The wars don't end when you sign peace treaties or when the years go by. They will echo on until I'm gone and all the widows and orphans are gone.
Tim O'BrienRead
Stories have a special way of putting us inside the people, inside the boots of the soldiers. You're absorbed in a way a documentary or nonfiction can't do for you.
Interpretation
Stories allow us to deeply empathize with others, offering experiences that factual accounts often cannot convey.
In this quote, Tim O'Brien emphasizes the power of storytelling to foster empathy and connection with characters' experiences, particularly in challenging situations like war. Unlike documentaries or nonfiction, which present facts and information, stories immerse us in the emotional landscapes of individuals, allowing us to truly understand their thoughts, feelings, and struggles.
In practice
In a book club discussion about war literature, one could use this quote to highlight the immersive power of story.
The wars don't end when you sign peace treaties or when the years go by. They will echo on until I'm gone and all the widows and orphans are gone.
...you find yourself studying the fine colors on the river, you feel wonder and awe at the setting of the sun, and you are filled with a hard, aching love for how the world could be and always should be, but now is not.
Unlike Chicago or New York, small-town Minnesota did not allow a man's failings to disappear beneath a veil of numbers. People talked. Secrets did not stay secret.
Place is so important to me. The Midwest is like a ghost in my life. It's present as I look out the window now. I see Texas, but if I close my eyes and look out the same window, I'm back in my hometown in Worthington, Minnesota, and I cherish those values and that diction.
In fiction workshops, we tend to focus on matters of verisimilitude largely because such issues are so much easier to talk about than the failure of imagination.
War is a fundamental aspect of human existence. It's good to know what war entails and what the human sacrifice is.
If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.
The artist is not a man who describes, but a man who feels.
The newspaper is, in fact, very bad for one's prose style. That's why I gravitated towards feature stories where you get a little more leeway in the writing style.
Beauty is like a train that ceaselessly roars out of the Gare de Lyon and which I know will never leave, which has not left. It consists of jolts and shocks, many of which do not have much importance, but which we know are destined to produce one Shock, which does...The human heart, beautiful as a seismograph...Beauty will be CONVULSIVE or will not be at all.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
When you see the films of certain young directors, you get the impression that film history begins for them around 1980.
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