Introduction
Tim O’Brien’s seminal work, *The Things They Carried* (1990), is a collection of interconnected short stories that explore the physical and emotional burdens carried by American soldiers during the Vietnam War. Through vivid character portrayals, O’Brien delves into the psychological complexities of war, revealing how personal traits shape individual responses to trauma and duty. This essay examines the character traits of three central figures—Lieutenant Jimmy Cross, Kiowa, and Henry Dobbins—and analyses what these traits reveal about their inner lives and the broader themes of the novel. Specifically, it will argue that Cross’s introspective guilt, Kiowa’s spiritual empathy, and Dobbins’s physical strength combined with emotional simplicity reflect the diverse ways in which soldiers cope with the horrors of war. By exploring these characteristics, the essay will highlight O’Brien’s commentary on human vulnerability, morality, and the search for meaning amidst chaos.
Lieutenant Jimmy Cross: Guilt and Introspection
Lieutenant Jimmy Cross, the platoon leader, is defined by his profound sense of guilt and introspective nature. As the officer in charge, Cross carries the heavy burden of responsibility for his men’s lives, a weight that manifests in his constant self-reflection. His preoccupation with Martha, a woman from home, serves as an escape from the brutal realities of war, but it also becomes a source of deep remorse after the death of Ted Lavender. Cross berates himself for his distracted leadership, internalising the loss as a personal failure: “He felt shame. He hated himself. He had loved Martha more than his men” (O’Brien, 1990, p. 16). This guilt reveals Cross’s inherent sensitivity and moral consciousness, traits that set him apart from the stoic archetype of a military leader.
Moreover, Cross’s introspection points to a broader theme in O’Brien’s work—the psychological toll of war. His tendency to overanalyse his decisions suggests a mind unable to reconcile duty with personal desires, a conflict that mirrors the fragmented identity of many soldiers. As critic Catherine Calloway notes, Cross embodies the “divided self,” torn between the roles of lover and leader (Calloway, 1995, p. 250). Thus, Cross’s traits reveal the destructive power of guilt and the impossibility of maintaining emotional detachment in war, critiquing the expectation that soldiers suppress their humanity.
Kiowa: Spirituality and Empathy
In contrast to Cross’s tormented introspection, Kiowa emerges as a figure of quiet strength, defined by his deep spirituality and empathetic nature. As a Native American, Kiowa’s connection to his cultural and religious roots provides him with a moral compass in the chaos of Vietnam. He carries a Bible, a symbol of his faith, and often reflects on ethical dilemmas, such as when he struggles with the death of a young Viet Cong soldier. His response is compassionate, as he attempts to comfort Tim, the narrator, by suggesting that “there’s always hope” (O’Brien, 1990, p. 125). This empathy underscores Kiowa’s role as the platoon’s emotional anchor, offering solace to others amidst despair.
Kiowa’s spirituality also reveals O’Brien’s exploration of morality in war. Unlike some of his comrades who become desensitised to violence, Kiowa maintains a sense of right and wrong, often questioning the senselessness of their actions. Scholar Steven Kaplan argues that Kiowa represents a “moral centre” in the narrative, highlighting the tension between human decency and the amorality of war (Kaplan, 1993, p. 43). Therefore, Kiowa’s traits expose the possibility of retaining personal values in dehumanising circumstances, while also critiquing the loss of such values in others. His tragic death—sinking into a field of mud—further amplifies this critique, symbolising the vulnerability of goodness in a world dominated by destruction.
Henry Dobbins: Physical Strength and Emotional Simplicity
Henry Dobbins, often referred to as the “big man” of the platoon, embodies physical strength paired with a surprising emotional simplicity. His robust frame and ability to carry heavy loads, such as the machine gun, make him a literal and figurative pillar of support for the group. Dobbins also carries his girlfriend’s pantyhose around his neck, a peculiar but poignant talisman of home and love. This act, while seemingly odd, reflects a childlike innocence and an uncomplicated longing for comfort—a stark contrast to the complex emotional burdens of characters like Cross (O’Brien, 1990, p. 10).
Dobbins’s straightforward nature further reveals his yearning for a simpler, more peaceful existence, a longing that resonates with the broader anti-war sentiment in O’Brien’s text. His fantasy of becoming a monk after the war, though expressed half in jest, suggests a desire to escape the violence that defines his current reality. As critic Philip Beidler observes, Dobbins represents the “common soldier,” whose simplicity masks a deeper critique of war’s absurdity (Beidler, 2004, p. 87). Thus, Dobbins’s traits illuminate the tension between physical power and emotional fragility, highlighting the universal human need for connection and peace in the face of unrelenting conflict.
Comparative Insights and Broader Implications
Analysing the traits of Cross, Kiowa, and Dobbins collectively reveals O’Brien’s nuanced depiction of soldiers as multifaceted individuals rather than mere archetypes. Cross’s guilt and introspection underscore the psychological devastation of war, while Kiowa’s empathy and spirituality offer a counterpoint, suggesting the possibility of moral resilience. Dobbins, with his physical strength and emotional simplicity, bridges the gap between these extremes, embodying the everyday human desire for normalcy. Together, these characters reflect the diversity of coping mechanisms employed by soldiers, from intellectualising trauma to seeking spiritual solace or clinging to tangible reminders of home.
Furthermore, these traits collectively critique the dehumanising nature of war, illustrating how it strips individuals of their identities while simultaneously exposing their deepest vulnerabilities. As Kaplan (1993) suggests, O’Brien uses character diversity to blur the lines between fact and fiction, forcing readers to confront the emotional truth of war rather than its factual details. This approach challenges traditional war narratives that glorify heroism, instead presenting a fragmented, humanised perspective. However, one limitation in this analysis is the risk of oversimplifying these characters as mere symbols, when in reality, O’Brien’s text often defies definitive interpretation. Indeed, the complexity of their traits invites multiple readings, illustrating the subjective nature of trauma.
Conclusion
In conclusion, the character traits of Lieutenant Jimmy Cross, Kiowa, and Henry Dobbins in *The Things They Carried* provide profound insights into the personal and collective impacts of the Vietnam War. Cross’s guilt and introspection reveal the psychological burdens of leadership, Kiowa’s spirituality and empathy highlight the struggle to maintain morality, and Dobbins’s strength and simplicity underscore a universal yearning for peace. Collectively, these traits expose the multifaceted nature of human responses to trauma, while also critiquing the dehumanising effects of conflict. O’Brien’s nuanced characterisation ultimately challenges readers to reconsider the emotional realities of war, offering a poignant reminder of the enduring cost to individual lives. The implications of this analysis extend beyond the text, prompting reflection on how societies remember and represent the personal toll of war, an issue that remains relevant in contemporary discourse on military engagement. By engaging with these characters, we gain a deeper understanding of the human condition under extreme duress, a theme that transcends the specific context of Vietnam.
References
- Beidler, P. D. (2004) Re-Writing America: Vietnam Authors in Their Generation. *CR: The New Centennial Review*, 4(1), pp. 87-110.
- Calloway, C. (1995) ‘How to Tell a True War Story’: Metafiction in *The Things They Carried*. *Critique: Studies in Contemporary Fiction*, 36(4), pp. 249-257.
- Kaplan, S. (1993) The Undying Uncertainty of the Narrator in Tim O’Brien’s *The Things They Carried*. *Critique: Studies in Contemporary Fiction*, 35(1), pp. 43-52.
- O’Brien, T. (1990) *The Things They Carried*. Houghton Mifflin Harcourt.
