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A soldier's narrative at war
Creative writing of war
War personal narratives
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Collecting evidences, gathering recourses, and providing reliable insights of a historical event are certainly not some easy tasks to perform for an author who has no first-hand experience of such event. Nevertheless, it is even more challenging for authors to re-organize, recount, and represent traumatic war-time memories to a body of audience with no direct experience of the intensely dangerous confrontations, especially belligerent experiences that happened abroad. To convey the anxiety and trauma resulted from extreme violence, moral conflicts and physio-psychological damages without unconsciously marginalizing any particular historical event, authors who write about traumatic experiences must be cautious when they try to visually and mentally …show more content…
Even though on the surface Manase seems to have moved on from the military past by embodying his new identity—amateur geologist and bookseller, he is still severely haunted by the massacres of sick soldiers he witnessed. Among those memories, Manase’s interaction with the dying Lance Corporal remains the most impactful both as a trigger to post-war new life and as a reminder of the horrifying memories. While his inner struggle to move on from the past remains unsolved, those traumatic experiences end up blighting his relationship with the wife and …show more content…
By doing so, Okuizumi seamlessly asserts his political standpoint while reminding the audience that although it may be possible to bury traumatic experiences, the memories could always lurk in the dark. Instead of chronological portrayal of Manase’s life before and after the war, Okuizumi intelligently switches the narrative back and forth within Manase’s seemingly contented yet actually distorted domestic life, ruined by his mysteriously excessive obsession over stone collection. If the narrative were to simply begin with Manase’s wartime experience in the Philippines and end with the tragic deaths of his tow sons, or vice versa, the audience would not be able to fully appreciate those haunting and overwhelming traumatic moments that Manase underwent. Perhaps by taking the words of the dying Lance Corporal as a sort of remedy for his horrifying military experience, Manase deliberately suppresses the agonizing memories from the war. However, as Manase never makes an effort to resolve his fear for the haunted past, he ends up losing grip of reality, and the unsolved trauma ends up shaping the tragedies that happened to his
“This story is neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war...”
Many war stories today have happy, romantic, and cliche ending; many authors skip the sad, groosom, and realistic part of the story. W. D. Howell’s story, Editha and Ambrose Bierce’s story, An Occurence at Owl Creek Bridge both undercut the romantic plots and unrealistic conclusions brought on by many stories today. Both stories start out leading the reader to believe it is just another tpyical love-war senario, but what makes them different is the one-hundred and eighty degrees plot twist at the end of each story. In the typical love-war story the soldier would go off to war, fighting for his country, to later return safely to his family typically unscaved.
Tony Palmer, the author of “Break of Day”, tells a story that takes place in and out of war. The story follows a man named Murray Barrett who lives in the times of ww2. He ends up finding himself in the middle of it, down at Port Moresby. During the midst of war, Murray ends up coming across an injured Sid Archer, a childhood enemy and the man who stole Will’s (Murray’s older brother) childhood lover. Murray helps Sid instead of abandoning him, despite their childhood drama. In this book, Palmer really focuses on the themes of family, death, and bravery. He presents to us how complicated families can get, how people deal with death differently from others, and how there are many forms of bravery.
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.
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
O’Brien, Tim. “How To Tell a True War Story.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
After years of abandonment, an absent man presumed to be Martin Guerre appeared in front of a woman who longed for a strong love and different husband. An “obstinate and honorable” woman could no...
After an event of large magnitude, it still began to take its toll on the protagonist as they often “carried all the emotional baggage of men who might die” during the war (O’Brien 1187). The travesties that occurred with the brutality of war did not subside and began to affect those involved in a deeply emotional way. The multitude of disastrous happenings influenced the narrator to develop a psychological handicap to death by being “afraid of dying” although being “even more afraid to show it” (O’Brien 1187). The burden caused by the war creates fear inside the protagonist’s mind, yet if he were to display his sense of distress it would cause a deeper fear for those around him, thus making the thought of exposing the fear even more frightening. The emotional battle taking place in the psyche of the narrator is directly repressed by the war.
...n amnesiac nation into “working through” its troubled past.” (Bly ,189) Story telling was the soldier’s salvation, their survival method. Being able to tell their stories let them express everything they were feeling and ultimately cope with the horrors of war and the guilt the carried.
Many individuals look at soldiers for hope and therefore, add load to them. Those that cannot rationally overcome these difficulties may create Post Traumatic Stress Disorder. Tragically, some resort to suicide to get away from their insecurities. Troops, notwithstanding, are not by any means the only ones influenced by wars; relatives likewise encounter mental hardships when their friends and family are sent to war. Timothy Findley precisely depicts the critical impact wars have on people in his novel by showing how after-war characters are not what they were at the beginning.
There is a major change in the men in this novel. At first, they are excited to join the army in order to help their country. After they see the truth about war, they learn very important assets of life such as death, destruction, and suffering. These emotions are learned in places like training camp, battles, and hospitals. All the men, dead or alive, obtained knowledge on how to deal with death, which is very important to one’s life.
O’Brien, Tim. “How to Tell a True War Story.” The Things They Carried. Boston: Houghton Mifflin, 1990. Print.
Lawrence Hill Books, c2009 Bracken, Patrick and Celia Petty (editors). Rethinking the Trauma of War. New York, NY: Save the Children Fund, Free Association Books, Ltd, 1998.
...is interactions with his wife are filled with tension and he is saddened when he reflects upon the men lost during war and the death of his brother.
The boy awakes from a night of being lost in the woods, a product of pushing the lines of his invisible enemy deep into their own territory and the fright of an unfamiliar animal. He arose to a sight that he is unable to comprehend; that what he is seeing could even be a creation of war. What the boy is confronted with is a horrific and stomach churning scene of “maimed and bleeding men” (Bierce 43) that “crept upon their hands and knees.” (43). Being confronted with the ghastly scene the boy’s ideals of war blind him to the reality of what he is witnessing. An idea that Bierce portrays that even with the sights of battle many men are blinded by their own machismo and idyllic of