Tokyo drift theme song mp3 free download classic work of American literature that has not stopped changing minds and lives since it burst onto the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. Mullaney: I mean, The Things They Carriedit's also the things they carried home, that the war doesn't, the war doesn't end with a peace treaty, you bring the war back home with onljne and you're still wrestling with those same battles over and over and over again. You're never more aware thkngs everything that you love and value than when you're almost dead and may lose it. But following a rread hiatus, he began work the things they carried read online free a new novel, Tomcat in Love, published in And there are other times in life when you begin exaggerating and revving up the facts, maybe adding a little bit here, the things they carried read online free a bit there, as a way of trying to get at an emotional or spiritual or psychological truth.">
In April, for instance, when Ted Lavender was shot, they used his poncho to wrap him up, then to carry him across the paddy, then to lift him into the chopper that took him away. To carry something was to hump it, as when Lieutenant Jimmy Cross humped his love for Martha up the hills and through the swamps. In its intransitive form, to hump meant to walk, or to march, but it implied burdens far beyond the intransitive. Almost everyone humped photographs.
In his wallet, Lieutenant Cross carried two photographs of Martha. The first was a Kodacolor snapshot signed Love, though he knew better. She stood against a brick wall. Her eyes were gray and neutral, her lips slightly open as she stared straight-on at the camera. At night, sometimes, Lieutenant Cross wondered who had taken the picture, because he knew she had boyfriends, because he loved her so much, and because he could see the shadow of the picture-taker spreading out against the brick wall.
The second photograph had been clipped from the Mount Sebastian yearbook. There was no visible sweat. She wore white gym shorts. Her legs, he thought, were almost certainly the legs of a virgin, dry and without hair, the left knee cocked and carrying her entire weight, which was just over pounds.
Lieutenant Cross remembered touching that left knee. A dark theater, he remembered, and the movie was Bonnie and Clyde, and Martha wore a tweed skirt, and during the final scene, when he touched her knee, she turned and looked at him in a sad, sober way that made him pull his hand back, but he would always remember the feel of the tweed skirt and the knee beneath it and the sound of the gunfire that killed Bonnie and Clyde, how embarrassing it was, how slow and oppressive.
He remembered kissing her good night at the dorm door. As a first lieutenant and platoon leader, Jimmy Cross carried a compass, maps, code books, binoculars, and a. He carried a strobe light and the responsibility for the lives of his men. As a big man, therefore a machine gunner, Henry Dobbins carried the M, which weighed 23 pounds unloaded, but which was almost always loaded. In addition, Dobbins carried between 10 and 15 pounds of ammunition draped in belts across his chest and shoulders.
As PFCs or Spec 4 s, most of them were common grunts and carried the standard M gas-operated assault rifle. The weapon weighed 7. Depending on numerous factors, such as topography and psychology, the riflemen carried anywhere from 12 to 20 magazines, usually in cloth bandoliers, adding on another 8. When it was available, they also carried M maintenance gear—rods and steel brushes and swabs and tubes of LSA oil—all of which weighed about a pound.
Among the grunts, some carried the M grenade launcher, 5. A single round weighed 10 ounces. The typical load was 25 rounds. But Ted Lavender, who was scared, carried 34 rounds when he was shot and killed outside Than Khe, and he went down under an exceptional burden, more than 20 pounds of ammunition, plus the flak jacket and helmet and rations and water and toilet paper and tranquilizers and all the rest, plus the unweighed fear.
He was dead weight. There was no twitching or flopping. Kiowa, who saw it happen, said it was like watching a rock fall, or a big sandbag or something—just boom, then down—not like the movies where the dead guy rolls around and does fancy spins and goes ass over teakettle—not like that, Kiowa said, the poor bastard just flat-fuck fell.
Nothing else. It was a bright morning in mid-April. Lieutenant Cross felt the pain. He blamed himself. KIA and to request a chopper. Then they wrapped Lavender in his poncho. Lieutenant Cross kept to himself. When the dustoff arrived, they carried Lavender aboard.
Afterward they burned Than Khe. They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement. In addition to the three standard weapons—the M, M, and M—they carried whatever presented itself, or whatever seemed appropriate as a means of killing or staying alive. They carried catch-as-catch-can.
Lee Strunk carried a slingshot; a weapon of last resort, he called it. Mitchell Sanders carried brass knuckles. Every third or fourth man carried a Claymore antipersonnel mine—3. They all carried fragmentation grenades—14 ounces each. They all carried at least one M colored smoke grenade—24 ounces. Some carried CS or tear gas grenades. Some carried white phosphorus grenades. They carried all they could bear, and then some, including a silent awe for the terrible power of the things they carried.
It was a simple pebble, an ounce at most. Smooth to the touch, it was a milky white color with flecks of orange and violet, oval-shaped, like a miniature egg. In the accompanying letter, Martha wrote that she had found the pebble on the Jersey shoreline, precisely where the land touched water at high tide, where things came together but also separated. It was this separate-but-together quality, she wrote, that had inspired her to pick up the pebble and to carry it in her breast pocket for several days, where it seemed weightless, and then to send it through the mail, by air, as a token of her truest feelings for him.
Lieutenant Cross found this romantic. But he wondered what her truest feelings were, exactly, and what she meant by separate-but-together. He wondered how the tides and waves had come into play on that afternoon along the Jersey shoreline when Martha saw the pebble and bent down to rescue it from geology. He imagined bare feet. He imagined a pair of shadows moving along the strip of sand where things came together but also separated.
He loved her so much. On the march, through the hot days of early April, he carried the pebble in his mouth, turning it with his tongue, tasting sea salt and moisture. His mind wandered. He had difficulty keeping his attention on the war. On occasion he would yell at his men to spread out the column, to keep their eyes open, but then he would slip away into daydreams, just pretending, walking barefoot along the Jersey shore, with Martha, carrying nothing. He would feel himself rising.
Sun and waves and gentle winds, all love and lightness. When a mission took them to the mountains, they carried mosquito netting, machetes, canvas tarps, and extra bug juice. If a mission seemed especially hazardous, or if it involved a place they knew to be bad, they carried everything they could. In certain heavily mined AOs, where the land was dense with Toe Poppers and Bouncing Betties, they took turns humping a pound mine detector.
With its headphones and big sensing plate, the equipment was a stress on the lower back and shoulders, awkward to handle, often useless because of the shrapnel in the earth, but they carried it anyway, partly for safety, partly for the illusion of safety. On ambush, or other night missions, they carried peculiar little odds and ends. Kiowa always took along his New Testament and a pair of moccasins for silence. Dave Jensen carried night-sight vitamins high in carotene.
Lee Strunk carried his slingshot; ammo, he claimed, would never be a problem. Until he was shot, Ted Lavender carried the starlight scope, which weighed 6. They all carried ghosts. When dark came, they would move out single file across the meadows and paddies to their ambush coordinates, where they would quietly set up the Claymores and lie down and spend the night waiting. Other missions were more complicated and required special equipment.
In mid-April, it was their mission to search out and destroy the elaborate tunnel complexes in the Than Khe area south of Chu Lai. To blow the tunnels, they carried one-pound blocks of pentrite high explosives, four blocks to a man, 68 pounds in all. They carried wiring, detonators, and battery-powered clackers.
Dave Jensen carried earplugs. Most often, before blowing the tunnels, they were ordered by higher command to search them, which was considered bad news, but by and large they just shrugged and carried out orders. Because he was a big man, Henry Dobbins was excused from tunnel duty.
The others would draw numbers. The rest of them would fan out as security. They would sit down or kneel, not facing the hole, listening to the ground beneath them, imagining cobwebs and ghosts, whatever was down there—the tunnel walls squeezing in—how the flashlight seemed impossibly heavy in the hand and how it was tunnel vision in the very strictest sense, compression in all ways, even time, and how you had to wiggle in—ass and elbows—a swallowed-up feeling—and how you found yourself worrying about odd things: Will your flashlight go dead?
Do rats carry rabies? If you screamed, how far would the sound carry? Would your buddies hear it? Would they have the courage to drag you out? In some respects, though not many, the waiting was worse than the tunnel itself.
Imagination was a killer. On April 16, when Lee Strunk drew the number 17, he laughed and muttered something and went down quickly. The morning was hot and very still. Not good, Kiowa said. He looked at the tunnel opening, then out across a dry paddy toward the village of Than Khe.
Nothing moved. No clouds or birds or people. As they waited, the men smoked and drank Kool-Aid, not talking much, feeling sympathy for Lee Strunk but also feeling the luck of the draw.
You win some, you lose some, said Mitchell Sanders, and sometimes you settle for a rain check. It was a tired line and no one laughed. Henry Dobbins ate a tropical chocolate bar.
Ted Lavender popped a tranquilizer and went off to pee. After five minutes, Lieutenant Jimmy Cross moved to the tunnel, leaned down, and examined the darkness. Trouble, he thought—a cave-in maybe. And then suddenly, without willing it, he was thinking about Martha.
The stresses and fractures, the quick collapse, the two of them buried alive under all that weight. Dense, crushing love. Kneeling, watching the hole, he tried to concentrate on Lee Strunk and the war, all the dangers, but his love was too much for him, he felt paralyzed, he wanted to sleep inside.
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Are you responsible for the death? How do you know? Everybody was firing. They were firing. You were firing. Artillery was coming in. Gunships were firing. There's no way in the end of knowing w- with some exceptions but by and large, who shot whom and who killed whom is so chaotic and your eyes are closed anyway half the time and you're staring at the ground at a pebble of grass holding your weapon up and firing it automatic.
You have no idea what you're hitting uh.. And it's all over and then where does responsibility begin? And in the end, that's what I'm- what I hope to get at is that sense of utter uncertainties that are at the- the center of this thing we call war; of personal un- uncertainty about it all.
Is the war right or wrong? I'm uncertain. Who- what is certainty? Take a philosopher to tell you what a just war-- Aquinas tried, failed. I mean, we've been trying forever. One man's certainty is another man's utter uncertainty and so on. So, in a way the book is meant to be, in a large part the book, for me at least, is meant to be a cry of revulsion against the utter certainties that come out of the mouths of politicians and generals and admirals and beaters of war drums, just the utter certainty with which they'll declare this war as right and you ought to die for it, or at least your kid ought to.
Not my kid, but your kid. Mine's at Yale. But yours ought to. The certainty that pious, holier than thou certainty that accompanies the rhetoric of war and infuses the rhetoric of war, in my opinion has nothing to do with the realities that I experienced in a war.
Tim O'Brien: Good. It's meant to because it's meant to be modeled on "Heart of Darkness" and it is modeled on "Heart of Darkness". I wanted to write a story in which a woman walks in my boots. And I wanted to, as a writer, watch what happened to her. Did she do what I did? Did she feel what I felt? That's in a way what fiction is about and- is for me, is- is uh..
What if a woman were in Vietnam? Would she respond differently than I? The same? Would- these little gradations of difference? She shows up in her culottes and pink sweater in Vietnam. And over the course of the next 30 pages of the story she- she becomes a soldier. She descends into this heart of darkness that you typically think of a male dominion, but of course is not. I think too often women feel that books about subjects such as war are- they're excluded from them by experience and by training and by, maybe even by temperament.
And I wanted to at least make an effort at putting a hand out and saying, "Come on. We all know what horror is and love and fear and joy. And I think that you, for all our differences, would probably be a lot like, you know, me. You're going to feel something of what I felt in this situation. Maybe a lot of what I felt. And not just good stuff either, there's things you can be proud of. You're going to feel bad things too. You're going to learn bad things about yourself the way I did.
She- she in a way is seduced by war. You hate it, yeah. But your eyes don't hate it. Your eyes are commanded by it. The tracer rounds unwinding in the dark and the orange, yellow glow of napalm, even as it's frying people, it's- it's got its own beauty or a forest fire is beautiful in a strange way, even though it kills and destroys. And uhm.. And you're also hypnotized by the reality of the sounds of those boots.
Tim O'Brien: It does. You're never more aware of everything that you love and value than when you're almost dead and may lose it. All of us, our lives, I think take for granted so much, a Big Mac and a cold glass of water. But when you're lying in a rice patty, and drinking patty water with leeches in it and eating the C rations that you don't take those things for granted, your family and your hometown and peace itself is taken for granted.
Here we are talking right now and you and I at least are at peace. The world may not be. But until you say that, you don't think, "Well, I'm at peace. It's loud and noisy. Takes you by the throat and squeezes the life out of you.
And you know you're in a war and you're aware of every- every beat of your heart. And the repetitive proximity to death, which was what war in the end is in part. By repet- and repetitive is the key word, that is we're all gonna have proximity to death at some point in our lives, even if it's only once and the last time and the only time.
During war it can happen 12 times a day, with every step you take if you're walking through, say a mined area, or if there are 15 little firefights a day.
I mean, it may be only a few rounds fired but with each one your throat clenches and your fists tighten up and you feel you're almost dead. And it's over. You take a breath. And you're alive. You look at the trees and the sky and a few puffy white clouds and you're so aware of aliveness. Everything around you just sort of burns with aliveness, in a way you would not have appreciated 20 seconds before.
The Things They Carried is a Big Read selection, to see if a town in your area will be the reading the book, or to find out more about the program go to NEAbigread. Adam Kampe is the musical supervisor. Excerpts from:. Sir Edward Elgar's Elegy Op. The Art Works podcast is posted every Thursday at www. And now you subscribe to Art Works at iTunes Ujust click on the itunes link on our podcast page. Thanks for listening.
In a true war story, if there's a moral at all, it's like the thread that makes the cloth. You can't tease it out. You can't extract the meaning without unraveling the deeper meaning. True war stories do not generalize. They do not indulge in abstraction or analysis. For example: War is hell. As a moral declaration the old truism seems perfectly true, and yet because it abstracts, because it generalizes, I can't believe it with my stomach.
Nothing turns inside. It comes down to gut instinct. A true war story, if truly told, makes the stomach believe. The largest reading program in American history, it's designed to unite communities through great literature.
O'Brien is a veteran of the Vietnam War, a subject he has returned to again and again in his writing. In part it's a book about the power of stories in our lives. In part it's a book about reimagining events and revisiting events thirty years or more after they've occurred. As I say each of these things it's a little bit like pulling a strand out of a piece of cloth, that in the end it's a book about all those things and the human heart as well.
Kipen: The editor of several bestselling books, including Behind the Lines and War Letters, Andrew Carroll is involved with Operation Homecoming— a program created to preserve the writing of U. Andrew Carroll: This is not a war book, it's a book that takes place in the context of war.
But it is a book about stories and the importance of storytelling and how essential they are to our lives and what we can learn from them and the power that all of us have to tell stories. Writer Richard Currey is also a Vietnam veteran. Max Friedman: There's only one war, there's only one past but there are conflicting histories about it. That is to say the Vietnam War means different things to different people and these different meanings have serious political implications for today.
Kipen: Lasting from until , the Vietnam War is the longest military conflict in U. Friedman: In the course of the war, two million Americans were drafted and sent to Vietnam. Friedman: Draftees who hadn't expected to be in the military were then sent to a strange and distant land with very trying physical circumstances, and asked to carry out a task that was not possible, for a purpose that their government could not explain to them in a satisfying way.
These are the men that Tim O'Brien writes about so effectively. Caroll: This is a book that O'Brien wrote actually decades after he served in Vietnam as an infantry soldier, he was wounded. He calls it a work of fiction, but yet it's very clearly based on his experiences in Vietnam. Although he opposed the war, he reported for military service, and in February of , was sent to Vietnam.
When he returned home, after a stint in graduate school, he became a reporter for the Washington Post. Although Vietnam and its aftermath continued to be his subject, he turned from non-fiction to fiction, winning the National Book Award in for Going After Cacciato, a novel about a soldier in Vietnam who attempts to walk from southeast Asia to Paris.
Significantly, The Things They Carried is a work of fiction presented as a memoir, and it's one that keeps differentiating between the truth and the facts. O'Brien: There is a reason that fiction exists, and why don't we just tell the literal truth about everything, why does anybody make anything up?
In fiction you can write about what almost happened but didn't happen, or you can write about what could've happened. I mean, I could've walked away from the Vietnam War and gone to Canada.
I didn't, but I could've. Samantha Chang: I think that Tim O'Brien, having been a soldier in the Vietnam War, understood what he was beginning to write The Things They Carried that on some level he would have to persuade and convince people whose experiences hadn't taken them anywhere close to Vietnam. O'Brien: Even though I knew it would be largely invented I wanted to make it feel true in the literal sense, real, as if when we're reading a memoir, a work of nonfiction.
Kipen: And that's exactly what he did. The things they carried were largely determined by necessity. Among the necessities or near-necessities were P can openers, pocket knives, heat tabs, wristwatches, dog tags, mosquito repellent, chewing gum, candy, cigarettes, salt tablets, packets of Kool-Aid, lighters, matches, sewing kits, Military Payment Certificates, C rations, and two or three canteens of water.
Ethelbert Miller I think the opening pages of Tim O'Brien's book is like a list poem of all the various things that a soldier would carry, you know, down to the actual weight. Kipen: A former captain in the U. Army, Craig Mullaney served in Afghanistan from to He carried a strobe light, and the responsibility for the lives of his men.
Currey: We begin to see that what these young men are carrying is, is memory, is their capacity to understand or not understand what's about to happen to them, their ability to fathom the nature of the experience that they're sharing. Mullaney: Each of them has a part of them that's distracted, that's, that's always home.
You're in two places at once. And that's part of the things they carried. They carry home with them. They carry their memories. They carry their hopes. It's certainly true to my experience as well. Mullaney: You know, a book like this could allow me to have a running conversation with someone who'd, who'd walked in my boots before, and to know that I wasn't alone.
Because the land was mined and booby-trapped, it was SOP for each man to carry a steel-centered, nylon-covered flak jacket, which weighed 6. Because the nights were cold, and because the monsoons were wet, each carried a green plastic poncho that could be used as a raincoat or groundsheet or makeshift tent.
With its quilted liner, the poncho weighed almost 2 pounds, but it was worth every ounce. Kipen: The media played an enormous role in America's perception of the Vietnam War. Given virtually unlimited access to the entire country, journalists could and did bring the war home with unprecedented realism. Alice McDermott: I recall so vividly the faces of the soldiers in Vietnam that we saw almost, it seemed to me, on a daily basis in newspapers, on television. We didn't just see their official photographs, if they had been killed, printed in the paper, we saw kids on stretchers being hustled out of the jungle.
Friedman: And so the media brought home the reality of how the war was going to an American public that had no access to that information otherwise. That was important because Americans were becoming increasingly interested in what was happening in Vietnam. Kipen: Often for the men who served, the extensive media coverage couldn't quite convey the experience in Vietnam, in-country.
O'Brien: The goal of The Things They Carried is to, in a large part, is to make readers feel something of what I felt all those years ago and after returning from the war, in a way that a thirty second clip on CNN can't and doesn't aspire to. The way newspaper stories are not gonna make you feel what it is to be frustrated by never being able to find the enemy, and having man after man die and another man die, and another man lose his legs, and you can't find anything to shoot back at, and you don't believe in the war anyway.
Kipen: As the fighting dragged on, many Americans began to question both the success and the goals of the war. On one hand, the official word from Washington, D. Friedman: For one thing it was very difficult to measure success. In a war without front lines how do you quantify how well you are doing?
Well, the Pentagon came up with a quantifiable measure, which was the number of enemy killed, the famous body counts. And so many people did not know why they were there, the enemy was invisible, you know, to some extent, you know, people just shooting into, into the jungle.
McDermott: And it felt much more of a place apart. There wasn't a sense that we were all in this together. What O'Brien talks about so much in The Things They Carried and what I certainly heard from the Vietnam vets I knew was that sense of covering the same ground over and over again, and not ever feeling you were coming any closer to succeeding, even if you weren't quite sure what success would look like.
O'Brien: The war in Vietnam at times, on the ground, didn't feel literally true. It didn't feel as if it could be true, it felt as if one had tumbled through a black hole and landed in wonderland, and right was wrong, and wrong was right, and civility was savagery, and everything went upside down.
War is hell, but that's not the half of it, because war is also mystery and terror and adventure and courage and discovery and holiness and pity and despair and longing and love. War is nasty; war is fun. War is thrilling; war is drudgery. War makes you a man; war makes you dead. Welcome back to The Big Read. Carroll: The greatest challenge for any veteran who wants to write about his or her experiences, and this might be true for anyone who has gone through trauma, is how do you describe the indescribable?
Kipen: Writer Andrew Carroll is the founder of the Legacy Project, a national initiative to preserve the letters of soldiers. Carroll: How do you capture the enormity of war?
How do you in some ways convey the range of emotions you've experienced, the surreal, almost hallucinatory nature of warfare? Miller: When writers want to write about this period, how do you present it in such a way that you're not unpatriotic. But how do you still try to deal with the truth? And sometime what happens through storytelling—you present different angles. O'Brien: There are times in life when an event occurs and you go to tell about it, and you're utterly and absolutely factual in your effort to recount what occurred.
But when you've finished it feels as if somehow part of the truth is missing even though the facts are there. Friedman: American draftees would be sent for a single year to Vietnam, and at the end of their calendar year they were sent home, individually, and suddenly sort of parachute dropped back into civilian life without a support network. And that meant that after going through extraordinarily difficult experiences in Vietnam and surviving, they then had no period of adjustment.
They didn't have the solidarity of other people who had gone through the same things. And that sort of atomized experience of the Vietnam veteran helps to explain why many of them were psychologically traumatized. Currey: And that hovering world of policy and politics is beautifully rendered here. Kipen: Norman Bowker has served with Alpha Company in Vietnam and found his reentry into civilian life difficult. He drives around and around the lake in his hometown, and imagines how he would tell the story of watching his friend Kiowa die in a leach field during a late-night firefight.
The field was boiling. The shells made deep slushy craters, opening up all those years of waste, centuries worth, and the smell came bubbling out of the earth.
Along the perimeter there were quick bursts of gunfire. He heard the quick, feathering action of the hinges.By Tim O'Brien. A classic work of American literature that has not stopped changing minds and lives since it burst the things they carried read online free the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power carreid storytelling. Taught everywhere—from high school classrooms to graduate seminars in creative writing—it has become required reading for any American and watch black panther 2017 movie online free to challenge readers in their perceptions of fact and fiction, the things they carried read online free and peace, courage and fear and longing. For information about permission to reproduce selections from this book, write to trade. Speaking of The things they carried read online free was first published in The Massachusetts Review, then later, in a ths version, in Granta. Henry Awards and On the things they carried read online free Rainy River first appeared in Playboy. The author wishes to thank the editors of those publications and to express gratitude for support received from the National Endowment for the Arts. This book is essentially different from any other that has been published concerning the late war or any of its incidents. Those who have had any such experience as the author will see its truthfulness at once, and to all other readers windows 7 voice recorder software free download is commended as a statement of actual things by one who experienced them to the fullest. They were not love letters, but Ghings Cross was hoping, so he kept them folded in plastic at the bottom of his rucksack. He would imagine romantic camping trips into the White Mountains in New Hampshire. He would sometimes taste the envelope flaps, knowing her tongue had been there. More than anything, he wanted The things they carried read online free to love him as he loved her, but the letters were mostly chatty, elusive on the matter the things they carried read online free love. She was a virgin, he was almost sure. She was an English major at Mount Sebastian, and she wrote beautifully about her professors and roommates and midterm exams, about her respect for Chaucer and her great affection for Virginia Woolf. She often quoted lines of poetry; she never mentioned the war, except to say, Jimmy, take care of yourself. The Things They Carried Full monsitedechire.com Read The Things They Carried by Tim O'Brien with a free trial. Read unlimited* books and audiobooks on the web, iPad, iPhone and Android. The Things They Carried. Tim O'Brien. In: The Vintage Book of Contemporary American Short Stories. Vintage Books, The things they carried were largely determined by necessity. Among they were light and free—it was all lightness, bright and fast and buoyant, light as the French—this was all too damned complicated, it required some read- ing—but no. eBook features: Read with the free Kindle apps (available on iOS, Android, PC & Mac), Kindle E-readers and on Fire Tablet devices. The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley. The Things They Carried. by Tim O'Brien. ebook The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley. No information is available for this page. Read The Things They Carried online. Visit Juggernaut Books for similar titles. Free ebooks, Erotic, Love Stories, Classics, Self Publishing & more. More recently, the book was included among monsitedechire.com's “List of Books to Read in a Lifetime” and was credited as the inspiration for a National Veterans. It was phantom jealousy, he knew, but he couldn't help himself. They were not love letters, but Lieutenant Cross was hoping, so he kept them folded in plastic at the bottom of his rucksack. Even that story is made up. It does not matter what your race, your country, your sex or age, your likes or dislikes, your favourite genre of book, this novel has something for everyone and it is being read by all sorts. A surprisingly powerful book that will stay with me for a long time. Because the land was mined and booby-trapped, it was SOP for each man to carry a steel-centered, nylon-covered flak jacket, which weighed 6. We'll assume you're ok with this, but you can opt-out if you wish. Critiques such novels as "Northern Lights," "The Nuclear Age," and "In the Lake of the Woods," while providing biographical information about the author. This is an extremely hard review for me to compile, because I am extremely conflicted on my impression of this book. He wondered how the tides and waves had come into play on that afternoon along the Jersey shoreline when Martha saw the pebble and bent down to rescue it from geology. The author talks at one point how embarrassing confessions are for the people who have to hear them and yet he admits his stories must be told, anyway. There is no virtue. The things they carried, p. There is not a doubt in my mind that the combination of O'Brien's writing and his wounding stories will leave every reader in a different state of contemplation in the end. Yet they find sympathy and kindness for strangers the old man who leads them unscathed through the mine field, the girl who grieves while she dances , and love for each other, because in Vietnam they are the only family they have.