the things they carried analysis pdf

• 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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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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The Things They Carried

64 pages • 2 hours read

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Summary and Study Guide

Published in 1990, The Things They Carried is a collection of interrelated short stories about the Vietnam War written by Tim O’Brien. The historical fiction collection has been hailed not only as an essential piece of literature about the Vietnam War, but as a workshop in fiction writing itself. It was a finalist for the Pulitzer Prize and the National Book Critics Circle Award and was a New York Times Book of the Century. It was featured in a PBS series about the Vietnam War narrated by Ken Burns. Although Tim O’Brien won the National Book award in 1979 for his novel Going After Cacciato , it is perhaps the stories of The Things They Carried which has left the largest impact on the American perception of the Vietnam War.

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The Things They Carried comprises 22 short stories that range in length from just a few paragraphs to fully fleshed out dramatic narratives of 20 pages or more. The stories are largely written in first person, from the point of view of a single narrator, Tim O’Brien. While there are 22 separate stories, the book is made up of a few central dramatic events that are repeatedly featured.

In “The Things They Carried,” a soldier named Ted Lavender takes a shot to the head while the First Lieutenant Jimmy Cross daydreams about his love Martha. In “On the Rainy River,” the narrator confronts the decision of whether or not to go to war by escaping to a fishing lodge run by an old man named Elroy Berdahl. In “How to Tell a True War Story,” Curt Lemon dies from a grenade explosion and his friend Rat Kiley tortures a baby water buffalo . In “Sweetheart of the Song Tra Bong,” a soldier’s young girlfriend flies from Cleveland to Vietnam and becomes deeply involved in the action. In “Ambush,” the narrator describes the time that he killed a man. Stories 15 and 17 describe the death of a soldier named Kiowa who drowned in a mud field during an attack. In “The Ghost Soldiers,” the narrator seeks revenge on a field medic for his mistreatment of a wound the narrator suffers during battle. In Story 22, the narrator remembers a childhood friend of his who passed away at the age of nine and reflects on the nature of memory, death, and storytelling.

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Throughout all of these stories, the narrator frequently offers reflections on both the craft of writing and the nature of truth. These reflections become intertwined with the stories in complicated ways that fragment the reader’s sense of what is “true” and what is merely fiction. It is for this complicated intertwining of truth and fiction that The Things They Carried is celebrated as both an accurate portrait of the Vietnam War and as a work of expertly crafted fiction.

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