the things they carried language analysis

• The Things They Carried

Tim O'Brien

• Literature Notes
• Book Summary
• About The Things They Carried
• Character List
• Summary and Analysis
• On the Rainy River
• Enemies and Friends
• How to Tell a True War Story
• The Dentist
• Sweetheart of Song Tra Bong
• The Man I Killed and Ambush
• Speaking of Courage
• In the Field
• The Ghost Soldiers
• The Lives of the Dead
• Character Analysis
• Tim O'Brien
• Lt. Jimmy Cross
• Norman Bowker
• Mary Anne Bell
• Henry Dobbins
• Tim O'Brien Biography
• Critical Essays
• The Things They Carried in a Historical Context
• Narrative Structure in The Things They Carried
• Style and Storytelling in The Things They Carried
• The Things They Carried and Loss of Innocence
• The Things They Carried and Questions of Genre
• Full Glossary for The Things They Carried
• Essay Questions
• Practice Projects
• Cite this Literature Note

Summary and Analysis The Things They Carried

An unnamed narrator describes in third person the thoughts and actions of Jimmy Cross, the lieutenant of an Army unit on active combat duty in the Vietnam War. Lt. Cross is preoccupied by thoughts of Martha, a young woman he dated before he joined the Army. He thinks about letters she wrote him; he thinks about whether or not she is a virgin; he thinks about how much he loves her and wants her to love him. Her letters do not indicate that she feels the same way.

The narrator lists things that the soldiers carry with them, both tangible and intangible, such as Lt. Cross's picture of and feelings for Martha. Other members of the unit are introduced through descriptions of the things they carry, such as Henry Dobbins who carries extra food, Ted Lavender who carries tranquilizer pills, and Kiowa who carries a hunting hatchet. O'Brien introduces readers to the novel's primary characters by describing the articles that the soldiers carry. The level of detail O'Brien offers about the characters is expanded upon and illuminated in the chapters that follow, though O'Brien distills the essence of each characters' personality through the symbolic items each carries. Henry Dobbins carries a machine gun and his girlfriend's pantyhose. Dave Jensen carries soap, dental floss, foot powder, and vitamins. Mitchell Sanders carries condoms, brass knuckles, and the unit's radio. Norman Bowker carries a diary. Kiowa carries a volume of the New Testament and moccasins. Rat Kiley carries his medical kit, brandy, comic books, and M&M's candy. The narrator offers additional detail about selected items; for example, the poncho Ted Lavender carries will later be used by his fellow soldiers to carry his dead body.

This device is an example of the author and narrator embedding small details in the text that will be further explained later in the book. It is important to note, too, how the details are selective; they are recalled by a character, the unnamed narrator of the chapter. The details of what each man carries are funneled through the memory of this narrator.

O'Brien details at great length what all the men carry: standard gear, weapons, tear gas, explosives, ammunitions, entrenching tools, starlight scopes, grenades, flak jackets, boots, rations, and the Army newsletter. They also carry their grief, terror, love, and longing, with poise and dignity. O'Brien's extended catalog of items creates a picture in the reader's mind that grows incrementally. O'Brien's technique also allows each character to be introduced with a history and a unique place within the group of men.

Lt. Cross is singled out from the group, and O'Brien offers the most detail about his interior feelings and thoughts. Many of these soldiers "hump," or carry, photographs, and Lieutenant Cross has an action shot of Martha playing volleyball. He also carries memories of their date and regrets that he did not try to satisfy his desire to become intimate with her by tying her up and touching her knee. O'Brien stresses that Lt. Cross carries all these things, but in addition carries the lives of his men.

Even as O'Brien opens The Things They Carried, he sets forth the novel's primary themes of memory and imagination and the opportunity for mental escape that these powers offer. For example, as Lt. Cross moves through the rigorous daily motions of combat duty, his mind dwells on Martha. Importantly, as he thinks about Martha, he does not merely recall memories of her; instead he imagines what might be, such as "romantic camping trips" into the White Mountains in New Hampshire. O'Brien describes these longings of Lt. Cross as "pretending." Pretending is a form of storytelling, that is, telling stories to oneself. O'Brien underscores the importance of Lt. Cross's actions by emphasizing the artifacts — Martha's letters and photograph — and characterizes Lt. Cross as the carrier of these possessions as well as of his love for Martha.

O'Brien moves from employing the literary technique of describing the soldiers' physical artifacts to introducing the novel's primary characters. The minute details he provides about objects that individuals carry is telling, and particular attention should be paid to these details because they foreshadow the core narratives that comprise the novel. This technique of cataloging the things the soldiers carry also functions to create fuller composites of the characters, and by extension make the characters seem more real to readers.

This aesthetic of helping readers connect with his characters is O'Brien's primary objective in the novel, to make readers feel the story he presents as much as is physically and emotionally possible, as if it were real. Though the minutiae that O'Brien includes — for example the weight of a weapon, the weight of a radio, the weight of a grenade in ounces — seems superfluous, it is supposed to be accretive in his readers' imaginations so that they can begin to feel the physical weight of the burdens of war, as well as, eventually, the psychological and emotional burdens (so much as it is possible for a non-witness to war to perceive). O'Brien's attention to sensory detail also supports this primary objective of evoking a real response in the reader.

With Lavender's death, O'Brien creates a tension between the "actuality" of Lt. Cross's participation in battle and his interior, imagined fantasies that give him refuge. In burning Martha's letters and accepting blame for Lavender's death, Cross's conflicting trains of thought signal the reader to be cautious when deciding what is truth or fantasy and when assigning meaning to these stories. While he destroyed the physical accoutrements, the mementos of Martha, Lt. Cross continues to carry the memory of her with him. To that memory is also added the burden of grief and guilt. Despite this emotional burden, O'Brien, as he continues in the following chapter, begins to highlight the central question of the novel: Why people carry the things they do?

rucksack A kind of knapsack strapped over the shoulders.

foxhole A hole dug in the ground as a temporary protection for one or two soldiers against enemy gunfire or tanks.

perimeter A boundary strip where defenses are set up.

heat tabs Fuel pellets used for heating C rations.

C rations A canned ration used in the field in World War II.

R & R Rest and recuperation, leave.

Than Khe (also Khe Sahn) A major battle in the Tet Offensive, the siege lasted well over a month in the beginning of 1968. Khe Sahn was thought of as an important strategic location for both the Americans and the North Vietnamese. American forces were forced to withdraw from Khe Sahn.

SOP Abbreviation for standard operating procedure.

RTO Radio telephone operator who carried a lightweight infantry field radio.

grunt A U.S. infantryman.

hump To travel on foot, especially when carrying and transporting necessary supplies for field combat.

platoon A military unit composed of two or more squads or sections, normally under the command of a lieutenant: it is a subdivision of a company, troop, and so on.

medic A medical noncommissioned officer who gives first aid in combat; aidman; corpsman.

M-60 American-made machine gun.

PFC Abbreviation for Private First Class.

Spec 4 Specialist Rank, having no command function; soldier who carries out orders.

M-16 The standard American rifle used in Vietnam after 1966.

flak jacket A vestlike, bulletproof jacket worn by soldiers.

KIA Abbreviation for killed in action, to be killed in the line of duty.

chopper A helicopter.

dustoff Medical evacuation by helicopter.

Claymore antipersonnel mine An antipersonnel mine that scatters shrapnel in a particular, often fan-shaped, area when it explodes.

Starlight scope A night-vision telescope that enables a user to see in the dark.

tunnel complexes The use of tunnels by the Viet Cong as hiding places, caches for food and weapons, headquarter complexes and protection against air strikes and artillery fire was a characteristic of the Vietnam war.

The Stars and Stripes A newsletter-style publication produced for servicemen by the U.S. Army.

Bronze Star A U.S. military decoration awarded for heroic or meritorious achievement or service in combat not involving aerial flight.

Purple Heart A U.S. military decoration awarded to members of the armed forces wounded or killed in action by or against an enemy: established in 1782 and re-established in 1932.

entrenching tool A shovel-like tool, among its other uses, used to dig temporary fortifications such as foxholes.

zapped Killed.

freedom bird Any aircraft which returned servicemen to the U.S.

sin loi From Vietnamese, literally meaning excuse me, though servicemen came to understand the term as meaning too bad or tough luck.

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“The Things They Carried” by Tim O’Brien: Analysis

Published in 1990, “The Things They Carried” by Tim O’Brien is a semi-autobiographical novel that draws on the author’s experiences in the Vietnam War.

Introduction: “The Things They Carried” by Tim O’Brien

Table of Contents

Published in 1990, “The Things They Carried” by Tim O’Brien is a semi-autobiographical novel that draws on the author’s experiences in the Vietnam War. The story follows a platoon of American soldiers grappling with the physical and emotional challenges of war. Through evocative descriptions of the soldiers’ gear and internal struggles, O’Brien crafts a haunting and introspective narrative that delves into the complexities of human nature under duress. Hailed as a classic of contemporary American literature, “The Things They Carried” is lauded for its poignant portrayal of war’s human cost and its innovative blurring of factual and fictional elements.

Main Events in “The Things They Carried” by Tim O’Brien

• Lieutenant Jimmy Cross and his platoon carry various physical and emotional burdens as they navigate the realities of war in Vietnam.
• Cross obsesses over his unrequited love for Martha, a college student back home, and realizes he needs to focus on his duties as a leader.
• The platoon comes under enemy fire and suffers casualties, including Ted Lavender, a young soldier who had been heavily medicated to cope with the stress of war.
• The platoon burns down a village and kills a water buffalo, further revealing the moral ambiguity and psychological toll of war.
• O’Brien introduces the concept of “story truth,” exploring the role of memory and imagination in shaping individual and collective experiences of war.
• Kiowa, one of Cross’s closest companions, is killed in action, and the soldiers are forced to grapple with the fragility of life and the weight of loss.
• O’Brien reflects on the power of storytelling to convey emotional truths and provide a sense of catharsis for those who have experienced trauma.
• The soldiers participate in a night patrol and encounter a young Vietnamese soldier, further highlighting the complexities and human costs of war.
• The platoon is sent on a mission to retrieve the body of a soldier who has been killed, prompting reflections on the value and meaning of sacrifice.
• The story ends with Cross burning the letters and photographs he had carried with him, symbolizing his commitment to moving on and living in the present.

Literary Devices in “The Things They Carried” by Tim O’Brien

• Allusion : A reference to a well-known person, place, event, or literary work. Example: The title “The Things They Carried” alludes to the physical and emotional burdens borne by soldiers, resonating with the broader literary theme of characters facing hardship.
• Ambiguity : The presence of multiple meanings or interpretations within a text. Example: Whether the killing of the baby water buffalo was an act of cruelty or mercy is left ambiguous, highlighting the moral complexities of war.
• Foreshadowing : A hint or clue about what will happen later in the story. Example: Ted Lavender’s unnecessary death, so early in the narrative, subtly foreshadows the tragedies awaiting other members of the platoon.
• Hyperbole : An exaggeration used for emphasis or effect. Example: Describing the soldiers’ load as “humping…at least 20 pounds” doesn’t refer to literal weight but conveys the overwhelming burdens they bear.
• Imagery : Descriptive language that appeals to the senses, creating a vivid mental picture. Example: O’Brien’s evocative details of the Vietnamese landscape (“sun-filled paddies…tall, swaying grass”) transport the reader into the soldiers’ environment.
• Irony : A situation that is the opposite of what is expected, often for humorous or poignant effect. Example: Jimmy Cross’s preoccupation with his unrequited love for Martha ironically distracts him from the deadly serious reality of leading his men.
• Metaphor : A comparison between two things without using “like” or “as.” Example: O’Brien compares the emotional weight the soldiers carry to literal objects like “clamshells on their backs.”
• Motif : A recurring element or image that contributes to the overall theme. Example: The recurring descriptions of the physical things the soldiers carry highlight the theme of how war’s burdens extend far beyond mere equipment.
• Onomatopoeia : The use of words that sound like what they describe. Example: O’Brien uses “whoosh” and “whap” to mimic the sounds of gunfire, bringing the reader closer to the battlefield experience.
• Personification : Giving human qualities to non-human things. Example: O’Brien refers to the land itself as “the enemy,” making war an overwhelming, inescapable force.
• Repetition : Repeating a word, phrase, or sentence for emphasis. Example: The repetitive listing of everything the soldiers carry emphasizes the overwhelming nature of their combined physical and emotional burdens.
• Simile : A comparison using “like” or “as.” Example: The soldiers’ movement through a field is likened to “the wind against wheat,” highlighting their vulnerability.
• Symbolism : The use of objects, images, or actions to represent abstract ideas. Example: The young Vietnamese soldier killed on the trail symbolizes the human cost of war on both sides of the conflict.
• Tone : The author’s attitude towards the subject matter. Example: O’Brien’s tone shifts between wistful, melancholy, and starkly realistic, mirroring the soldiers’ emotional experiences.
• Verisimilitude : The appearance of being true or real. Example: O’Brien’s blending of actual events with invented stories creates a sense of verisimilitude, making the emotional impact of the narrative even more powerful.

Characterization in “The Things They Carried” by Tim O’Brien

Absolutely! Here’s a characterization analysis for some of the key figures in “The Things They Carried,” along with specific supporting references from the story:

Lieutenant Jimmy Cross

• Conflict: Torn between his duty as a leader and his obsessive love for Martha, a girl back home who represents an idealized escape (“letters were full of love” – ‘Love’).
• Motivation: Desperately seeks a sense of normalcy and control amidst the chaos of war, clinging to the illusion of Martha as a lifeline.
• Evolution: The death of Ted Lavender forces him to confront his misplaced priorities (“He hated himself” – ‘Love’). His burning of Martha’s letters symbolizes a shift towards commitment to the present and his responsibility to his men.

Tim O’Brien (the narrator)

• Meta-character: O’Brien blurs the lines between the author and a fictionalized version of himself within the narrative.
• Role: Serves as both a participant in the events and a reflective storyteller examining the nature of memory and truth (“And in the end, really, there’s nothing much to say about a true war story…” – ‘Good Form’).
• Motivation: Seeks to process his own war trauma through storytelling, exploring the emotional truths often obscured in factual accounts.
• Morality and Compassion: Represents a grounding force of decency amidst war’s dehumanizing effects. (“Kiowa, who was a devout Baptist, carried an illustrated New Testament…” – ‘The Things They Carried’).
• Symbolic Death: His sinking into the ‘muck’ after a mortar attack exemplifies the senseless loss of innocence in war.
• Impact: Kiowa’s death leaves a void in the platoon, symbolizing the erosion of compassion and morality necessary for survival in conflict.

Norman Bowker

• Invisible Wounds: Embodies the lingering psychological trauma of war even after returning home. His lack of tangible injuries underscores this. (“…the ache in his heart was worse than any belly wound” – ‘Speaking of Courage’).
• Cyclic Narrative: His story, told in ‘Speaking of Courage’, highlights the suffocating impact of unprocessed trauma.
• Symbolism: His eventual suicide tragically emphasizes what can happen when the ‘weight’ of memory and experience becomes unbearable.
• Medic’s Perspective: Rat offers a glimpse into the physical and emotional toll of treating horrific injuries (“…Rat Kiley was crying” – ‘Friends’).
• Dark Humor: His tendency towards exaggeration and grim jokes serves as a coping mechanism for the relentless suffering he witnesses.
• Breaking Point: The shooting of his own foot, while self-inflicted, signifies the psychological breaking point a medic can reach in the war’s intensity.

Additional Notes:

• Nuance: O’Brien depicts his characters with complexity; no one is purely “good” or “bad.” They are humanized by their flaws and moments of vulnerability.
• The Power of What’s Carried: Each soldier’s physical and emotional burdens define their experiences. These burdens are often unique, leading to both camaraderie and a sense of isolation.

Major Themes in “The Things They Carried” by Tim O’Brien

Writing style in “the things they carried” by tim o’brien.

• Blurring Fact and Fiction: O’Brien merges personal experiences with invented elements, challenging the notion of absolute truth in war narratives. This creates his unique notion of “story-truth” ( ‘How to Tell a True War Story’).
• Visceral and Introspective: O’Brien combines vivid descriptions of the war’s physical realities with reflections on soldiers’ inner emotional turmoil, creating a deeply affecting portrayal of their experiences.
• Repetition: Repeated phrases and descriptions, like the listing of the things the soldiers carry, emphasize both the physical weight and the psychological toll of war.
• Imagery: O’Brien’s powerful sensory descriptions bring the Vietnamese landscape, the soldiers’ equipment, and moments of violence to life, immersing the reader in the story’s world.
• Metaphor and Symbolism: Comparisons like intangible burdens to “humps” and “clamshells” ( ‘The Things They Carried’) deepen the portrayal of the soldiers’ emotional weight. Objects like Kiowa’s New Testament symbolize hope and faith amidst despair.
• Honesty and Authenticity: Despite his fictionalizations, O’Brien aims to convey the emotional core of war’s impact, admitting the impossibility of a purely objective account (‘Good Form’).

Literary Theories and Interpretation of “The Things They Carried” by Tim O’Brien

Questions and thesis statements about “the things they carried” by tim o’brien.

Question 1: How does O’Brien’s blurring of fact and fiction impact the reader’s understanding of war and its emotional consequences?

• Thesis Statement: In “The Things They Carried,” O’Brien’s blending of personal experience with invented elements destabilizes traditional war narratives, emphasizing the subjective nature of memory and highlighting the emotional resonance of “story-truth” over factual accounts.

Question 2: How does the motif of physical burdens symbolize the psychological toll of war in “The Things They Carried”?

• Thesis Statement: O’Brien’s detailed catalogs of the soldiers’ equipment evolve into powerful metaphors for intangible burdens like fear, grief, and guilt, demonstrating the interwoven nature of physical and psychological hardship faced by soldiers in combat.

Question 3: In what ways does O’Brien challenge traditional notions of heroism in his portrayal of the soldiers in “The Things They Carried”?

• Thesis Statement: “The Things They Carried” subverts conventional depictions of battlefield valor by emphasizing the quiet courage of endurance, the moral complexities of survival, and the vulnerability hidden within the facade of stoic soldiers.

Question 4: How does “The Things They Carried” function as a form of trauma narrative, and what does it reveal about the lasting psychological impact of war?

• Thesis Statement: Through fragmented narratives, metafictional reflections, and depictions of the soldiers’ coping mechanisms, “The Things They Carried” reveals the profound and often unresolved legacy of trauma carried by those who have experienced the horrors of war.

Question 5: To what extent does O’Brien’s portrayal of the Vietnamese people and culture in “The Things They Carried” perpetuate or challenge colonialist perspectives?

• Thesis Statement: “The Things They Carried” offers a limited and often stereotyped view of the Vietnamese experience. A postcolonial analysis examines how this portrayal reinforces or subverts power dynamics and contributes to the otherizing of the Vietnamese people in the American war narrative.

Short Question-Answer “The Things They Carried” by Tim O’Brien

Suggested readings: “the things they carried” by tim o’brien, scholarly articles.

• Bar-Yosef, Eitan. “War and Truth: ‘The Things They Carried’ from the Postmodern/Trauma Perspective.” Style , vol. 35, no. 4, 2001, pp. 645-664.
• Briggum, Sue, et al. “‘You’d Have to Carry a List’: Tim O’Brien and the Vietnam War Story.” Mosaic: An Interdisciplinary Critical Journal , vol. 46, no. 4, 2013, pp. 147-62.
• Heberle, Mark A. A Trauma Artist: Tim O’Brien and the Fiction of Vietnam . University of Iowa Press,‌ 2001.
• Calloway, Catherine. Tim O’Brien and the Vietnam War: Rewriting the World . Twayne, 1996.
• McDaniel, Tim. The Limits of a Vietnam War Literature: Stories by Tim O’Brien . Susquehanna University Press, 1996.
• Searle, William. Tim O’Brien . Twayne Publishers, 1991.
• SparkNotes: “The Things They Carried” Summary & Analysis. [invalid URL removed]
• LitCharts: “The Things They Carried” https://www.litcharts.com/lit/the-things-they-carried
• The Vietnam Center and Sam Johnson Vietnam Archive, Texas Tech University: Tim O’Brien collection (includes manuscript drafts, letters, and other archival materials relating to the author and his work). [invalid URL removed]

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Literary Theory and Criticism

Home › Literature › Analysis of Tim O’Brien’s The Things They Carried

Analysis of Tim O’Brien’s The Things They Carried

By NASRULLAH MAMBROL on February 9, 2022

In The Things They Carried (1990), Tim O’Brien’s collection of short stories, the reader must take care to remember that the Tim O’Brien who appears as a character is not the same Tim O’Brien who wrote the book. This can be an especially difficult task, considering that the fictional O’Brien and the real, in-the-flesh O’Brien share many of the same characteristics and experiences: many, but not all, and that’s exactly the point.

In the story “Field Trip,” the fictional O’Brien’s astute nine-year-old daughter accuses him of obsessing over the past: “You know something? Sometimes you’re pretty weird. . . . Some dumb thing happens a long time ago and you can’t ever forget it” (183). Kathleen is right. Neither the fictional O’Brien nor the real one can seem to stop thinking and writing about the war in Vietnam. Much of O’Brien’s published work is about the Vietnam conflict, from his memoir If I Die in a Combat Zone, Box Me Up and Ship Me Home (1975) and his National Book Award Winner Going after Cacciato (1978) to his later novel, In the Lake of the Woods (1994). Rather than express his views on the war in the political arena or as a journalist, O’Brien chooses to write war stories. O’Brien’s decision is, in part, driven by his desire to create for his readers a truthful narration of the war.

In the title story, “The Things They Carried,” O’Brien introduces the men whose stories compose the book. The title refers to things carried by a common Vietnam War grunt—nylon-covered flak jackets, steel helmets, extra rations—as well as the emotional burdens these men carry—the responsibility for fellow soldiers’ lives, ghosts of the war. Interspersed between the stories are O’Brien’s notes about writing, in which he emphasizes that true war stories are “never moral” (68) but instead should make the reader believe. What really happened during the war, O’Brien claims, is not as important as writing a story that makes the reader feel the experience of what the war was really like. And O’Brien’s collection attempts to do just that: By anecdotally sharing the experiences of the platoon of men who served together, O’Brien reconstructs the Vietnam War experience and in so doing redresses what he sees as some of the failings there.

Tim O’Brien (Aaron Cain, WFIU)

Vietnam’s presence haunts the pages of The Things They Carried . The political world O’Brien explores in his literature is a uniquely post–Vietnam War world, and The Things They Carried , O’Brien’s self-proclaimed “best book” (Herzog 104), explores this world through its form and content. Its lack of a linear plotline and its blend of fact and fiction reflect the reality of America’s military entanglement in Vietnam and the ambivalence of the men serving there. According to O’Brien, the form of the book “mirror[s] the soldier’s chaotic psychological landscape and the political, moral, and military disorder related to America’s Vietnam experience” ( Herzog 79).

O’Brien is able to retain control of and give meaning to his experience in Vietnam by dissociating from his actual experience—his “happening truth”—and creating a “story truth” that attempts to explain to and recapture for his readers the Vietnam War experience. According to O’Brien, story truth is dedicated to making “the stomach believe” (quoted in Herzog xi). The fictional O’Brien is then an effort by the writer to rewrite his service experience in a way that that creates some kind of truth both for him and for his readers. That O’Brien’s book discusses the writing process in as much depth as it discusses the war in Vietnam demonstrates how important a role writing and rewriting have in the substance of his narrative. Moreover, in rewriting his experience in a way that invests it with meaning, O’Brien’s narrative serves as the actualization of the potentially redemptive aspects of the service experience in Vietnam. This is not to say that The Things They Carried seeks to validate either America’s objectives and/or its actions in Vietnam or O’Brien and the other men’s behavior there. However, O’Brien does attempt to rewrite the narrative of his experience, however fictionally, to give it “story truth” and resonance.

O’Brien is cautious to not write a didactic book; he claims his objectives are to present the reader with a story for interpretation. The subjectivity of the act of interpretation and the writing of narratives become an important part of what O’Brien seeks to demonstrate through the collection. His stories share not only his perspective on the events but also what his characters repeatedly talk about in the stories—the “moral.” Yet O’Brien refuses to deliver one true moral in his stories; they are as varied as the ambiguities and experiences of the war in Vietnam. Eric James Schroeder makes a crucial observation about The Things They Carried : that “moral ambivalence” permeates the book, suggesting “that whereas a moral order does exist, the text itself cannot decode it; the reader must find it for himself” (Searle 122). The Things They Carried sets its characters on the same mission, whose result they never reveal to the reader, who is once again left to decipher the “story truth” O’Brien presents in the book.

O’Brien’s last story, “The Lives of the Dead,” begins with an anecdote about Lt. Jimmy (the Cross) Cross, Lemon, Kiowa, and the other men but finishes with a memory of O’Brien’s youth and a young girl, Linda, with whom he was friends. The story cuts back and forth between the two narratives. Linda died at nine years old of cancer, and O’Brien explains the power of storytelling in bringing her back to life for his comfort. A story, O’Brien writes, can make the “dead seem not quite so dead” (238). In the story of Linda, O’Brien is at his most obvious; writing is restorative, even regenerative (Linda grows back her hair and looks more alive than ever in his stories). By juxtaposing Linda’s narrative with that of the platoon, O’Brien emphasizes the restorative and regenerative effects he sees his writing as having for the Vietnam War experience.

BIBLIOGRAPHY Anderson, David L. The Columbia Guide to the Vietnam War. New York: Columbia University Press, 2002. Brown, T. Louise. War and Aftermath in Vietnam. London: Routledge, 1991. Herzog, Tobey C. Tim O’Brien. New York: Twayne, 1997. Jason, Philip K. Fourteen Landing Zones: Approaches to Vietnam War Literature. Iowa City: University of Iowa Press, 1991. Naparsteck, Martin, and Tim O’Brien. “An Interview with Tim O’Brien.” Contemporary Literature 32, no. 1 (Spring 1991): 1–11. O’Brien, Tim. Going after Cacciato. New York: Broadway Books, 1999. ———. If I Die in a Combat Zone, Box Me Up and Ship Me Home. New York: Broadway Books, 1999. ———. In the Lake of the Woods. Boston: Houghton Miffl in, 2006. ———. The Things They Carried. New York: Broadway Books, 1998. Schroeder, Eric James. Vietnam, We’ve All Been There: Interviews with American Writers. Westport, Conn.: Praeger, 1993. Searle, William J., ed. Search and Clear: Critical Responses to Selected Literature and Films of the Vietnam War. Bowling Green, Ohio: Bowling Green State University Popular Press, 1988.

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Literary Device Examples

• Conceptual Use : The physical items that soldiers carry, ranging from weapons to personal mementos, symbolize their emotional burdens and the experiences that define them.
• Conceptual Use : Detailed descriptions of the Vietnamese landscape, the weight of the gear, and the visceral experiences of combat immerse readers in the sensory reality of war.

Metafiction

• Conceptual Use : O’Brien reflects on the act of writing and storytelling within the narrative, questioning the line between truth and fiction, and exploring the writer’s role in shaping perception.
• Conceptual Use : The repeated listing of the soldiers’ carried items emphasizes the constant, heavy presence of both physical and emotional burdens.

Juxtaposition

• Conceptual Use : Moments of serene beauty or mundane activity are placed alongside brutal scenes of violence, highlighting the surreal contrasts of the war experience.

Stream of Consciousness

• Conceptual Use : Characters’ thoughts and memories flow in a stream of consciousness that reveals their inner turmoil and the fragmented nature of their experiences.
• Conceptual Use : Situations where soldiers face death or loss in absurd or mundane circumstances underscore the tragic irony and senselessness of war.

Foreshadowing

• Conceptual Use : Hints and subtle clues about future events or the fate of characters create an atmosphere of foreboding and tension.

Personification

• Conceptual Use : The jungle, the enemy, or even the war itself is given life-like qualities, reflecting the soldiers’ perceptions and the omnipresent nature of their environment.
• Conceptual Use : The authentic dialogue captures the diverse voices and backgrounds of the soldiers, revealing their personalities, relationships, and coping mechanisms.

This conceptual overview illustrates the sophisticated use of literary devices in “The Things They Carried,” showcasing how Tim O’Brien crafts a narrative that is both a reflection on the Vietnam War and a meditation on storytelling, memory, and the human condition in the face of conflict.

The Things They Carried – FAQs

What is “The Things They Carried” about? “The Things They Carried” is a collection of interconnected short stories by Tim O’Brien that explores the experiences of a platoon of American soldiers during the Vietnam War. The book delves into the physical and emotional burdens they carry, the nature of storytelling and memory, and the impact of war on the human psyche.

Who is the author of “The Things They Carried,” and what is his background? Tim O’Brien is the author of “The Things They Carried.” He is a Vietnam War veteran, and his experiences as a soldier deeply inform his writing. O’Brien has been awarded for his contributions to literature about the Vietnam War and is known for his exploration of its psychological and emotional landscapes.

Is “The Things They Carried” a novel or a collection of stories? “The Things They Carried” is often described as both a collection of short stories and a novel. The book consists of interconnected stories that follow the same characters, particularly focusing on the narrator, Tim O’Brien, and his comrades in the Vietnam War, blurring the lines between traditional narrative forms.

What are the main themes in “The Things They Carried”? Main themes include the physical and psychological burdens of war, the fluid boundary between truth and fiction in storytelling, the complexities of bravery and cowardice, and the lasting impact of the Vietnam War on those who fought it.

How does Tim O’Brien address the concept of truth in “The Things They Carried”? O’Brien challenges conventional notions of truth, suggesting that the emotional truth of a story can be more meaningful than factual accuracy. He emphasizes the role of storytelling in understanding and coping with the experiences of war, highlighting how narratives can capture the essence of complex emotions and events.

Can “The Things They Carried” be considered an anti-war book? While not explicitly anti-war, “The Things They Carried” critically examines the consequences of war on individuals and society. Through detailed character studies and reflections on the nature of courage, fear, and loss, O’Brien presents a nuanced exploration of the Vietnam War’s human cost, inviting readers to draw their own conclusions about the nature of conflict.

What literary devices does Tim O’Brien use in “The Things They Carried”? O’Brien employs a range of literary devices, including symbolism, imagery, metafiction, repetition, juxtaposition, stream of consciousness, irony, foreshadowing, personification, and authentic dialogue, to enhance the narrative’s depth and emotional impact.

How does “The Things They Carried” explore the impact of war? The book explores the impact of war through detailed character analyses, the exploration of the soldiers’ internal and external conflicts, and the examination of the psychological burdens they carry. It portrays war’s complexity, highlighting not only the physical dangers but also the emotional and moral dilemmas soldiers face.

Let’s create a conceptual quiz based on “The Things They Carried” by Tim O’Brien, focusing on its themes, characters, and narrative structure. This quiz is designed to test your understanding and provoke deeper thought about the book’s complexities.

This quiz touches on key aspects of “The Things They Carried,” including its plot, characters, literary devices, and themes, to encourage a deeper understanding and appreciation of Tim O’Brien’s work.

Spot the Literary Devices

Instructions: Below is a conceptual paragraph inspired by “The Things They Carried” by Tim O’Brien. Identify the literary devices used in this paragraph.

In the fading light of dusk, the soldiers trudged through the muddied terrain, each step a testament to their weary spirits. The jungle whispered secrets in a cacophony of sounds, a symphony of life and death entwined. Lieutenant Cross carried a single pebble in his pocket, a smooth, cold reminder of a world beyond the chaos, each turn and tumble of the stone mirroring the turmoil in his heart. Words from letters never sent echoed in his mind, blurring the lines between the battlefield and the dreams of home.

• Imagery — The vivid description of the soldiers moving through the jungle at dusk, and the detailed mention of the pebble, create a strong visual image that enhances the narrative’s sensory experience.
• Personification — The jungle is described as whispering secrets, attributing human characteristics to it and enhancing the setting’s eerie and mysterious atmosphere.
• Symbolism — The pebble in Lieutenant Cross’s pocket symbolizes his connection to and longing for the life and love he left behind, serving as a tangible reminder of his inner conflict and desires.
• Metaphor — The phrase “symphony of life and death entwined” serves as a metaphor for the complex, intertwined experiences of beauty and horror, survival and mortality that characterize the soldiers’ reality.
• Internal Monologue — Reflections on “words from letters never sent” provide insight into Lieutenant Cross’s thoughts and feelings, showcasing his longing and the psychological distance between his present reality and his memories of home.

This exercise aims to deepen understanding of how literary devices can be employed to convey thematic elements, set the mood, and develop characters’ internal landscapes, drawing readers more fully into the world of the story.

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The Things They Carried : Tim O’Brien’s Vietnam War Novel Endures

Privates First Class Carl Baden (New Orleans, Louisiana) and Arcadio Carrion (Puerto Rico) laying in the mud waiting for artillery to knock out the machine gun bunker that has them pinned down in a tree line at My Tho (April 4, 1968).

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Fifty years ago, many young men like Tim O’Brien , author The Things They Carried —published in 1990—were drafted into the army and later served in what was increasingly becoming an unpopular war. Today, in times of a volunteer army, many aspects of the military have changed. For one thing, women now serve in combat roles, too.

Critics have hailed The Things They Carried as one of the finest examples in American literature of writing about war. O’Brien served in Vietnam from 1969 to 1970, and, in The Things They Carried , wrote a collection of linked stories that reads like a memoir. A character introduced in one story will appear in a later one, and even though they’re all linked in some way, each story can stand on its own. The title story is an overture and creates the world of Vietnam for readers. The story also establishes the physical weight of objects each soldier carries by choice or by regulation. Later in the novel, however, the things they carry are psychological. In the opening story, the repetition of the phrase “the things they carried” becomes haunting, and it unifies the experience for the reader, who begins to feel the weight of objects the soldiers carried.

Each character in the novel’s opening story carries, along with those articles that were SOP (standing operating procedure), personal items that often serve as a talisman or a salve for the grueling psychological effects of battle. Additionally, O’Brien writes, “they carried ghosts.”

In World War II, the average age of an American soldier was the mid-twenties, while that of soldiers in Vietnam was nineteen. The young soldiers in Vietnam were especially susceptible to the psychological pressures of combat.

Drafted in the summer of 1968, O’Brien himself is a character in the novel, acting primarily as narrator but also, significantly, as the principal character in one story. In “ On the Rainy River ,” O’Brien sets off to his home state’s northern border with Canada. There, along the Rainy River’s southern banks in Minnesota, O’Brien contemplates fleeing the draft and slipping into Canada. In an interview , O’Brien has talked about the story and its relation to actual facts. An author “plays with facts,” he says, in order to get to the truth.

O’Brien himself never spent days along the Canadian border, contemplating and seriously considering life as a draft dodger. Instead, he played golf that summer in southern Minnesota, but the anxiety of having to report to his induction base a few weeks later produced a tightness in his chest similar to that felt by the fictional O’Brien, who finally decides not to dodge the draft. “On the Rainy River” raises philosophical questions for students concerning the true meaning of courage.

Students who have read novels set in times of war, such as, among others, The Naked and the Dead by Norman Mailer (published in 1948) can make useful comparisons and contrasts with The Things They Carried . Mailer’s groundbreaking WW II novel, as does The Things They Carried , presents the reader with a cross section of soldiers serving in war. Readers and critics often note that both Mailer and O’Brien have written with journalistic detail. A comparison of the two authors’ use of the same techniques can help students talk about the various ways novelists can present the experience of war.

In interviews, OBrien speaks of a “stomach feeling” he wants to leave with his readers. He doesn’t sanitize details. Students who may have read Johnny Got His Gun (published in 1939) can discuss the “stomach feeling” they may have had from reading the novel by Dalton Trumbo.

When O’Brien was writing The Things They Carried in the late 1980s, American women were not serving in combat roles, although, as Ken Burns and Lynne Novick’s   documentary The Vietnam War demonstrates, in the war without a front, many women did serve in Vietnam as nurses near combat and at medical bases. Since 2015 women in the military can serve in combat zones.

The story “Sweatheart of the Song Tra Bong” was, O’Brien says, a “heuristic exercise.” By a kind of storyteller’s trial and error, he decided to try to craft a story that interjects a woman (the girlfriend of the medic, Rat Kiley) into the combat experience, first as the traditional girl next door in a pink sweater, who is improbably visiting Kiley in Vietnam, to a night-stalking member of a Green Beret unit. She goes native, echoing, admits O’Brien, The Heart of Darkness by Joseph Conrad. Students can consider to what extent O’Brien’s story does or does not still ring true, now that women serve in combat, too, and are also beginning to write about their war experiences, as female veterans discussed  recently in Bethlehem, Pennsylvania, in a writing  workshop reported on in the Washington Post .

O’Brien’s success in creating for readers an authentic experience of war stems from a variety of techniques and styles, including linked stories, milieu-setting detail, and a cross section of well-drawn characters. The novel can serve either as an introduction to war lit generally or as a useful tool to further build on the writings on war students may have already encountered.

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Essays on The Things They Carried

The things they carried essay topics and outline examples, essay title 1: truth and fiction in "the things they carried".

Thesis Statement: Tim O'Brien blurs the lines between truth and fiction in "The Things They Carried" to convey the emotional and psychological truths of war experiences, demonstrating the power of storytelling as a coping mechanism.

• Introduction
• The Nature of Truth in Storytelling
• Examples of Fictional Elements in the Book
• The Emotional and Psychological Impact on Characters
• How Storytelling Helps Characters Cope

Essay Title 2: The Weight of Emotional Baggage in "The Things They Carried"

Thesis Statement: "The Things They Carried" by Tim O'Brien explores the heavy burden of emotional baggage carried by soldiers during the Vietnam War, emphasizing that these intangible loads can be just as impactful as physical ones.

• The Literal and Symbolic Items Carried by Soldiers
• Depictions of Emotional Baggage in the Stories
• The Interplay Between Physical and Emotional Loads
• The Long-Term Effects on Soldiers' Lives

Essay Title 3: Morality and Ethical Dilemmas in "The Things They Carried"

Thesis Statement: Tim O'Brien raises questions about morality and ethical dilemmas faced by soldiers in "The Things They Carried," illustrating the complex choices and consequences that war imposes on individuals.

• Situations of Moral Complexity in the Stories
• Character Reactions to Ethical Dilemmas
• Exploring the Themes of Guilt and Responsibility
• The Broader Commentary on the Vietnam War

The Things They Carried Motif Analysis

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The Things They Carried Rhetorical Analysis

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Tim O’brien's Use of Figurative Language to Portray The Theme of Death in The Things They Carried

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An Insight into The Emotions of War in The Things They Carried

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March 28, 1990, Tim O'Brien

Collection of interconnected short stories

Historical Fiction

Norman Bowker, Rat Kiley, Henry Dobbins, Lieutenant Jimmy Cross, Tim O'Brien

The narrative unfolds through series of interconnected short stories that depict a platoon of American soldiers' experiences during the Vietnam War, memories, and the items they carry with them. The protagonist, Lieutenant Jimmy Cross, grapples with his responsibilities as a leader and his longing for a girl back home. He carries letters and photographs from her, as well as guilt and regret for his preoccupation with her rather than the safety of his men. Other soldiers in the platoon carry personal belongings that hold sentimental value or serve as a form of escapism from the harsh reality of war. Each item carries its own significance, reflecting the unique stories and personalities of the soldiers. The novel explores the psychological impact of war on the soldiers, delving into themes of fear, trauma, loss, and the blurred boundaries between truth and fiction. O'Brien masterfully blurs the line between fact and fiction, emphasizing the power of storytelling and memory as a means of understanding and coping with the horrors of war. The novel serves as a powerful testament to the resilience, camaraderie, and sacrifice of those who have served in armed conflicts, inviting readers to reflect on the enduring impact of war on individuals and society as a whole.

The setting of "The Things They Carried" by Tim O'Brien is primarily during the Vietnam War, specifically focusing on the experiences of American soldiers deployed in Vietnam. The novel takes readers into the harsh and unforgiving environment of the war, transporting them to the jungles, rice paddies, and villages of Vietnam. The story unfolds in various locations, including the dense forests of Quang Ngai Province, the mountains near the border with Laos, and the riverside villages where the soldiers engage in combat and interact with the local Vietnamese population. O'Brien vividly describes the physical landscape, capturing the oppressive heat, the dense vegetation, and the constant sense of danger that permeates the air. In addition to the physical setting, the novel also explores the soldiers' mental and emotional landscapes. O'Brien delves into the interior worlds of the characters, portraying the weight of their experiences, the moral dilemmas they face, and the emotional burdens they carry. The setting becomes a reflection of the soldiers' internal struggles and serves as a backdrop for their personal transformations and battles with their own fears and demons. The temporal setting of the novel spans several years, from the early stages of the war to its aftermath. The narrative shifts back and forth in time, capturing the soldiers' memories, reflections, and the lasting impact of the war on their lives. O'Brien seamlessly weaves together past and present, blurring the boundaries of time and highlighting the enduring psychological and emotional effects of war.

The themes in "The Things They Carried" by Tim O'Brien serve as a lens through which the characters' stories are told, offering insights into the complexities of war, memory, storytelling, and the weight of personal burdens. One of the central themes of the novel is the concept of storytelling and its power to shape and give meaning to our lives. O'Brien delves into the nature of truth and fiction, blurring the boundaries between fact and imagination. The characters use storytelling as a way to cope with the horrors of war, to remember their fallen comrades, and to make sense of their own experiences. This theme highlights the role of narrative in shaping our understanding of the world and the ways in which stories can serve as a form of catharsis and healing. Another significant theme explored in the book is the weight of personal burdens and the psychological toll of war. The characters in "The Things They Carried" carry physical objects that symbolize their emotional and psychological burdens, such as letters, photographs, and personal mementos. These tangible items serve as a metaphor for the intangible burdens they carry, including guilt, fear, and trauma. O'Brien explores the ways in which these burdens shape the characters' identities and influence their actions, highlighting the heavy price they pay for their service. Memory and its unreliability is another prominent theme in the novel. O'Brien examines how memories of war can be fragmented, distorted, and selectively recalled, blurring the line between reality and perception. The characters grapple with the weight of their memories, often haunted by the past and struggling to reconcile their experiences with their present lives. This theme underscores the enduring impact of war on the human psyche and the challenges of preserving and making sense of personal histories. Additionally, "The Things They Carried" delves into the themes of camaraderie, sacrifice, and the moral complexities of war. The bonds formed among the soldiers become a source of strength and support amidst the chaos and brutality of combat. The novel explores the sacrifices made by individuals for the collective good, as well as the ethical dilemmas they face in navigating the blurred lines between right and wrong in the midst of war.

Symbolism plays a significant role in the novel, allowing O'Brien to convey complex ideas and emotions through objects and events. For example, the weighty physical objects that the soldiers carry, such as Lieutenant Cross's letters from Martha, symbolize the burden of their emotional and psychological baggage. The pebble that Lieutenant Cross carries represents his longing for love and connection amidst the harsh reality of war. These symbols enrich the story , highlighting the themes of burdens, longing, and the conflict between love and duty. Imagery is skillfully employed throughout the book, creating vivid and sensory experiences for the reader. O'Brien's descriptions of the Vietnam War landscape, the soldiers' surroundings, and the visceral details of combat immerse the reader in the characters' experiences. Through powerful imagery, the author captures the sights, sounds, and smells of war, enhancing the emotional impact of the narrative. Irony is used to illuminate the contradictions and complexities of war. O'Brien employs situational irony to underscore the absurdities of war, such as the ironic death of Ted Lavender, who carries tranquilizers but is killed in a moment of vulnerability. Verbal irony is also present in the soldiers' dark humor and sarcastic remarks, revealing their coping mechanisms in the face of unimaginable circumstances. Metafiction, a prominent literary device in the novel, blurs the line between fiction and reality. O'Brien acknowledges the act of storytelling and explores the nature of truth, memory, and the power of narrative. For instance, O'Brien admits to fictionalizing certain elements of the story, blurring the boundaries between fact and imagination. This metafictional aspect challenges the reader's perception of truth and invites contemplation on the nature of storytelling and the role of fiction in representing the complexities of war. Other literary devices employed in the novel include repetition, foreshadowing, and paradox. Repetition is used to emphasize certain ideas and motifs, such as the repetition of the phrase "They carried" to highlight the soldiers' burdens. Foreshadowing hints at the characters' fates and adds tension to the narrative, while paradox presents the contradictions and ambiguities of war, such as the notion of killing for the sake of preserving life.

"The Things They Carried" by Tim O'Brien has been adapted and represented in various forms of media, including film, theater, and music. These adaptations aim to capture the essence of the novel and bring its powerful themes and stories to a wider audience. One notable adaptation is the theatrical production of "The Things They Carried," which premiered in 2018. Adapted by Jim Stowell and directed by Sarah Diener, the play incorporates elements of storytelling, music, and multimedia to recreate the experiences of the soldiers in Vietnam. It utilizes the power of live performance to evoke the emotional intensity and psychological impact of war, engaging audiences in a visceral and immersive manner. Another notable representation of "The Things They Carried" is the 1990 short film adaptation directed by Peter Werner. This film, also titled "The Things They Carried," offers a visual interpretation of select stories from the book, bringing the characters and events to life on screen. Through the medium of film, the adaptation captures the visual imagery and the emotional depth of O'Brien's writing, allowing viewers to witness the harrowing realities of war. In addition to these direct adaptations, the influence of "The Things They Carried" can be seen in various songs, music videos, and other artistic expressions. Artists have drawn inspiration from the themes and stories of the novel to create their own works that reflect the experiences of soldiers in war. For example, Bruce Springsteen's song "The Wall" and Pearl Jam's song "I Am Mine" touch upon similar themes of memory, loss, and the weight of war that resonate with O'Brien's novel.

"The Things They Carried" by Tim O'Brien has had a significant influence on literature, academia, and the public's understanding of war and its impact on soldiers. This powerful collection of interconnected short stories has left an indelible mark on readers and has contributed to important conversations about memory, truth, storytelling, and the human experience in times of conflict. One notable influence of "The Things They Carried" is its contribution to the genre of war literature. O'Brien's innovative blend of fact and fiction, his exploration of the subjective nature of truth, and his vivid portrayal of the psychological and emotional burdens carried by soldiers have inspired subsequent authors to tackle similar themes. The book's honest depiction of war's complexities and its emphasis on the human cost of conflict have shaped and influenced subsequent works of literature exploring the realities of war. Moreover, "The Things They Carried" has had a profound impact on the field of literary criticism and academia. Scholars and researchers have extensively studied O'Brien's storytelling techniques, narrative structure, and thematic depth. The book's exploration of memory, trauma, and the power of storytelling has provided rich material for analysis and has influenced the field of narrative theory. Beyond the literary sphere, "The Things They Carried" has resonated with a wide range of readers, including veterans, students, and the general public. Its poignant portrayal of the complexities of war and its lasting effects on individuals has prompted discussions on topics such as moral ambiguity, the dehumanizing nature of conflict, and the importance of empathy and understanding. The influence of "The Things They Carried" extends beyond literature and academia into popular culture. The book has been referenced in songs, films, and other forms of media, further cementing its status as a cultural touchstone. Its enduring relevance and impact demonstrate the power of storytelling to illuminate the human condition and provoke meaningful reflection on the consequences of war.

1. "The Things They Carried" has received widespread critical acclaim since its publication. It was a finalist for the Pulitzer Prize for Fiction in 1991 and won the National Book Critics Circle Award for Fiction in the same year. 2. Over the years, "The Things They Carried" has remained a staple in literature courses and reading lists across the United States. It is frequently taught in high schools and universities, and its impact on readers has endured. The book's exploration of war, memory, and the power of storytelling continues to resonate with new generations, ensuring its place as a significant work of American literature. 3. In 2018, "The Things They Carried" was adapted into a feature film directed by Rupert Sanders. The movie, starring Tom Hardy and Tye Sheridan, aimed to bring O'Brien's powerful storytelling to the big screen. While the adaptation faced some challenges and has not been widely released, it is a testament to the enduring appeal and cinematic potential of the book's themes and narratives.

"The Things They Carried" is an essential work to write an essay about due to its profound exploration of the human experience in times of war. Through its vivid storytelling and introspective narratives, the book delves into the complexities of the Vietnam War, the weight of personal burdens, the power of memory, and the impact of storytelling itself. By examining the novel, students can gain a deeper understanding of the psychological and emotional toll of war on soldiers, the ethical dilemmas they face, and the enduring effects on their lives. The book raises thought-provoking questions about the nature of truth, the unreliability of memory, and the ways in which storytelling can shape our perceptions and heal our wounds. Moreover, "The Things They Carried" serves as a powerful example of how literature can humanize and give voice to the experiences of those who have served in conflict zones. It provides a platform for discussion on war literature, trauma, empathy, and the power of narrative. Ultimately, studying and analyzing this work allows students to engage with important social, historical, and psychological themes, fostering critical thinking and empathy towards those impacted by war.

"They carried the soldier’s greatest fear, which was the fear of blushing. Men killed, and died, because they were embarrassed not to. It was what had brought them to the war in the first place, nothing positive, no dreams of glory or honor, just to avoid the blush of dishonor. They died so as not to die of embarrassment." "He was a slim, dead, almost dainty young man of about twenty. He lay with one leg bent beneath him, his jaw in his throat, his face neither expressive nor inexpressive. One eye was shut. The other was a star-shaped hole." "But in a story, which is a kind of dreaming, the dead sometimes smile and sit up and return to the world" "I survived, but it's not a happy ending."

1. Climo, J. (2005). Truth and fiction in Tim O'Brien's If I Die in a Combat Zone, Box Me Up and Ship Me Home and The Things They Carried. Modern Fiction Studies, 51(1), 186-208. 2. Friedman, L. (2013). ‘Dancing the Soul Back Home’: Trauma, storytelling, and truth in Tim O’Brien’s The Things They Carried. War, Literature & the Arts: An International Journal of the Humanities, 25(1/2), 273-296. 3. Heberle, R. (2017). War, memory, and the inescapability of fiction in Tim O’Brien’s The Things They Carried. College Literature, 44(2), 225-245. 4. Herzog, T. (2002). Memory, history, and trauma in Tim O’Brien’s The Things They Carried. Critique: Studies in Contemporary Fiction, 43(3), 259-277. 5. Kaplan, S. (2016). Postmodernism, metafiction, and Tim O'Brien's Vietnam War stories. In The Philosophy of War Films (pp. 135-154). University Press of Kentucky. 6. Kaplan, S. (2017). The Things They Carried: Tim O'Brien's personal debt to Hemingway. The Hemingway Review, 36(1), 71-85. 7. McWilliams, J. (2015). Intimations of mortality: Tim O’Brien’s The Things They Carried and In the Lake of the Woods. In The Cambridge Companion to the Literature of the Vietnam War (pp. 145-160). Cambridge University Press. 8. O’Brien, T. (1990). The things they carried. Houghton Mifflin Harcourt. 9. Stenberg, P. (2009). Lyric narrative and the war text: Tim O'Brien's "Speaking of Courage" and "In the Field" as poetic rewritings of The Things They Carried. Contemporary Literature, 50(3), 497-527. 10. Wood, M. (2000). Refiguring the Vietnam veteran: (Dis) locating subjectivity in Tim O’Brien’s The Things They Carried. Critique: Studies in Contemporary Fiction, 41(2), 107-121.

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The Things They Carried

Tim o’brien, everything you need for every book you read..

Storytelling in The Things They Carried operates on multiple levels: at the level of the book itself, the stories within stories, and the reflections on the value of these stories both in the context of the war and then post-war. "The Lives of the Dead" speaks to O'Brien's belief that stories have the power to give an entire life to those who have passed on. He refers to his childhood love Linda who passed away from a brain tumor when they were nine, and how he spent his nights inventing stories and false futures to ease his grief. O'Brien does the same thing with the man that he killed with a grenade in "The Man I Killed," which is not a story about the act of killing as much as it is inventing a past and future for the unnamed, skinny man who perished at O'Brien's hands.

The collection further explores the very role and purpose of "war stories," and how they can be told "correctly" and how to tell whether or not one is "true." There is a rhythm to war stories; there is a level of detail to be expected. O'Brien establishes rules for telling war stories, which presents a poignant irony given the fact that war exists in a space that largely lacks rules. The role of these war stories during the war was to keep the soldiers' minds off of their obligations, off of death, and after the war to give words to experiences that are unspeakable—that do not make sense to people that were not there. A war story provides an account that speaks to the bond of the men who fought and died together, while recognizing that the greatest truth of a war story is the visceral feeling it fosters in the listener/reader. O'Brien's collection argues that "stories," due to their complexity, their amorality, and their ability to give a voice to the voiceless, are the most authentic medium to accurately communicate wartime experiences—factual or not.

Storytelling and Memory ThemeTracker

Storytelling and Memory Quotes in The Things They Carried

For a few moments he considered asking her to his room, but instead he laughed and told her how back in college he'd almost done something very brave. It was after seeing Bonnie and Clyde, he said, and on this same spot he'd almost picked her up and carried her to his room and tied her to the bed and put his hand on her knee and just held it there all night long. It came close, he told her—he'd almost done it. Martha shut her eyes. She crossed her arms at her chest, as if suddenly cold, rocking slightly, then after a time she looked at him and said she was glad he hadn't tried it. She didn't understand how men could do those things. What things? he asked, and Martha said, The things men do. Then he nodded. It began to form. Oh, he said, those things.

The bad stuff never stops happening: it lives in its own dimension, replaying itself over and over.

But the thing about remembering is that you don't forget. You take your material where you find it, which is in your life, at the intersection of past and present. The memory-traffic feeds into a rotary up on your head, where it goes in circles for a while, then pretty soon imagination flows in and the traffic merges and shoots off down a thousand different streets. As a writer, all you can do is pick a street and go for the ride, putting things down as they come at you. That's the real obsession. All those stories.

That's what stories are for. Stories are for joining the past to the future. Stories are for those late hours in the night when you can't remember how you got from where you were to where you are. Stories are for eternity, when memory is erased, when there is nothing to remember except the story.

The day was cloudy. I passed through towns with familiar names, through the pine forests and down to the prairie, and then to Vietnam, where I was a soldier, and then home again. I survived, but it's not a happy ending. I was a coward. I went to the war.

A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a first rule of thumb, therefore, you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil.

In a true war story, if there's a moral at all, it's like the threat 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."

It comes down to gut instinct. A true war story, if truly told, makes the stomach believe.

In the presence of his father and uncles, he pretended to look forward to doing his patriotic duty, which was also a privilege, but at night he prayed with his mother that the war might end soon. Beyond anything else, he was afraid of disgracing himself, and therefore his family and village. But all he could do, he thought, was wait and pray and try not to grow up too fast.

I did not hate the young man; I did not see him as the enemy; I did not ponder issues of morality or politics or military duty. I crouched and kept my head low. I tried to swallow whatever was rising from my stomach, which tasted like lemonade, something fruity and sour. I was terrified. There were not thoughts about killing. The grenade was to make him go away—just evaporate—and I leaned back and felt my head go empty and then felt it fill up again. I had already thrown the grenade before telling myself to throw it.

By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths. You make up others. You start sometimes with an incident that truly happened, like the night in the shit field, and you carry it forward by inventing incidents that did not in fact occur but that nonetheless help to clarify and explain.

Norman did not experience a failure of nerve that night. He did not freeze up or lose the Silver Star for valor. That part of the story is my own.

"Daddy, tell the truth," Kathleen can say, "did you ever kill anybody?" And I can say honestly, "Of course not." Or I can say, honestly, "Yes."

He said he'd done his best. He'd tried to be a decent medic. Win some and lose some, he said, but he'd tried hard. Briefly then, rambling a little, he talked about a few of the guys who were gone now, Curt Lemon and Kiowa and Ted Lavender, and how crazy it was that people who were so incredibly alive could get so incredibly dead.

But this is true too: stories can save us. I'm forty-three years old, and a writer now, and even still, right here, I keep dreaming Linda alive. And Ted Lavender, too, and Kiowa, and Curt Lemon, and a slim young man I killed, and an old man sprawled beside a pigpen, and several others whose bodies I once lifted and dumped into a truck. They're all dead. But in a story, which is a kind of dreaming, the dead sometimes smile and sit up and return to the world.

The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you, and in this way memory and imagination and language combine to make spirits in the head. There is the illusion of aliveness.

It was a kind of self-hypnosis. Partly willpower, partly faith, which is how stories arrive.

Well, right now I'm not dead. But when I am, it's like…I don't know, I guess it's like being inside a book that nobody's reading. A book? An old one. It's up on a library shelf, so you're safe and everything, but the book hasn't been checked out for a long, long time. All you can do is wait. Just hope somebody'll pick it up and start reading.

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