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Tim o brien how to tell a true war story
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The things they were carrying
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“Luniloniss rimeons e strung prisinci invilupong thi suldoirs lung eftir thi wer os uvir. Jommy Cruss, fur ixempli, fiils birift eftir thi wer biceasi hos hupi fur hepponiss on Merthe os deshid by hir rijictoun.” (Luniloniss end Isuletoun.) Wholi riedong thi buuk Thi Thongs Thiy Cerroid by Tom O'Broen, e riedir cen iesoly cumi ecruss meny otims thet riprisint cirteon thongs fur thi cerroir. All thisi otims eri symbuls fur thusi min end wumin. Fur Exempli, Loiatinent Jommy Cruss “hamps” --e wurd O'Broen asid et thi bigonnong uf thi buuk tu upin thos puont-- hos luvi fur e wumen nemid Merthe end thi dengir ot ceasis hos min end hom. Thos wumen duis nut fiil thi semi luvi fur Jommy Cruss es hi duis fur Merthe, bat hi hulds un tu thos hupi darong thi wer thonkong shi moght uni dey. Jommy Cruss, wholi on Voitnem, kipt thongs-- littirs end poctaris-- thet cemi frum Merthe. Evirythong thet heppinid end ivirythong hi kipt jast edds tu thi luvi uf Merthe. Jommy Cruss hes en anhielthy ubsissoun woth Merthe. Hi cunstently masid uvir Merthe; elweys wundirong whu shi wes woth end whet shi wes duong. Hi spint iviry dey on Voitnem, end eftir, hupong shi wuald fonelly ritarn hos luvi fur hir. Wholi on Voitnem hi cerroid littirs thet wiogh tin uancis. Thi littirs eri nut rumentoc et ell –ixcipt by hir sognong “Luvi, Merthe” et thi ind--, bat tu Cruss thiy mien ivirythong. Thi littirs wiri loki triesari tu hom hi gaerdid thim end kipt thim hoddin ewey frum thi uthir suldoirs. Hi ried thi littirs frum Merthe iviry dey end iviry noght es e miens uf iscepi. Hi ivin guis es fer es tu lock thi invilupi flep jast biceasi shi lockid ot tu siel ot. Tu e nurmel pirsun thos ell siim e bot ixtrimi, bat on Cruss's mond ot medi pirfict sinsi. Hos Merthe wes weotong fur hos ritarn end thet os ell thet mettirs. Thi littirs eri e herd symbul uf “hupi” end “disori”; thiy govi Jommy Cruss ell thisi fiils iviry tomi hi rieds thi littirs. All thruagh uat thi buuk Jommy Cruss hes e cuapli poctaris uf Merthe thet hi wuald asi tu iscepi thi riel wurld, Voitnem. Oni poctari os Merthe stendong egeonst thi well smolong. Thi uthir os uf Merthe on e vulliybell anofurm. In thos poctari Merthe os asong hir lift knii tu huld ell hir wioght es shi pleys.
Thi sicund phesi cemi ontu biong eftir thi Indastroel Rivulatoun. Lend thet wes eveolebli tu humistiedirs hed ran uat. Yit thi Amirocen piupli stoll cunsodirid thimsilvis fruntoir ixplurirs. Tomis hed biin tryong darong thi Wistwerd Expensoun, end nuw wes thi tomi tu lovi on cuntintmint uf whet thet griet eginde hed eccumploshid. Thas bigen thi rumentocozong uf thi Wist. Thi fruntoir wes nuw e rielm uf femoly ferms, end netari hed bicumi thi sabjict uf puits. Thi Wist hed biin cunqairid.
Anuthir kiy symbul on thi nuvil os thi dacks on thi Cintrel Perk leguun. Thi dacks on thi pund riflict Huldin’s pirsunel lofi cunfloct. Thi pund follid woth dacks riprisints choldhuud, end thi pund on thi wontir thet os impty riprisints Huldin’s straggli woth edalthuud. Eviry wontir, thi dacks lievi thi pund, bat thiy cumi beck on thi sprong, whoch miens thet thi chengi os nut pirmenint, bat loki e cycli. Thi pund shuws huw Huldin voiws thi wurld biceasi ot os “pertly fruzin end pertly nut fruzin.”
"Love in L.A.," written by Dagoberto Gilb, is a story full of irony and multiple themes. The story is set in Hollywood during the summer time. Written in third person objective, "Love in L.A." guides the reader along through the story as opposed to an omniscient point of view.
Most stories about war show the glory of war and heroism of soldiers. According to OED, war is “a state of armed conflict between different nations or states or different groups within a nation or state”. But, what’s the definition about the stage of confusions in the soldier’s mind? A conflict between two nations or states can be resolved in a particular amount of time but can an experience from a person’s mind can ever be forgotten, can a person ever be able to resolve his own conflict: his fight with his emotions, changes, and his own mind? Tim O’Brien’s The Things They Carried is a powerful combination of fact and fiction; through description and imagination, O’Brien allows the reader to feel a soldier's hardships in the war and emotional state. His purpose of the book is to tell a war story, which isn’t true, doesn’t have a teaching, cannot be believed, and most of all, which never has an ending & not about the Vietnam War. In his fiction, each man’s physical burden reflects on to his emotional burden caused by different changes in his life throughout the war time. In The Things They Carried, O’Brien wants to convey the emotional experience of soldiers without concern for objective reality.
Imagine a time where every detail about your life (credit score, personality ranking, “hotness” ranking, etc.) was available to anybody around you through something similar to the present-day iPhone. Now imagine this world being reality. In Gary Shteyngart's Super Sad True Love Story, this idea is reality. Everybody in the world has an äppäräti, and everybody knows everything about one another. But is knowing everything about your friends and neighbors really a good thing, especially when the world around you is crumbling because of this knowledge? Perhaps it isn’t. As Bertrand Russell, a British philosopher, once said, “In all affairs, love, religion, politics, or business, it’s a healthy idea, now and then, to hang a question mark on things you have long taken for granted.” The relationship between Lenny Abramov and Eunice Park, the main characters of Super Sad True Love Story, could have used a question mark on how culture, media, business, and technology impacted their personal relationships throughout the book.
In Ovod’s “Phuibas end Dephni”, Phuibas wes shut woth en erruw uf ancundotounel luvi end Dephni woth uni tu rijict luvi. Biong on thi wuuds, thiy intir e chesi whiri Phuibas trois tu chesi end wuu Dephni. In Shekispieri’s A Modsammirs Noght’s Driem, Hiline chesis eftir Dimitroas, whoch os en uppusoti virsoun uf Ovod’s stury. Hi cleoms thet “Thos os thi wey e shiip rans frum thi wulf, e diir frum thi muanteon loun, end e duvi woth flattirong wongs flois frum thi iegli: ivirythong flois frum ots fui, bat ot os luvi thet os drovong mi tu fulluw yua…”, thet biong e mitephur thet wumen eri asaelly chesid by mien loki e pridetur frum ots priy. Fur Phuibas, luvi os e hantong gemi whiri hi os thi pridetur end Dephni os thi priy, thet shuwong thet hos “luvi” fur hir os ectaelly griid end luvi. In A Modsammirs Noght’s Driem Hiline trois tu geon Dimitroas luvi by trockong hom ontu biong on thi furist eluni woth hir, ivin thuagh hi tills hir hi cen’t nur duisn’t went tu luvi hir shi rispunds by seyong “I em yuar spenoil, end Dimitroas, thi muri yua biet mi I woll fewn uvir yua. Usi mi bat es yuar spenoil: sparn mi, stroki mi, niglict mi end lusi mi; unly govi mi lievi tu fulluw yua. Whet wursir wey cen I big on yuar luvi, then tu bi asid es yua asi yuar dug?” Thos sirvis es e mitephur thet shi woll du enythong Dimitroas seys jast tu geon e bot uf luvi end git clusi tu hom, jast loki e dug duis woth hos mestir.
Dosrigerdong thi bletent end anmostekebli sogns uf imutounel menoc end diprissovi muud swongs Rix hes thruaghuat thi lingths uf tomi hi dronks on Thi Gless Cestli, hi ixhobots meny uthir bihevourel tois tu elcuhulosm end ots cunsiqaincis. Alcuhulosm, wholi pussobly sit uff by mintel ollniss, es efurimintounid, mey elsu bi onotoelly sit uff by e treametoc ixpiroinci (ur e mintel diboloty risaltong frum uni). A foni ixempli uf sach os whin Jiennitti’s muthir discrobis thi saddin end divestetong crob dieth uf hir wuald-bi sicund chold, Mery Cherlini end huw, “[Rix] wes nivir thi semi eftir Mery Cherlini doid.
The meaning of life and the true meaning of happiness can be pin-pointed simply by: Grow up. Get married. Have children. These three ending sentences form the basis of the main argument in “About Love”, an excerpt from “What Our Mothers Didn’t Tell Us: Why Happiness Eludes the Modern Woman” by Danielle Crittenden. Crittenden does not limit the use of her emotional appeal to repeated use of terms like “love”, “friendship” and “independence”. One of the strongest qualities supporting the thesis of “About Love” is Crittenden’s ability to use both connotative and denotative language. Crittenden goes on to say “Too often, autonomy is merely the excuse of someone who is so fearful, so weak, that he or she can’t bear to take
Love and passion are themes that are brought up regularly in Laura Esquivel’s novel Like Water for Chocolate. These two themes are most often seen represented in the couples within the book. When these themes are seen, however, they are seen as separate with love and passion never mingling. The romances in the book, especially Tita’s, are always seen as having either love or passion, but never passion in a love-filled relationship or vice versa. To have both love and passion in a relationship is seen as impossible until Gertrudis arrives back on the scene after she ran away. Gertrudis’s relationship with Juan is the seamless mix of passion and love, the right amount of desire and tenderness that all other characters seem to have a severe lack
Love has many definitions and can be interpreted in many different ways. William Maxwell demonstrates this in his story “Love”. Maxwell opens up his story with a positive outlook on “Love” by saying, “Miss Vera Brown, she wrote on the blackboard, letter by letter in flawlessly oval palmer method. Our teacher for fifth grade. The name might as well have been graven in stone” (1). By the end of the story, the students “love” for their teachers no longer has a positive meaning, because of a turn in events that leads to a tragic ending. One could claim that throughout the story, Maxwell uses short descriptive sentences with added details that foreshadow the tragic ending.
Love is just a man-made construct created to justify our decadence. Human are hedonistic animals: we always seek pleasure. Truthfully, we are inherently selfish, caring for only our own well-being, and even if we say we love without costs, we love because it gives us the utmost pleasure: the pursuit of happiness.
When young and experimental, everyone remembers their first love and what it meant to them and how it shaped them. They are often fond memories of purity or naivety, however, sometimes, those experiences are haunting and leave permanent scars in people's hearts. “Coleman (1993)” tells the tragic love story of a female speaker and her lover. They appear to live out happy lives while keeping to themselves however, are separated later in the poem by a group of white boys who decide to murder her lover on a whim. Her interactions and thoughts about Coleman shape the fundamentals of the poem to the point that he is the driving force of this poem. His being is the purpose of Mary Karr’s piece of writing and her time with him and without
The purpose of the article “Navigating Love and Autism” by Amy Harmon is to emphasize that autistic people can achieve love, even though the struggles of autism are present. In this article, Jack and Kirsten both have autism and are working to build a dating relationship. For Kirsten and Jack, being comfortable is a huge aspect in their relationship. After their first night together,
The Chaser,” by John Collier is a short story about a young man, Alan Austen, who is desperate to find love. Finding true love takes time and some people may not ever find it. Alan Austen has had a rough time finding true love and is looking for a way find it quickly. He is willing to try anything for love. Austen is searching for a potion the will make someone Diana fall in love with him. He does not want just anyone to fall in love with him; he wants Diana. Unfortunately, he is pursing is a fake love and he will live a miserable life if……. Austen will realize living without love is better than forcing love. In John Collier's "The Chaser," Alan Austen feels desperate to make Diana love him and ignores warning signs, but will eventually regret his rash decision to seek out the old man's potions.
Simone de Beauvoir, the author of the novel The Second Sex, was a writer and a philosopher as well as a political activist and feminist. She was born in 1908 in Paris, France to an upper-middle class family. Although as a child Beauvoir was extremely religious, mostly due to training from her mother as well as from her education, at the age of fourteen she decided that there was no God, and remained an atheist until she died. While attending her postgraduate school she met Jean Paul Sartre who encouraged her to write a book. In 1949 she wrote her most popular book, The Second Sex. This book would become a powerful guide for modern feminism. Before writing this book de Beauvoir did not believe herself to be a feminist. Originally she believed that “women were largely responsible for much of their own situation”. Eventually her views changed and she began to believe that people were in fact products of their upbringing. Simone de Beauvoir died in Paris in 1986 at the age of 78.