One chapter in the book, “How to Tell a True War Story,” forces the reader to start paying thorough attention. In this chapter, Tim opens up with a story of Rat Kiley and the letter he wrote to Curt Lemon’s sister after Lemon died. After that, O’Brien proceeds to tell the story of exactly how Curt died. O’Brien writes, “When he died it was almost beautiful, the way the sunlight came around him and lifted him up and sucked him high into a tree full of moss and vines and white blossoms (70).” Throughout the chapter Tim repeats the story while adding and removing details of what happened. Also, in between each story Tim tries to explain the difference between a true story and a fake one. This part of the book is where “metaficion” takes part. Tim forces the reader to decide which parts of the stories are true, and which parts are just fictions. Tim wants the reader to know that in most true war stories, the story is not completely true. Instead, false details are added in order to try and get the true point of the story across. This is also emphasized in the chapter “Good Form.” Tim writes, “I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth (179).” In this chapter, O’Brien explains to the reader why it is necessary to have a difference between “story-truth” and “happening-truth.” These chapters in the book have the greatest impact on the reader. Not only is the story told well, but the placement of these chapters has a great effect on the reader. The reader is now left questioning not only everything that will be read in the rest of the book, but also everything that has been read up to that…
