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I don't read military fiction nearly as much as I read military nonfiction, but I had to read a "classic" American novel for 11th-grade English class this year, and the plot sounded interesting, so I gave this a try.
So, the book is divided into two parts, there is vignettes of real combat scene's that the platoon is involved in and then there is the ' magic' scenes where they walk through countries and experience lots of things that are metaphors for what's happening in the world.
Tim O'Brien uses an elaborate three-part structure to tell the story of Paul Berlin, whereby three intertwined arcs combine to tell a soldier's story. The first arc is the most literal, where Paul Berlin is on night watch in a guard tower while his squad mates sleep. Berlin makes a small yet monumental choice: rather than wake his squad mates to perform their shift, he takes the entire night to keep the watch himself and dreams his story about the road to Paris. This second arc, the Road to Paris, takes place mostly in Berlin's mind--but intentionally begs the question, `what is real and what is imagined.' It begins with a real event, Cacciato's desertion, but after a perfunctory chase that concludes with his lieutenant informing headquarters that Cacciato is missing in action, the events of this narrative take place in Berlin's mind.
Shortly after midnight, Berlin wades into the sea and contemplates his guard tower: "an observation post with nothing to observe." What is really under observation is Paul Berlin's experience in the Vietnam War, both how it happened and how it might have happened. Control is a constant motif throughout the novel, whether exerted by Lieutenant Martin ordering the soldiers to certain death in the tunnels, seeking control by chasing Cacciato to return him to the ordered existence of Army life, or the control of Berlin's story.
The synopsis says that Tim O'Brien's novels blur the line between reality and fantasy. No line exists in this endeavor. With a few paragraphs at the beginning and a few paragraphs at the end of "Going After Cacciato", the story is entirely a quixotic landscape suspended and book-ended between the fragile (bordering on the shallow) vault of the imagination and the imagination. There are repetitive spelling errors, mainly Vietnamese words (Li Van Ngoc not Li Van Hgoc) and Vietnamese phrases (Mau len not man len), but the rest of the writing flows fluidly, like walking into a dream. Because it is a fictional account (even if it is not fictionalized) of the war, the detailed accounts of the war seem superficial, poorly fleshed out. Insert rice paddy here, a few Vietnamese provinces there, and a M-60, and it would be a cookie cutter account of any war taken in any parts of Asia. I do not think it deserves the National Book Award. Dialogues are definitely the book's strength, but writing on the language level is at best pedestrian. I think a 4 is being generous. Throughout the book I kept on comparing this book strangely to the movie "Harold and Kumar: Go to White Castle." Replace Castle for Paris. Where fantasy instead of bordering on fantasy-- it borders on silly absurdities and tacky weirdness.
The book is quite hilarious at times, other times so hallucinatory and dreamlike that portions just barely make sense, but still, a fine read.
So, the book is divided into two parts, there is vignettes of real combat scene's that the platoon is involved in and then there is the ' magic' scenes where they walk through countries and experience lots of things that are metaphors for what's happening in the world.
Tim O'Brien uses an elaborate three-part structure to tell the story of Paul Berlin, whereby three intertwined arcs combine to tell a soldier's story. The first arc is the most literal, where Paul Berlin is on night watch in a guard tower while his squad mates sleep. Berlin makes a small yet monumental choice: rather than wake his squad mates to perform their shift, he takes the entire night to keep the watch himself and dreams his story about the road to Paris. This second arc, the Road to Paris, takes place mostly in Berlin's mind--but intentionally begs the question, `what is real and what is imagined.' It begins with a real event, Cacciato's desertion, but after a perfunctory chase that concludes with his lieutenant informing headquarters that Cacciato is missing in action, the events of this narrative take place in Berlin's mind.
Shortly after midnight, Berlin wades into the sea and contemplates his guard tower: "an observation post with nothing to observe." What is really under observation is Paul Berlin's experience in the Vietnam War, both how it happened and how it might have happened. Control is a constant motif throughout the novel, whether exerted by Lieutenant Martin ordering the soldiers to certain death in the tunnels, seeking control by chasing Cacciato to return him to the ordered existence of Army life, or the control of Berlin's story.
The synopsis says that Tim O'Brien's novels blur the line between reality and fantasy. No line exists in this endeavor. With a few paragraphs at the beginning and a few paragraphs at the end of "Going After Cacciato", the story is entirely a quixotic landscape suspended and book-ended between the fragile (bordering on the shallow) vault of the imagination and the imagination. There are repetitive spelling errors, mainly Vietnamese words (Li Van Ngoc not Li Van Hgoc) and Vietnamese phrases (Mau len not man len), but the rest of the writing flows fluidly, like walking into a dream. Because it is a fictional account (even if it is not fictionalized) of the war, the detailed accounts of the war seem superficial, poorly fleshed out. Insert rice paddy here, a few Vietnamese provinces there, and a M-60, and it would be a cookie cutter account of any war taken in any parts of Asia. I do not think it deserves the National Book Award. Dialogues are definitely the book's strength, but writing on the language level is at best pedestrian. I think a 4 is being generous. Throughout the book I kept on comparing this book strangely to the movie "Harold and Kumar: Go to White Castle." Replace Castle for Paris. Where fantasy instead of bordering on fantasy-- it borders on silly absurdities and tacky weirdness.
The book is quite hilarious at times, other times so hallucinatory and dreamlike that portions just barely make sense, but still, a fine read.