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Good effects war had on literature
Essay on war literature
Essay on war literature
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War literature derives much of its impact from the fact that many readers will never have (and are never likely to) experienced the subject matter themselves. It has been postulated that poets such as Ciardi have been damaged psychologically by what they have seen and felt. In his case much of the evidence for this lies in his abandonment of his war diary, leaving it unfinished. Readers derive meaning from the unwritten words and see it as evidence of the concept that war is an exclusive experience, only comprehensible by those that have participated in combat. If one is to accept such a statement, one is likely to discover difficulty in the war literature and poetry of James Dickey, a man that has created a fiction around his war experience that was utterly convincing to his readers and friends. In his biography, The World as a Lie, Henry Hart notes the extent of his deception; ‘Even a well-known Dickey scholar like Richard Calhoun could affirm in a standard critical study: “Dickey was in the Air Force from 1942 to 1946, heavily involved in combat, flying nearly one hundred combat missions in the Pacific campaign in the Philippines, at Okinawa, and participating in the bombing of major Japanese cities”’ This of a man whose discharge sheet tells a remarkably different story; That he was a ‘radar observer’ with a total of thirty-eight missions served between January 1945 and the end of the war. Lorrie Goldensohn analyses him succinctly as one ‘who lied about every possible aspect of his wartime career as a pilot and clung to the grandeurs of participating in wartime rituals of masculinity’. Not, then, a man who commands respect in war literature circles. The assumption of many is that war experience cannot be faked, that even ... ... middle of paper ... ...d prose concerning the Second World and other wars, the concept that the enemy army is composed of real people just like the people that compose the army of which one is a member, just as intelligent and moral, indistinguishable without uniforms. His war poetry and literature, then, is not invalid but unenlightened due to his seemingly compulsive lies about his role in it. Bibliography Ciardi, John. Saipan (University of Arkansas Press, 1988) Dickey, James Crux: The Letters of James Dickey, Edited by Bruccoli, Matthew J. and Baughman, Judith S. (Random House, 1999) Dickey, James. To the White Sea (Scribner, 2002) Hart, Henry. The World as a Lie: James Dickey (Picador USA, 2000) Goldensohn, Lorrie. Dismantling Glory: Twentieth-Century Soldier Poetry (Columbia University Press, 2003) Shapiro, Harvey. Poets of World War II (The Library of America, 2003)
“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.”
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.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
Therefore through evaluating and comparing each author’s work we will see how each is utilizing this intermingling effect between conflict and innocence to reveal how the horrors of war can affect individuals mentally. To relate how the authors accomplish this effect we will observe how each utilizes specific devices such as scenarios and specific language to engage the reader into viewing a character as more than a construct but rather a multifaceted complex individual that has flaws and mental issues much like many of us.
Tim O’Brien states in his novel The Things They Carried, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can’t help but gape at the awful majesty of combat” (77). This profound statement captures not only his perspective of war from his experience in Vietnam but a collective truth about war across the ages. It is not called the art of combat without reason: this truth transcends time and can be found in the art produced and poetry written during the years of World War I. George Trakl creates beautiful images of the war in his poem “Grodek” but juxtaposes them with the harsh realities of war. Paul Nash, a World War I artist, invokes similar images in his paintings We are Making a New World and The Ypres Salient at Night. Guilaume Apollinaire’s writes about the beautiful atrocity that is war in his poem “Gala.”
War makes you a man; it makes you dead” (O’Brien 76). Any well written novel will intrigue a reader because when an author is able to bend in emotions of a real life event with a fictional standpoint of things, a story has been written.
These views were realistic as such men actually participated in the war itself. Siegfried Sassoon sums up what he feels war is all about. "War is an undignified sacrifice of soldiers due to political errors and insincerity. " Such views are so different to pre 1900 poets nut in my opinion these grim realistic accounts reveal what everybody should know. No one should be tricked into thinking that "It is a lovely and honourable thing; to die for one's country."
...ke the reader suffer, but to create recognition of the psychosis involved in co-existing with war.
... horrors of war such as, his parents who still view war as glamorous and idealistic. War takes a heavy toll on soldiers who fight in it and in these dangerous moments anybody would have gone insane. It takes a very special type of soldier to be able to handle both the psychological and physical challenges that a soldier has to face in everyday battle. A soldier such as this must be capable of handling the sight of a mutilated comrade and not immediately chatter to pieces. The author conveys this message in his extreme use of words with negative connotation such as shells, typhus, dysentery, and trenches. In this portion of the novel a great deal of emphasis is placed on the word death which is repeated several times and standing on its own it holds a great deal of negative connotations. Therefore, due to the severity of the situation and the extensive use of words with negative connotations the overall tone of the novel appeared to be very depressing or serious. This selection also demonstrates just how mythical the character of war that many individuals who have not experienced the tragedy of battle believe to be true by illustrating just how appalling and grim war is in reality.
The difficult association between the occurrence of war and storytelling is told through the eyes of Tim O’Brien; he explains that a true war story has a supreme adherence to offensiveness that provides a sense of pride and courage commonly found in storytelling. “The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you, and in this way memory and im...
In this essay you will notice the differences and similarities between ‘The Charge of the Light Brigade’ and ‘Dulce Et Decorum Est’. ‘The Charge of the Light Brigade’ was written in nineteenth century by Alfred Lord Tennyson. In contrast, ‘Dulce Et Decorum Est’ was written in the twentieth century by Wilfred Owen. The main similarity we have observed is that they both capture war time experiences. However, the poets’ present these events using their own style, and the effect is two completely different observations of war.
The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
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.
This type of writing interests me because it was used as a tool to open people’s eyes to the brutality of war. In a way it protested and spoke up against this injustice and most importantly gave a voice to the people who became the biggest victims of war – the soldiers themselves.
In September of 1940, a debonairly young RAF pilot named Roald Dahl crashed in the Western Desert of North Africa. From the crash, Dahl is rewarded with severe injuries to the head, nose and back. In 1942, Dahl, was commanded to take a job working at the British Embassy in Washington where he worked as an assistant air attaché. He was a 26 year old and he desperately wanted to be in the middle of the battle, where he could shoot other planes and enemy soldiers from his Gladiator plane. He didn’t want to be shoved into an office where he had to sit at a desk for 11 hours. Soon after his arrival in the United States Capitol, Dahl was “"caught up in the complex web of intrigue masterminded by [William] Stephenson, the legendary Canadian spymaster, who outmaneuvered the FBI and State Department and managed to create an elaborate clandestine organization whose purpose was to weaken the isolationist forces in America and influence U.S. policy in favor of Britain. Tall, handsome, and intelligent, Dahl had all the makings of an ideal operative. A courageous officer wounded in battle, smashing looking in his dress uniform, he was everything England could have asked for as a romantic representative of their imperiled island. He was also arrogant, idiosyncratic, and incorrigible, and probably the last person anyone would have considered reliable enough to be trusted with anything secret. Above all, however, Dahl was a survivor. When he got into trouble, he was shrewd enough to make himself useful to British intelligence, providing them with gossipy items that proved he had a nose for scandal and the writer's ear for damning detail. Already attached to the British air mi...