Though he was not a soldier hi. Refer to Keys for Writers for additional guidance on writing about literature pages 67-72. Sometimes stories are abandoned, only to be continued pages or chapters later. The rest of us stood in a ragged circle around the baby buffalo. They've got a radio along, so if they hear anything suspicious - anything- they're supposed to call in artillery or gunships, whatever it takes.
That's what it sounds like, this big swank gook cocktail party somewhere out there in the fog. It explores the basis of knowledge and truth. I heard this one, for example, from Mitchell Sanders. Goofing, giggling, and silliness have no place in war; death is a consequence of playfulness, and youth must quickly give way to maturity. Repeatedly, however, Tim points out to the reader those characteristics that identify a war story as true. Up in the canopy there were tiny white blossoms, but no sunlight at all, and I remember the shadows spreading out under the trees where Lemon and Rat Kiley were playing catch with smoke grenades. Sanders recounts how a patrol of six men goes up into the mountains to establish a listening post.
Often the crazy stuff is true and the normal stuff isn't normal because the normal stuff is necessary to make you believe the incredible craziness. Did memories of the music continue to reverberate in their heads, even though their logical minds heard no more sound in the woods around them? Truth and Falsehood Certainly, the most insistent theme in this story is that of truth and falsehood. War is thrilling; war is drudgery. But just as it appears he may be able to do so, he inserts a passage that tells the reader that everything in the entire story has been made up. In a true war story, if there's a moral at all, it's like the thread that makes the cloth.
Then after a while they hear gook opera and a glee club and the Haiphong Boys Choir and a barbershop quartet and all kinds of weird chanting and Buddha-Buddha stuff. It comes down to gut instinct. One guy jumps on it and takes the blast, but it's a killer grenade and everybody dies anyway. 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. It's crazy, I know, but they hear the champagne corks. There wasn't any glee club.
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. Discuss how at least three characters deal with their feelings of guilt over the deaths of those around them. The book offers facing-page originals and translations, making it possible for both Vietnamese and American students to read. Many reviewers refer to the work as a series of short stories, but it is much more than that. What he is asking for from his reader in return is a minimum of sentimentality. The inclusion of a metafictional chapter presenting the background behind the tale provides no definite answers or resolutions.
But he also objects to the polar opposite: telling tear-jerking stories for an effect. I never seen it before. They hear voices and clinking glasses, violins and cellos, and even champagne corks popping. It is more than the men can handle, to hear sounds coming from the rocks and the trees and the fog. Often in a true war story there is not even a point, or else the point doesn't hit you until, say, twenty years later, in your sleep, and you wake up and shake your wife and start telling the story to her, except when you get to the end you've forgotten the point again.
Even seemingly contradictory events can both be considered true. They do not indulge in abstraction or analysis. After dinner, Rat Kiley pet it and offered it some of his food, which it refused. In the end, the narrator concludes, a true war story is never about war but about love, memory and sorrow and the details within them. Who really did not win the Silver Star for bravery? No Mitchell Sanders, you tell her. Her brother, he had the right attitude. One guy jumps on it and takes the blast and saves his three buddies.
He offers a story that wakes him up. War stories bring the horrible truth of war home to the reader. The story is told with many metafictional devices. For example, he tells the story of a guy who jumps on a grenade to save his squad and dies. It's a question of credibility.