Why Did Ww1 Happen Essay Impediments To Critical Thinking
Fussell points out that in real correspondence, WWI soldiers in the trenches would make use of the passive voice in order to create a sort of narrative distance.For example, Fussell says that a soldier might write in passive voice “A very odd sight was seen here,” instead of using the active voice with “I saw …” to “avoid designating themselves as agents of nasty or shameful acts” (177).The first essay sets the fragmented, dismal tone of the collection; it begin “Of course, all life is a process of breaking down…”(36).*** Many of Fitzgerald’s contemporaries and friends recoiled at these autobiographical, emotional essays that chronicled his own personal post-war crisis.In fact, as if embarrassed for his friend, novelist John Dos Passos, wrote to Fitzgerald, “…most of the time the course of world events seems so frightful that I feel absolutely paralysed [sic]…We’re living in one of the damndest tragic moments in history—if you want to go to pieces I think it’s absolutely O. but I think you ought to write a first rate novel about it…instead of spilling it in little pieces.” Dos Passos’ statement reflected the ways American society shunned the display of male emotion.
Fitzgerald acknowledges here that “Now I Lay Me” must be a fictional representation of Hemingway’s own struggles with insomnia and emotional suffering; but, in recognizing that insomnia is deeply personal, he also seems to say sees that there is a need for further, public discussion on this kind of suffering, perhaps directly, rather than filtered through fiction.As Fitzgerald himself observes in his essay “Ring,” “A writer can spin on about his adventures after thirty, after forty, after fifty, but the criteria by which these adventures are weighted and valued are irrevocably settled at the age of twenty-five” (79).This reminds me of Tim O’Brien’s “How to Tell a True War Story,” and John Mc Crae’s “In Flanders Fields.” As a war veteran, I know firsthand that the rest of soldiers’ lives are shaped by what we were taught on the way to war, in war, and as we made that terrible transition back into a civilian world that lauded those “nasty or shameful acts” as heroic.He writes, “waste and horror—what I might have been and done that is lost, spent gone, dissipated, unrecapturable. Nor broken myself trying to break what was unbreakable.” We see, perhaps for the first time—in fiction or personal essay—the guilt Fitzgerald bears because he was never deployed during the Great War. Not having deployed, or having deployed but not left Kuwait or Bagram or the FOB.I could have acted thus, refrained from this, been bold where I was timid, cautious where I was rash. Or having deployed but only once or twice, when that guy there had deployed seven times.
posits that “logically, one supposes, there’s no reason why a language devised by man should be inadequate to describe any of man’s works.