As he spent part of his life in Vietnam, O'Brien's Vietnamese memories played a big part in his work, and he often thought about it, so these memories were his works Included in. In this sentence, Tim O'Brien tells that he is in the story. But O'Brien repeatedly said that he certainly will not be included in the story. He is very focused on clarifying this. Because he hears this question over and over again. "The author intentionally created a fictional character to tell the story.
In 1987, Tim O'Brien published a wonderful and powerful short story for "Mr. Fashion", "How to Write a Story of Real War". In "How to talk about real warfare" O'Brien mixes innovative techniques for discussing memoirs, literary critiques, and ways to convey the grotesque atmosphere of the Vietnam War. In the early days of the story, O'Brien 's talker stated that the true war stories are by no means moral. It neither teaches nor encourages virtues nor does it suggest an appropriate model of human behavior nor does it restrict what people do the usual things. If the story looks ethical, do not believe it. . . . You can tell the true story of war through absolute and uncompromising loyalty to obscenity and evil.
"How to talk about real war" TIM O'BRIEN (1990) TIM O'BRIEN's "How to talk about real war" is a frequently chosen short story that provides an important part of many surprises It is a novel. Literary expression Vietnam war and trauma to that individual This story is part of the commentary on the essence of the story and a partial interpretation of the character's experience in war. In fact, the story is divided into 15 parts, from the commentary on how to convey the story of war to the story itself. In a sense, O'Brien seems to be experimenting with postmodern by breaking his story, which proves that the comrades died in so many fragmented episodes. In another sense, O'Brien comments on the traumatic impact of war on these survivors.
Facts about companions of American short story document, 2nd edition (literary series companion)