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Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
Who do you call a civilian in a guerilla war? I mean, it might be a farmer by day or a merchant, a
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Tim O'Brien:
I could feel my moral compass as a soldier, in danger of - I could feel the squeeze, the pressure oTim O'Brien:
I returned to Vietnam in '94, and even then, all those decades later, walking around that place, ITim O'Brien:
I carry the memories of the ghosts of a place called Vietnam - the people of Vietnam, my fellow solTim O'Brien:
There's something about being amid the chaos and the horror of a war that makes you appreciate allTim O'Brien:
The wars don't end when you sign peace treaties or when the years go by. They will echo on until I'Tim O'Brien:
To provide background and physical description and all the rest is of course vital to fiction, butTim O'Brien:
In fiction workshops, we tend to focus on matters of verisimilitude largely because such issues areTim O'Brien:
To be memorable and to have dramatic impact, informational detail must function actively within theTim O'Brien:
Above all, a well-imagined story is organized around extraordinary human behaviors and unexpected aTim O'Brien:
For me, the way to approach a subject such as Vietnam is through storytelling.