien” killed in “The Man I Killed.”Man I Killed.”

Reality, randomness, luck, and war Reality, randomness, luck, and war overwhelm all of them.overwhelm all of them.

““Good Form”: O’Brien distinguishes, again, Good Form”: O’Brien distinguishes, again, the difference between “story truth” and the difference between “story truth” and “happening truth.” “happening truth.”

““Field Trip”Field Trip”

The scene in the field is the climax of the story.The scene in the field is the climax of the story. O’Brien finds a sense of closure through the O’Brien finds a sense of closure through the

physical act of wading into the water and physical act of wading into the water and depositing Kiowa’s moccasins.depositing Kiowa’s moccasins.

Still, he is unable to explain this to his daughter, Still, he is unable to explain this to his daughter, Kathleen, who represents the future.Kathleen, who represents the future.

O’Brien’s lingering questions about Vietnam 20 O’Brien’s lingering questions about Vietnam 20 years later: Is it a country, a memory, both, or years later: Is it a country, a memory, both, or neither?neither?

““The Ghost Soldiers”The Ghost Soldiers” This story, and the one that follows (“Night Life”), This story, and the one that follows (“Night Life”),

both deal with how the night affects people: It is both deal with how the night affects people: It is at night that “O’Brien” holds the most hatred for, at night that “O’Brien” holds the most hatred for, and plots his revenge against, Jorgenson. and plots his revenge against, Jorgenson.

It is at night that Vietnam comes alive – not the It is at night that Vietnam comes alive – not the country but the war experience.country but the war experience.

Part of “O’Brien’s” bitterness is in the Part of “O’Brien’s” bitterness is in the embarrassment of his wound (in the rear end) embarrassment of his wound (in the rear end) and the fact that he almost died, but more in the and the fact that he almost died, but more in the loss of his life as a combat soldier. He especially loss of his life as a combat soldier. He especially misses the brotherhood that he is now on the misses the brotherhood that he is now on the outside of, looking in.outside of, looking in.

““The Ghost Soldiers”The Ghost Soldiers”

““O’Brien” acts out his need for making war – on O’Brien” acts out his need for making war – on Jorgenson – but in the process alienates Jorgenson – but in the process alienates Sanders, while befriending Azar.Sanders, while befriending Azar.

The reader realizes now how much “O’Brien” The reader realizes now how much “O’Brien” changed: He is no longer fighting for an ideal but changed: He is no longer fighting for an ideal but for pure, raw, revenge.for pure, raw, revenge.

In the end, “O’Brien” – “trembling…hugging In the end, “O’Brien” – “trembling…hugging himself, rocking” has lost his friends, his himself, rocking” has lost his friends, his memories, and his moral superiority. He is memories, and his moral superiority. He is defeated.defeated.

““Night Life”Night Life” This story illustrates the fine emotional and mental This story illustrates the fine emotional and mental

stability line that the soldiers walk.stability line that the soldiers walk. The change in routine from day to night maneuvers The change in routine from day to night maneuvers

pushes Kiley over that line and deep into himself, where pushes Kiley over that line and deep into himself, where he battles visions, terror, and obsession.he battles visions, terror, and obsession.

O’Brien goes to great lengths to show the impact of the O’Brien goes to great lengths to show the impact of the night routine: dark so thick that it creates an inability to night routine: dark so thick that it creates an inability to blink.blink.

When Kiley shoots himself in the foot in order to get out When Kiley shoots himself in the foot in order to get out of there, it’s unclear if he does so because he has gone of there, it’s unclear if he does so because he has gone crazy or if he does so to crazy or if he does so to prevent himselfprevent himself from going from going crazy.crazy.

““The Lives of the Dead’The Lives of the Dead’ This is the story that encapsulates the novel’s purpose: This is the story that encapsulates the novel’s purpose:

writing in order to make sense of life, especially in writing in order to make sense of life, especially in relation to others’ deaths.relation to others’ deaths.

Linda is O’Brien’s first love – and his first realization that Linda is O’Brien’s first love – and his first realization that fiction can overcome death.fiction can overcome death.

When this beautiful, little child dies, her innocence, and When this beautiful, little child dies, her innocence, and O’Brien’s, dies with her.O’Brien’s, dies with her.

Linda’s visits to O’Brien’s dreams begin a life-long Linda’s visits to O’Brien’s dreams begin a life-long process of addressing difficulty through imagination and process of addressing difficulty through imagination and illusion: an ability he carried with him to Vietnam.illusion: an ability he carried with him to Vietnam.

By keeping Linda alive – as well as his Vietnam By keeping Linda alive – as well as his Vietnam comrades – O’Brien is keeping himself alive.comrades – O’Brien is keeping himself alive.

““The Lives of the Dead”The Lives of the Dead”

Important quotes from Tim O’Brien:Important quotes from Tim O’Brien:

““The act of writing is an act of compassion. It entails sympathy for The act of writing is an act of compassion. It entails sympathy for human frailties, weaknesses, and strengths: sympathy for a human human frailties, weaknesses, and strengths: sympathy for a human condition in which we can never be that to which we aspire.condition in which we can never be that to which we aspire.

““Novels are made out of a sense of outrage at the world, the way Novels are made out of a sense of outrage at the world, the way the world treats us; the way we treat ourselves; the mistakes we the world treats us; the way we treat ourselves; the mistakes we make ourselves. Books come out of that sort of thing, that tension to make ourselves. Books come out of that sort of thing, that tension to make things better.make things better.

““The thing about a story is that you dream it as you tell it, hoping The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you ... There is the illusion that others might then dream along with you ... There is the illusion of aliveness.”of aliveness.”

Test ReviewTest Review

65 total points65 total points 15 multiple choice; 8 true or false; 8 matching 15 multiple choice; 8 true or false; 8 matching

questionsquestions 4 short-answer questions (9 points); 2 long-answer 4 short-answer questions (9 points); 2 long-answer

questions (25 points total)questions (25 points total) Study your notesStudy your notes Emphasis on O’Brien’s approach to storytelling (its Emphasis on O’Brien’s approach to storytelling (its

purpose, its value, etc.)purpose, its value, etc.) Know the characters well, especially those in Alpha Know the characters well, especially those in Alpha

Company. Company.

Test ReviewTest Review

Key chapters to review:Key chapters to review: ““Speaking of Courage”Speaking of Courage” ““In the Field”In the Field” ““Sweetheart of the Song Tra Bong”Sweetheart of the Song Tra Bong” ““Notes”Notes” ““Spin”Spin” ““Lives of the Dead”Lives of the Dead”

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1. A former Alpha Company soldier, ______ committed 1. A former Alpha Company soldier, ______ committed suicide by hanging himself.suicide by hanging himself.Norman BowkerNorman Bowker

2. Reunited with “O’Brien” after the war, _____ was still 2. Reunited with “O’Brien” after the war, _____ was still preoccupied with his unrequited love for Martha.preoccupied with his unrequited love for Martha.Jimmy CrossJimmy Cross

3. __________, a soldier near Song Tra Bong, had not 3. __________, a soldier near Song Tra Bong, had not anticipated the effects of the Vietnam experience on anticipated the effects of the Vietnam experience on his girlfriend.his girlfriend.Mark FossieMark Fossie

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4. This character, _________, is the first whom “O’Brien” 4. This character, _________, is the first whom “O’Brien” could see in his dreams.could see in his dreams.LindaLinda

5. This soldier, ________, was “O’Brien’s” confidante, 5. This soldier, ________, was “O’Brien’s” confidante, especially after “O’Brien” killed the unnamed Vietnamese especially after “O’Brien” killed the unnamed Vietnamese soldier.soldier.KiowaKiowa

6. As a medic, this soldier experienced a failure and nerve, 6. As a medic, this soldier experienced a failure and nerve, but _______ later made amends with “O’Brien.”but _______ later made amends with “O’Brien.”Bobby JorgensonBobby Jorgenson

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7. As a talisman, _______ carried his girlfriend’s pantyhose 7. As a talisman, _______ carried his girlfriend’s pantyhose around his neck.around his neck.Henry DobbinsHenry Dobbins

8. An Alpha Company medic, _________ could not handle 8. An Alpha Company medic, _________ could not handle the strain of war and began to hallucinate.the strain of war and began to hallucinate.Rat KileyRat Kiley

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9. This character, _________, stole a jackknife from fellow 9. This character, _________, stole a jackknife from fellow soldier Dave Jensen.soldier Dave Jensen.Lee StrunkLee Strunk

10. While goofing around with Rat Kiley, ______ was killed 10. While goofing around with Rat Kiley, ______ was killed by accident.by accident.Curt LemonCurt Lemon

11. This character, ________, believes that “O’Brien” 11. This character, ________, believes that “O’Brien” should forget the war and write about something else.should forget the war and write about something else.KathleenKathleen

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12. To get revenge on Bobby Jorgenson, “O’Brien” planned 12. To get revenge on Bobby Jorgenson, “O’Brien” planned with ____________.with ____________.AzarAzar

13. A former Alpha Company soldier, __________ returns 13. A former Alpha Company soldier, __________ returns to Vietnam and brings Kiowa’s moccasins with him.to Vietnam and brings Kiowa’s moccasins with him.““O’Brien”O’Brien”

14. Because of a pact the two soldiers made, __________ 14. Because of a pact the two soldiers made, __________ was relieved when he learned that Lee Strunk died from was relieved when he learned that Lee Strunk died from his battle wounds.his battle wounds.Dave JensenDave Jensen