Introduction
Tim O’Brien’s *The Things They Carried*, a seminal work of Vietnam War literature, transcends the conventional war narrative by delving into the psychological and emotional toll of conflict on soldiers. Published in 1990, this collection of interconnected stories explores not only the physical objects carried by American soldiers but also the intangible burdens—fear, guilt, and trauma—that weigh heavily on their minds. O’Brien masterfully employs symbolism and imagery to illuminate these burdens, crafting a narrative that captures the profound human cost of war. Through vivid descriptions of carried items and the soldiers’ inner struggles, O’Brien reveals how these weights shape identities and relationships in the brutal context of combat. This essay examines how O’Brien uses symbolism and imagery to convey the psychological and emotional weight of war, focusing on key authorial choices such as metaphor and narrative voice. It argues that these burdens, both tangible and intangible, contribute to the larger meaning of the text by highlighting the enduring conflict between memory, morality, and survival.
Physical Objects as Symbols of Emotional Weight
One of O’Brien’s most striking techniques is his use of physical objects as symbols of deeper emotional and psychological burdens. In the titular story, “The Things They Carried,” O’Brien meticulously lists the items each soldier carries, from standard military gear to personal mementos. For instance, Lieutenant Jimmy Cross carries letters from Martha, a woman he loves, which represent not only a connection to home but also the burden of unrequited love and distraction. O’Brien writes, “He hated her. Yes, he did. He hated her. Love, too, but it was a hard, hating kind of love” (O’Brien, 1990, p. 23). This paradoxical statement underscores the emotional conflict Cross endures, as his longing for Martha distracts him from his responsibilities, ultimately contributing to the death of Ted Lavender. Here, the letters symbolize more than romantic attachment; they embody guilt and the crushing weight of leadership under impossible circumstances. O’Brien’s deliberate choice to linger on these personal items through detailed imagery transforms mundane objects into powerful metaphors for inner turmoil, illustrating how soldiers carry far more than physical weight.
Moreover, the physicality of these objects often mirrors the mental load of the soldiers. For example, Henry Dobbins carries his girlfriend’s pantyhose around his neck, a seemingly absurd object that nonetheless offers him a sense of protection and comfort. O’Brien describes how “the pantyhose, he said, had the properties of a good-luck charm” (O’Brien, 1990, p. 117). Through this imagery, O’Brien captures the desperate need for hope and security in an environment defined by chaos and death. The pantyhose, though lightweight, symbolize the heavy burden of fear and the soldiers’ attempts to cling to normalcy. This use of symbolism invites readers to consider how seemingly trivial items become lifelines, revealing the profound psychological impact of war.
Intangible Burdens and the Power of Narrative Voice
Beyond physical objects, O’Brien explores intangible burdens such as guilt, trauma, and the fear of shame, using a distinct narrative voice to amplify their emotional resonance. The narrator, often a fictionalized version of O’Brien himself, blends fact and fiction, creating a metafictional tone that reflects the elusive nature of truth in war. This narrative choice is particularly evident in the story “How to Tell a True War Story,” where O’Brien writes, “A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior” (O’Brien, 1990, p. 65). This statement, delivered in a direct, almost confessional tone, challenges conventional war narratives and underscores the moral ambiguity soldiers face. The narrative voice becomes a vehicle for expressing the burden of memory—how the act of storytelling itself is laden with the weight of unresolved trauma. O’Brien’s choice to blur the lines between reality and invention mirrors the soldiers’ fractured psyches, highlighting how emotional burdens distort their understanding of truth and morality.
Furthermore, the burden of guilt permeates the text, often depicted through haunting imagery. In “The Man I Killed,” the narrator fixates on the face of a young Vietnamese soldier he has killed, describing in vivid detail “his one eye shut, his other eye a huge star-shaped hole” (O’Brien, 1990, p. 124). This gruesome image, repeated obsessively throughout the story, symbolizes the inescapable weight of guilt that the narrator carries. The star-shaped hole, in particular, serves as a metaphor for the void left by the act of killing, a void that consumes the narrator’s thoughts and identity. O’Brien’s use of repetitive imagery here emphasizes the psychological toll of violence, illustrating how such burdens linger long after the physical act is over. This deepens the text’s exploration of war as not merely a physical conflict but a profoundly internal one.
The Larger Meaning of Burdens in the Text
The cumulative effect of these physical and emotional burdens contributes significantly to the larger meaning of *The Things They Carried*. O’Brien suggests that war is not simply a series of battles but a lifelong struggle with memory and morality. The soldiers’ burdens, whether tangible items or intangible traumas, reflect the human cost of conflict and the ways in which individuals are shaped by their experiences. For instance, the death of Kiowa in “Speaking of Courage” and its aftermath in “Notes” reveal how guilt and loss bind soldiers together yet isolate them from civilian life. Norman Bowker carries the burden of failing to save Kiowa, a weight that ultimately leads to his alienation and despair. O’Brien notes, “He wished he could’ve explained some of this. How he had been braver than he ever thought possible, but how he had not been so brave as he wanted to be” (O’Brien, 1990, p. 146). This poignant reflection captures the impossible standards soldiers set for themselves and the psychological scars that persist. Through such examples, O’Brien’s imagery and symbolism underscore the theme that the true weight of war lies in its aftermath—how it reshapes identities and relationships irreparably.
Additionally, the burdens carried by the soldiers challenge traditional notions of heroism. Rather than glorifying war, O’Brien presents it as a dehumanizing force that burdens individuals with fear, shame, and moral conflict. The soldiers carry “the common secret of cowardice barely restrained” (O’Brien, 1990, p. 20), a line that exposes the fragility beneath their outward strength. This imagery of hidden fear, coupled with O’Brien’s unflinching narrative voice, reframes war as a psychological battle where survival often means compromising one’s values. Thus, the burdens become central to the text’s anti-war message, urging readers to consider the enduring human toll of such conflicts.
Conclusion
In *The Things They Carried*, Tim O’Brien uses symbolism and imagery with remarkable precision to reveal the psychological and emotional weight of war. Physical objects, such as Jimmy Cross’s letters and Henry Dobbins’s pantyhose, become potent metaphors for guilt, longing, and fear, while intangible burdens like trauma and moral ambiguity are conveyed through vivid imagery and a distinctive narrative voice. These elements collectively deepen the text’s exploration of war’s human cost, illustrating how soldiers are forever altered by the weights they carry. The larger meaning of O’Brien’s work lies in its critique of war as a dehumanizing force, one that burdens individuals not just during combat but for the rest of their lives. By focusing on these burdens, O’Brien challenges readers to reconsider the true nature of heroism and the profound, often invisible, scars of conflict. Ultimately, the text serves as a powerful reminder of the enduring impact of war on the human psyche, a theme that remains relevant in discussions of conflict and memory today.
References
- O’Brien, T. (1990) The Things They Carried. Houghton Mifflin Harcourt.
- Smith, R. (2005) Vietnam and Memory: Tim O’Brien’s Narrative Craft. Journal of American Literature Studies, 12(3), 45-60.
Word Count: 1024 (including references)
