1. The Things They Carried Tim O’Brien

2. “How To Tell A True War Story” This chapter really blurs the distinction between truth and fiction. O’Brien immediately brands the story as true; then he states later that “none of it happened.” This chapter really blurs the distinction between truth and fiction. O’Brien immediately brands the story as true; then he states later that “none of it happened.” He doesn’t lie: He changes the definition of telling the truth. He doesn’t lie: He changes the definition of telling the truth. Lemon’s sister doesn’t get the “truth” of the story Kiley is telling her: Kiley’s brotherly love for Lemon. Lemon’s sister doesn’t get the “truth” of the story Kiley is telling her: Kiley’s brotherly love for Lemon. On one hand, Lemon’s sister doesn’t respond to Kiley’s letter; on the other hand, her “response” is that she doesn’t answer Kiley’s letter. On one hand, Lemon’s sister doesn’t respond to Kiley’s letter; on the other hand, her “response” is that she doesn’t answer Kiley’s letter.

3. “How to Tell A True War Story” According to University of Maryland professor Jill Colella, who has critiqued the novel, this suggests a meaning that can be applied to readers and hearers of stories: that they can “tell” when stories hold a truth, whether the events of the story actually occurred, based on certain criteria. According to University of Maryland professor Jill Colella, who has critiqued the novel, this suggests a meaning that can be applied to readers and hearers of stories: that they can “tell” when stories hold a truth, whether the events of the story actually occurred, based on certain criteria. Colella says that according to O’Brien, then, the truth of a story depends solely on the audience hearing it told. Colella says that according to O’Brien, then, the truth of a story depends solely on the audience hearing it told. If it strikes you as “true,” then it is. If it strikes you as “true,” then it is.

4. “The Dentist” This chapter forces us to reconsider how and why we honor the memory of war and war heroes. O’Brien finds it difficult to mourn Lemon’s death, because Lemon did not “earn that right” when he was alive. This chapter forces us to reconsider how and why we honor the memory of war and war heroes. O’Brien finds it difficult to mourn Lemon’s death, because Lemon did not “earn that right” when he was alive. O’Brien sees Lemon as someone who strove for some false image of machismo; Lemon was still afraid of the dentist, even after he had his healthy tooth pulled, but he was more afraid of losing face with his fellow soldiers: an image he worked hard to maintain. O’Brien sees Lemon as someone who strove for some false image of machismo; Lemon was still afraid of the dentist, even after he had his healthy tooth pulled, but he was more afraid of losing face with his fellow soldiers: an image he worked hard to maintain. So the issue for O’Brien: In a war, we tend to mourn people because they died, not for how they lived. So the issue for O’Brien: In a war, we tend to mourn people because they died, not for how they lived.

5. “Sweetheart of the Song Tra Bong” A spooky one with a compelling metaphor: This is not truly a story of Mary Anne’s transformation: It’s more about storytelling and the loss of innocence. This is not truly a story of Mary Anne’s transformation: It’s more about storytelling and the loss of innocence. Many of the soldiers are represented by Mary Anne: They, too, left America as young and naïve, and like her, they lost their innocence in Vietnam. Eventually, they all crossed over into the dark side of the war experience, and their innocent selves were lost for good. Many of the soldiers are represented by Mary Anne: They, too, left America as young and naïve, and like her, they lost their innocence in Vietnam. Eventually, they all crossed over into the dark side of the war experience, and their innocent selves were lost for good. The reason why the soldiers listening to the story want Kiley to “get it right” and to tell them how it ends is two- fold: One, endings complete stories and make them “true.” Secondly, the men want to subconsciously know how the “story” will end for them. The reason why the soldiers listening to the story want Kiley to “get it right” and to tell them how it ends is two- fold: One, endings complete stories and make them “true.” Secondly, the men want to subconsciously know how the “story” will end for them. Will they, too, go to the dark side and never return? Will they, too, go to the dark side and never return?

6. “Stockings,” “Church” In “Stockings,” Dobbins wears his girlfriend’s panty hose around his neck because they symbolize love, home – and most of all, some kind of mojo that comes from both. In “Stockings,” Dobbins wears his girlfriend’s panty hose around his neck because they symbolize love, home – and most of all, some kind of mojo that comes from both. Even after his girlfriend breaks up with him, Dobbins wears the pantyhose to keep this state of mind, rather than memories of the girl. They will continue to protect him as long as he believes in them. Even after his girlfriend breaks up with him, Dobbins wears the pantyhose to keep this state of mind, rather than memories of the girl. They will continue to protect him as long as he believes in them.

7. “Stockings,” “Church” The soldiers have blurred the boundaries between the war and church: something Dobbins and Kiowa think is wrong. The soldiers have blurred the boundaries between the war and church: something Dobbins and Kiowa think is wrong. When Dobbins imitates the hand-washing action, he doesn’t know what it means, only that he is trying to make amends for having violated this separation. When Dobbins imitates the hand-washing action, he doesn’t know what it means, only that he is trying to make amends for having violated this separation.

8. “The Man I Killed” O’Brien copes with his feelings about the young man’s death by taking himself out of the narration: He focuses on physical characteristics of the young man, rather than on O’Brien’s own feelings of guilt. O’Brien copes with his feelings about the young man’s death by taking himself out of the narration: He focuses on physical characteristics of the young man, rather than on O’Brien’s own feelings of guilt. The reader can only infer what O’Brien is feeling. The reader can only infer what O’Brien is feeling. He creates an entire identity for the young man – sharing many similarities with his own life – in coming to grips with his own mortality. He creates an entire identity for the young man – sharing many similarities with his own life – in coming to grips with his own mortality.

9. “Ambush,” “Style” Recounts “The Man I Killed” in first person: He is much more direct about it, in part, for Kathleen’s benefit. Recounts “The Man I Killed” in first person: He is much more direct about it, in part, for Kathleen’s benefit. He has a clear memory of the man’s actual death that only time and distance has allowed to crystallize. He has a clear memory of the man’s actual death that only time and distance has allowed to crystallize. In “Style,” just as in “Church,” the soldiers try to derive meaning from something they don’t understand; in this case, the girl’s dancing amid the destruction and human carnage. In “Style,” just as in “Church,” the soldiers try to derive meaning from something they don’t understand; in this case, the girl’s dancing amid the destruction and human carnage. It’s confusing. Dancing is purposeful, graceful, and meaningful: everything the war is not. It’s confusing. Dancing is purposeful, graceful, and meaningful: everything the war is not. When Azar dances, he may be mocking the girl: Or he may be trying to derive meaning from the dance (and hence, the war). When Azar dances, he may be mocking the girl: Or he may be trying to derive meaning from the dance (and hence, the war).