A Quote by Tim O'Brien
And in the end, of course, a true war story is never about war. It's about sunlight. It's about the special way that dawn spreads out on a river when you know you must cross the river and march into the mountains and do things you are afraid to do. It's about love and memory. It's about sorrow. It's about sisters who never write back and people who never listen.
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Talk about impersonating an identity, about locking into a role, about irony; I went to cover the war and the war covered me; an old story, unless of course you've never heard it.
'Harlem River' is about the Harlem River in uptown Manhattan. I don't know much to say about it. I came upon that river a couple of years ago. I was doing a walk the length of Manhattan, from the top to the bottom, and I had never seen that river before.
Ours is a world of nuclear giants and ethical infants. We know more about war than we know about peace, more about killing than we know about living. The way to win an atomic war is to make certain it never starts. And the way to make sure it never starts is to abolish the dangerous costly nuclear stockpiles which imprison mankind.
If you're going to write about war, which my books are about, wars are nasty things. I think it's sort of a cheap, easy way out to write a war story in which no one ultimately dies.
I wouldn't write about sh*t I don't know. You won't hear me write about politics in Africa and stuff, because I don't know enough about it. And I would never rap about something I can't back up.
The part of the strangeness of coming back from the war is the way we talk about it. We try to have a discussion about the war that doesn't turn into a discussion about one political side or the other. I wanted to reach out and talk to people about it through fiction, the way a narrative can draw someone in and ask them those questions.
To be a good reporter, writing about war, you have to write about the people. It's not about the tanks or the RPGs or military strategy. It's always about the effect war has on civilians, on society, and how it disrupts and destroys lives.
I try to keep deep love out of my stories because, once that particular subject comes up, it is almost impossible to talk about anything else. Readers don't want to hear about anything else. They go gaga about love. If a lover in a story wins his true love, that's the end of the tale, even if World War III is about to begin, and the sky is black with flying saucers.
And I never thought about how the lights don't go out, so you never really rest, in that way. I never really thought about the intensity of being watched, all the time. Those are some things that I didn't know about prison.
I don't believe war is a way to solve problems. I think it's wrong. I don't have respect for the people that made the decisions to go on with war. I don't have that much respect for Bush. He's about war, I'm not about war - a lot of people aren't about war.
I end up writing about all kinds of things. I never make an attempt to write about anything in particular. I don't have a little list of topics to write about.
I never learned to be a writer. I never took screenwriting courses. I never read anyone's scripts. As a writer, my only guiding principle has been to write about things that scare me, write about things that make me feel vulnerable, write about things that will expose my deepest fears, so that's how I write.
One thing I'll say about Drake is that he never talks about me about going to any schools. I know people think that, but he has never done that. He just talks to me about how I'm dealing with life and things like that. He's like a big bro and I really appreciate that about him.
Then somebody suggested I should write about the war, and I said I didn't know anything about the war. I did not understand anything about it. I didn't see how I could write it.
Then somebody suggested I should write about the war, and I said I didn't know anything about the war. I did not understand anything about it. I didn't see how I could write it
World War II is smothered in sentimentality and nostalgia. What's interesting about Vietnam is that sentimentality is just not there, so you're given kind of a clean access to it in one way. It's also a war that represents a failure for the United States. Many people came back feeling like they never wanted to talk about it again. And so we developed a national amnesia.
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