The difference between creative nonfiction and fiction is unassuming: fiction is derived from the fabrications of an author’s imagination, whereas creative nonfiction is contingent on facts. A novelist has the freedom to create scenes which never existed, whereas an author of creative nonfiction must convey a truthful story. However, the line between creative nonfiction and fiction, fact and falsehood, has become ever so thin as “writers of memoir [have been] revealed to be frauds and fiction writers masquerade as memoirists in order to sell books” (Bradley 203). Recent events have revealed authors such as James Frey and Tim Barrus to have combined elements of fiction and nonfiction within their creative nonfiction books (Buck 56), further blurring this line. Overlooked embellishments and whole fabrications were found to exist within their alleged creative nonfiction works – stirring angst within the nonfiction community (Bradley 208).
“It’s about love and memory. It’s about sorrow” (O’Brien 81). A true war story is not true at all, unless, the reader is able to identify the different personal, emotional truths within them; the truth is fictionalized so that it can be accessible to vaster audience of readers, so that it could mean
Each of his stories is changed based on his perspective and what he remembers, so it makes sense that his truth’s are individual. He also states how O 'Brien spends his time picking the truth apart about war. This could be of a couple different reasons, like his trouble remembering what happened, or how he depicts the truth from fiction. Mr. Volkmer says how O’Brien was always trying to quote on quote “ pull the rug out from underneath the reader” when he was telling a story. It is definitely true that O’Brien was trying to do that throughout the whole novel.
Because of this, what actually happens becomes “jumbled” and influences the stories that soldiers tell, making the stories seem fake. This... ... middle of paper ... ...ents a story truth, one that tells the truth in regards to sensation and emotion. This is represented when the narrator says “makes the story seem untrue, but which in fact represents the hard exact truth”(O’Brien pg. 68). O’Brien shows that it matters not that a story is fiction, so long as it represents the truth as it seemed.
If a story has chapters that interconnect, is it considered a novel or a series of short stories? A novel is defined as a fictitious prose narrative of book length, typically representing characters and action with some degree of realism. A short story is a piece of prose fiction, which can be read in a single sitting. In a debate of whether “Always Outnumbered, Always Outgunned” is a novel or series of short stories, one controversial issue has been that it is a novel. On the one hand, people argue that it is a novel because they can read the whole book in order.
Milan Kundera's The Unbearable Lightness of Being In an interview he gave after the reprinting of one of his later novels, Milan Kundera said, most eloquently, that ?the stupidity of the world comes from having an answer for everything? the wisdom of the novel comes from having a question for everything? (qtd. in O'Brien 4). This statement is one most indicative of the unique authorial style found in all of Kundera?s works, particularly his most famous novel The Unbearable Lightness of Being.
In Tim O’Brien’s novel, “The Things They Carried,” imaginations can be both beneficial and corrosive. This novel consist of story truth and real truth. Throughout the novel, imagination plays a big role. Tim O’Brien wrote his book about the war mainly based on his memory of the war. He did not remember every details of the war, thus he made up some false details to the stories to make it seems more interesting.
O’Brien subjectifies truth by obscuring both fact and fiction within his storytelling. In each story he tells there is some fuzziness in what actually happened. There are two types of truths in this novel, “story-truth” and “happening-truth” (173). “Happening-truth” is what happened in the moment and “story-truth” is the way the storyteller reflects and interprets a situation. O’Brien uses these two types of truths to blur out the difference between fact and fiction.
In the novel The Things They Carried by Tim O’Brien, the author has manifested multiple views on how fiction is so persuasive that it makes every experience about the Vietnam war seem real. As a result, when he indicates that the stories were fabricated, it throws readers to question if in war, individuals have to give up their morality. Despite the fact that fiction raises this question, it is stronger than non-fiction when conveying the theme about morality in wars.
Some authors choose to write stories and novels specifically to evoke certain emotions from their readers as opposed to writing it for just a visual presentation. In order to do this, they occasionally stretch the truth and “distort” the event that actually occurred. The Things They Carried, by Tim O’Brien, is a compilation of short stories about the Vietnam War with distortion being a key element in each of them. Several stories into the novel, in the section, “How to tell a true war story”, O’Brien begins to warn readers of the lies and exaggerations that may occur when veterans tell war stories. “The vapors suck you in.