I can make myself feel again." O’Brien’s statement tells how his emotions can be expressed by make believe stories or story-truths. In order to make a story important, he must show the reader what he felt by describing the event in such a way that makes the reader feel like the action is right in their face. Juxtaposition is used to show story truth importance by explaining how similar story-truth and happening-truth are in any story. O’Brien states how in a happening-truth “there were many bodies, real bodies with real faces, but I was young then and I was afraid to look.” He explains the story-truth as though he were still there.
O'Brien creates an intentional paradox for his readers when he writes the violent, but grabbing story of Rat Kiley and then at the end of the story, tells the reader that the characters and events of the story did not happen just as he described them, but that they happened in a totally different way to other people. But he insists that the story is true. With this, O'Brien challenges the reader to discover the truth of the event. O'Brien gets the reader to figure out what fiction of this book is actually worth. Firstly, did O'Brien confuse the reader when he said that the events did not happen after the reader became involved in those events?
I didn’t pick a specific passage for the author’s tone; I read the book and got the overview of the tone instead because the tone is so bipolar throughout the book due to the multiple soldiers in it. The Things They Carried by Tom O’Brien is a powerful outlook on the experiences of “grunts” or low-ranked soldiers in the Vietnam War and after the war. The author was a grunt during the late 60s in the Vietnam War, so his book is concurrently a group of fictional short stories, a war autobiography, and writer's memoir. O’Brien made it very clear that his book was to be considered a work of fiction. O'Brien immediately and most likely deliberately blurs the line between fact and fiction by dedicating the novel to certain individuals that the reader soon discovers
How does Fitzgerald tell the story in Chapter One of ‘The Great Gatsby’? Fitzgerald uses form to tell the story of ‘The Great Gatsby’ in chapter one. He does this through Nick’s perspective. Fitzgerald introduces Nick as a first person narrator, but also as self-conscious through saying ‘-gives his name to this book’ which outlines this book as a novel about a novel. The first person narrative means that the reader is more likely to trust Nick’s account of events because we hear it from his point of view but is also unreliable as it is biased and not omniscient.
he Things They Carried In Tim O'Brien's novel The Things They Carried, he uses a metafictive style to preserve war stories. O'Brien keeps readers questioning what part of the Vietnam stories are true and how much of it is fictionalized. He points out that the fictionalization does not matter and that the stories are examples of the revolting things that go on in war. In the war in order to keep the dead alive O'Brien says they continued to tell their stories. However, the stories are exaggerated and the truth lies with the dead.
Character Development in Lord of the Flies The ability to create characters of depth plagues many a contemporary writer. Many of those writers should look to William Golding for expertise on this issue. Golding diverges from the path of contemporary authors and sets an example of how character development should be accomplished in his novel, Lord of the Flies. Golding's Ralph exemplifies this author's superior style of character development in this novel. At the commencement of the novel, the author introduces Ralph as an innocent boy far from adulthood.
One can only assess Marlowe’s personality through the biased opinion of the narrator himself. Therefore, it is the readers’ responsibility to question how much truth is behind Marlowe’s storytelling. Without honesty, the story can be slanted to make the other heroic qualities appear where they are in fact not. Because Chandler does a great job of making Marlowe so charming, readers get easily distracted from the fact that the entire plot is subjective. Marlowe’s credibility comes into question through his self-portrayal, through his manipulation of his readers into accepting his own limited and unsupported suspicions of other characters, and through his near superhuman ability to be in the “right” place at the right time.
Their goal is to make you feel their story so deeply within the pit of your stomach that you know their words to be true. In a collection of short stories entitled, The Things They Carried, author Tim O'Brien reveals the marvels of storytelling by breaking down the barriers between fact and fiction, thus making it impossible to distinguish whether or not any given event in the stories truly happened. In the section “How to Tell a True War Story” O'Brien discloses how to ascertain the difference between a true war story and one that is untrue you should see no virtue, you should be skeptical, and you should feel the truth. In the section titled, “Sweetheart of Song Tra Bong”, O'Brien heeds each piece of advice he recited making his fictional war story true. When telling a true war story Tim O'Brien states that “[there] is no rectitude”, if at the end you feel uplifted or as if you were taught something, “you have become the victim of a very old and terrible lie” (O'Brien p. 65).
In the book “The Things They Carried” by Tim O’Brien the author demonstrates the preference for heart-truth over happening-truth because, by using this type of style, he is able to communicate emotions that he experienced first hand in the war without the limitation of being true to his real life comrades. By taking these liberties with his writing style he is able to give more depth to his characters then he would be able to give to his real life piers. One area in particular that he was able to explore better was the inner emotions of the characters he created for his short stories. This allowed him to create characters that his audience would be able to better identify with in understanding the realities of war. One such example of his use of heart-truth is in his development of the character Tim O’Brien, in the story “On a Rainy River”.
Manchester clearly did little, if no research, and only picked anecdotes that fulfilled what he thought the medieval times were like. The assertions that he has given throughout the book seem as if he wrote it as some sort of parody, more suited for a Monty Python movie than something might be called history. One of the many mistakes which took part in writing this book was when Manchester says "the medieval man's lack of self-ego" (page 21). If men in the medieval times had such a lack in self-ego then why would there be so many knights and men risking their life’s if not for having a big