“In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen.”
- Tim O’Brien, The Things They Carried
It is not only war stories that create confusion, both for their writers, and their readers, about the nature of the truth they tell. Is the truth in a “true” story what the writer experienced, or the truth of what “really” happened? If the story is about other people, is the truth what the writer sees them do, or what they think they are doing? If the writer does not know the whole truth, does the story become false?
All these questions become even more pertinent if posed about ethnographies. An ethnography is, by nature, meant to be a description of a people (the dictionary definition actually refers to “scientific description of individual cultures,” but that brings up questions about the meaning of “scientific” and “culture”). How can a people (or a culture) be described truthfully? And what is the relationship between the idealized pursuit of truth and ethical practices?
In writing an ethnography, both what the ethnographer sees (as objectively as possible) and what the people themselves say is happening must be incorporated in a reasonable manner. The people’s words must be evaluated by the ethnographer for purposeful distortion, and taken into account with that possibility in mind. Parts of the truth may be left out if they make for a story that the people being studied do not want told about themselves. Reality may be portrayed inexactly, as long as a more general truth of it is preserved—ethnographers often make use of collective characters that are combinations of several people in real life.
These general guidelines, prescribed from a 21st-century vantage poin...
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As is probably clear by now, I personally favor what I have termed the “postmodern” approach to the portrayal of truth in ethnography. I take it to be self-evident that truth is indeed always “partial and positional,” and as such think that one can never know, or portray, an absolute truth, but only what one thinks is the truth. Thus, an appropriate treatment of truth in ethnography must acknowledge the subjectivity of the ethnographer, outline social boundaries that may limit the ethnographer’s perspective, and separate the ethnographer’s interpretations from the people’s interpretations and words, but incorporate both. While in the early days of anthropology this may have led to accusations of being “unscientific,” a contemporary perspective allows me to recognize that a treatment of the truth on this manner allows for a more ethical approach to ethnography.
Sir Raymond Firth famously said that ethnography “makes the exotic familiar and the familiar exotic.” You mainly hear stories of ethnographers and anthropologist going to other countries to study societies that are fascinating and unknown so that we can become familiar with their culture and understand. This is how we make the exotic familiar. Within our own country we are under the impression that because we live around these people we know them and there is nothing to learn, but when we step in and begin to observe what’s in our own backyard we realize there are things that we don’t know. This is what Philippe Bourgois and Jeff Schonberg have done in Righteous Dopefiend.
Many times readers lose interest in stories that they feel are not authentic. In addition, readers feel that fictitious novels and stories are for children and lack depth. Tim O’ Brien maintains that keeping readers of fiction entertained is a most daunting task, “The problem with unsuccessful stories is usually simple: they are boring, a consequence of the failure of imagination- to vividly imagine and to vividly render extraordinary human events, or sequences of events, is the hard-lifting, heavy-duty, day-by-day, unending labor of a fiction writer” (Tim O’ Brien 623). Tim O’ Brien’s “How to Tell a True War Story” examines the correlation between the real experiences of war and the art of storytelling. In O’Brien’s attempt to bridge the gap between fiction and non-fiction, the narrator of the story uses language and acts of violence that may be offensive to some.
O'Brien, Tim. "How to Tell a True War Story." Writing as Re-Vision. Eds. Beth Alvarado and Barbara Cully. Needham Heights, MA: Simon & Schuster Custom Publishing, 1996. 550-8.
In Essentials of Cultural Anthropology, the book defines ethnography as “a written account of how a single human population lives” (Bailey & Peoples, 2014, p. 8). It seems to be such a simple definition to the multiple levels needed to make a successful ethnography as shown by Douglas Raybeck in Mad Dogs, Englishmen, and the Errant Anthropologist. These multiple levels of ethnographic methods include problems that often arise, the assimilation into a culture, and the many different ways of perceiving culture. This method of study is particularly unique to the social sciences because of the extensive amount of assimilation one does in order to interpret a society's culture. There is the need for a year-long period--occasionally even longer--
Tim O’Brien’s novel The Things They Carried challenges the reader to question what they are reading. In the chapter “How to Tell a True War Story”, O’Brien claims that the story is true, and then continues to tell the story of Curt’s death and Rat Kiley’s struggle to cope with the loss of his best friend. As O’Brien is telling the story, he breaks up the story and adds in fragments about how the reader should challenge the validity of every war story. For example, O’Brien writes “you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil” (69), “in many cases a true war story cannot be believed” (71), “almost everything is true. Almost nothing is true” (81), and “a thing may happen and be a total lie; another thing may not happen and be truer than the truth (83). All of those examples are ways in which O’Brien hinted that his novel is a work of fiction, and even though the events never actually happened – their effects are much more meaningful. When O’Brien says that true war stories are never about war, he means that true war stories are about all the factors that contribute to the life of the soldiers like “love and memory” (85) rather than the actual war. Happening truth is the current time in which the story was being told, when O’Brien’s daughter asked him if he ever killed anyone, he answered no in happening truth because it has been 22 years since he was in war and he is a different person when his daughter asked him. Story truth
A true war story is not always true. Some would say a true war story is an experience from war. Others, who came from war, would say they make up stories to make war seem crazier than it really is. Tim O’Brian states that the story is fiction, but the moral is true. Tracy Kidder had written war stories based on his time in Vietnam, and his book is rated as nonfiction, even though he admits that some war stories are made up.
When O'Brien says that a true war story is not about war he means that a war story is not about death, fighting or war, it is about the soldiers grim experiences. O’Brien writes “A true war story in never about war… It's about love and memory. It's about sorrow” (62). The quote demonstrates that O'Brien's definition of a war story does not describe what happens but it describes the feelings and emotions that were felt because of what happened. A true war story does not focus on what happened but it should focus on the pain that the soldiers felt.
American Anthropological Association. (2009, February). Code of Ethics of the American Anthropological Association. Retrieved March 09, 2012, from American Anthropological Association: http://www.aaanet.org/issues/policy-advocacy/Code-of-Ethics.cfm
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
Ethnography is typically defined as research designed to explore cultural phenomenon that take place in another part of society or even the world. This requires a researcher to analyze similarities and differences between cultures through a perspective that is not judgmental, but more so open to new concepts that aren’t necessarily normal to their own culture. For my research, I decided to interview a friend of mine who is culturally different when compared to myself. Before beginning my interview I created a hypothesis, which I hoped to prove through my findings. Initially, I believed that most children, who are raised within a specific’s culture influence, tend to absorb the lifestyle and mindsets of their parents. Almost similar to the quote “The apple doesn’t fall far from the tree.” By growing up within a specific culture’s influence, a child will grasp what they learned from their parents and apply it to their own lives.
An ethnographic study aims to explore and analyze a particular group of people’s social practices, and establishes a detailed description of how that particular social group operates, based on the observation of, and usually the participation in, that certain group. The study is usually helped by the interviews and data collecting through the use of camera recordings. The ethnographic film is a method or a way of documenting and gathering the ethnographic data in the field work. It is also a medium, adopted by the ethnographer, to broadcast or convey the ethnographic findings or knowledge with the aim to present an interpretation of a certain social phenomenon or cultural understandings. (Yoshimizu, 2014).
In “How to Tell a True War Story” by Tim O’Brien, Orwell’s ideas are questioned and the competition between the truth and the underlying meaning of a story is discussed. O’Brien’s story depicts that the truth isn’t always a simple concept; and that not every piece of literature or story told can follow Orwell’s list of rules (Orwell 285). The story is told through an unnamed narrator as he re-encounters memories from his past as a soldier in the Vietnam War. With his recollection of past encounters, the narrator also offers us segments of didactic explanation about what a “true war story” is and the power it has on the human body (O’Brien 65). O’Brien uses fictional literature and the narration of past experiences to raise a question; to what extent should the lack of precision, under all circumstances, be allowed? In reality, no story is ever really truthful, and even if it is, we have no proof of it. The reader never feels secure in what they are being told. The reliability of the source, the author, and the narrator are always being questioned, but the importance of a story isn’t about the truth or the accuracy in which it is told, but about the “sunlight” it carries (O’Brien 81).
In the book titled Around the World in 30 Years, Barbara Gallatin Anderson’s makes a precise and convincing argument regarding the acts of being a cultural anthropologist. Her humor, attention to detail, and familiar analogies really allow for a wholesome and educating experience for the reader. Her credible sources and uniform writing structure benefits the information. Simply, the book represents an insider’s look into the life of a cultural anthropologist who is getting the insider’s look to the lives of everybody
Cultures are infinitely complex. Culture, as Spradley (1979) defines it, is "the acquired knowledge that people use to interpret experiences and generate social behavior" (p. 5). Spradley's emphasizes that culture involves the use of knowledge. While some aspects of culture can be neatly arranged into categories and quantified with numbers and statistics, much of culture is encoded in schema, or ways of thinking (Levinson & Ember, 1996, p. 418). In order to accurately understand a culture, one must apply the correct schema and make inferences which parallel those made my natives. Spradley suggests that culture is not merely a cognitive map of beliefs and behaviors that can be objectively charted; rather, it is a set of map-making skills through which cultural behaviors, customs, language, and artifacts must be plotted (p. 7). This definition of culture offers insight into ...
One cannot generalize or predict all human behaviors, thought processes, morals, and customs. Because human nature is dominated by different types of cultures and societies in various parts of the world, this can often lead to misunderstanding which ultimately leads to the illusion of cultural superiority, and in most cases this can lead to genocide - the systematic murder or annihilation of a group of people or culture. Anthropology is the study of humans, our immediate ancestors and their cultural environments this study stems from the science of holism - the study of the human condition. Culture is crucial in determining the state of the human condition, as the cultures are traditions and customs that are learned throughout an individual