Words came from readers in Cleveland that “‘the impression soon prevails in your mind that Ernie Pyle… is the President of the United State’” (Tobin 29). In the midst of World War II Ernie Pyle stood out from the crowd of journalists with a style that hadn’t been seen before but spoke to American readers all over both on the home front and abroad. One writer and historian, Jordan Braverman, puts it into perspective however the lack of truth of some reporting by saying, “Soldiers were known to have huddled in foxholes under heavy aerial bombardment, while their radios were telling them that U.S. forces had complete control of the skies in their battle sector” (Braverman 84). It wasn’t just radio that did this but also print media that both wasn’t always accurate and could be seen as having alternative motives in their writing. One reader summed it up as “you read Lippman for wisdom. Pegler for controversy, Winchell for gossip, but Pyle you read for sustenance in difficult times” (Tobin 28). Echoing this feeling, one deliveryman proclaimed “‘the trouble with these column guys is they want to organize the world… except Pyle. Throw the rest away, but gimme Pyle’” (Tobin 28). Ernie Pyle began his career as a columnist before World War II had begun, and so did his development of distinct aspects of journalism that he carried through his Word War II columns and brought with them a new light to journalism. Roy Howard himself the head of the Scripps-Howard Publishing company wired Pyle a message during the war. It read, “‘ YOUR STUFF IS NOT ONLY GREATEST YOUR CAREER… BUT MOST ILLUMINATING HUMAN AND APPEALING DESCRIPTIVE MATTER PRINTED AMERICA SINCE OUTBREAK BATTLE BRITAIN…YOUR STUFF TALK OF NEW YORK’” (Tobin 57-58). Pyle gathered inform...
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...f the war seeing it first hand. However even with his gained authority as a writer and his appeal to his audiences it must be considered the cost at which his different style of journalism was compromised in the process. Although we imagine reporters saying what they want and feel most important to share, it must be considered that beyond the censoring they face, they need to keep their job. If they write with a voice their audience doesn’t like, an honesty that people find offensive or to overwhelming to name only a few concerns if their audience doesn’t read their articles, they lose their job. Also because Pyle wrote from within the army he had to keep them pleased with him and comfortable sharing their stories. In a few cases the ____ even invited him along secret events because they trusted him to report about the event in a way that suits both him and theirs.
Beginning in the early 1960's American journalists began taking a hard look at America's involvement in South Vietnam. This inevitably led to a conflict with the American and South Vietnamese governments, some fellow journalists, and their parent news organizations. This was the last hurrah of print journalism, as television began to grow in stature. William Prochnau's, Once Upon A Distant War, carefully details the struggles of these hardy journalists, led by David Halberstram, Malcolm Browne, and Neil Sheehan. The book contains stories, told in layers, chronicling America's growing involvement in South Vietnam from 1961 through 1963.
Tim O’Brien’s ultimate purpose is to detract the fine line between fiction and reality. In order to fully grasp what a true war story consists of, the definition of true must be deciphered. O’Brien seems to believe that it does not need to be pure facts. Instead, it is mostly found in the imagination of the individual. Readers need to receive a story based on the truth in its overall purpose and meaning. It just needs to feel true. The author implies that it is not important whether the event actually occurred or not, because if the reader wants to believe it that badly, the feeling of truth will always be present.
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
...tories dedicated to many more heroes of “the greatest generation.” He mentions a man by the name of Jack Hemingway, who parachuted into France behind enemy lines, where he was taken prisoner by the Germans, and a woman named Helen Strauss, who was nominated as New Jersey’s Psychologist of the Year in 1997 for her hard work and dedication to children and low-income families. She was also known as a great woman for her service in the Navy. Brokaw also mentions Bill Mauldin, a writer who “shared with those on the front lines as well as those at home the hard truths and dark humor of life at war.”(p381) With Brokaw’s use of “hard truths,” again, the image of savage fighting appears to the reader. Another picture comes forth in the reader’s mind from Brokaw’s use of “dark humor.” A picture of a bleak and cloudy memories that the soldier’s mask with a sense of humor.
An article called, “The Real War,” written by Roger J. Spiller, begins with a quote by Walt Whitman, “The real war will never get in the books.” The author writes about an interview with Paul Fussell, who was a soldier in World War Two and has written many books about World War One and World War Two. Fussell is very opinionated and critical about other books written about these wars, asserting they are not realistic or portray the true essence of what really occurred by soldiers and other people participating in the wars. I claim that it is impossible to convey the actual personal feelings and emotions of those involved in a war in books or any other forms of media.
King, Rosemary. "O'Brien's 'How to Tell a True War Story.'" The Explicator. 57.3 (1999): 182. Expanded Academic ASAP.
portrayal of the horrors of the War. This is an anti war story and it
It wasn’t just when the news was delivered but also how it was delivered. It had an influence because of the great personalities of Dick Smyth, Lee Marshall, Grant Hudson and others who dramatically and entertainingly delivered the news. They reported the news “dramatically” and with the “same energy as disk jockeys had snappy writing with alliterations, and a lot of short sound bites.” They were deejays without music. This dynamic combination of news reporting made for an amusing news report; that not only captured the audience, but also kept them tuning in.
“The war correspondent is responsible for most of the ideas of battle which the public possesses … I can’t write that it occurred if I know that it did not, even if by painting it that way I can rouse the blood and make the pulse beat faster – and undoubtedly these men here deserve that people’s pulses shall beat for them. But War Correspondents have so habitually exaggerated the heroism of battles that people don’t realise that real actions are heroic.”
Schroeder, Eric James. "Tim O'Brien: Maybe So." Vietnam, We've All Been There: Interviews with American Writers. Ed. Eric James Schroeder. Westport, Conn: Praeger, 1992. 125-43.
Kenworthy, E W. "Agnew Says TV Networks are Distorting the News." New York Times November 14, 1969: 1-2.
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.
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.
In Hedges' first chapter of the book titled, "The Myth of War," he talks about how the press often shows and romanticizes certain aspects of war. In war there is a mythic reality and a sensory reality. In sensory reality, we see events for what they are. In mythic reality, we see defeats as "signposts on the road to ultimate victory" (21), Chris Hedges brings up an intriguing point that the war we are most used to seeing and hearing about (mythic war )is a war completely different than the war the soldiers and journalists experience ( sensory war), a war that hides nothing. He states, "The myth of war is essential to justify the horrible sacrifices required in war, the destruction and death of innocents. It can be formed only by denying the reality of war, by turning the lies, the manipulation, the inhumanness of war into the heroic ideal" (26). Chris Hedges tries to get the point across that in war nothing is as it seems. Through his own experiences we are a...