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Tim O'BrienA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Henry Dobbins is a large man. He is compared to America itself: “big and strong, full of good intentions” (111). He is also like America in that he is sentimental. The narrator remembers Dobbins “wrapping his girlfriend’s pantyhose around his neck before heading out on ambush” (111). He does this as a good luck charm; the stockings protect him. Although the men joke about it, they also appreciate “the mystery of it all” (112). Dobbins is never wounded or injured in the war. Even after his girlfriend dumps him, Dobbins continues to wear the stockings, saying “The magic doesn’t go away” (112).
West of the Batangan Peninsula, the men come across a pagoda where a pair of monks live. They speak little English. The older monk leads the men into the pagoda, where they spend the night, and then stay for the next week or so. The narrator relates that “[i]t was mostly a very peaceful time” (113). The monks bring water every morning, and they provide a chair for Lieutenant Jimmy Cross to sit in in the altar area. They especially take a liking to Henry Dobbins and help him clean his machine gun.
Dobbins reflects that he used to want to be a minister: “The thing is, I believed in God and all that, but it wasn’t the religious part that interested me. Just being nice to people, that’s all. Being decent” (115). Meanwhile, the monks continue cleaning Dobbins’s machine gun; Kiowa states that he likes how it feels inside churches and claims that it’s wrong of them to have set up inside a pagoda. The monks finish cleaning Dobbins’s gun and Dobbins gives them each a can of peaches and chocolate. Dobbins performs a mysterious hand gesture that one of the monks often does. He tells Kiowa that he’s right that it is wrong to set up in a pagoda and then adds, “All you can do is be nice. Treat them decent, you know?” (117).
The narrator describes a dead man: “His jaw was in his throat, his upper lip and teeth were gone, his one eye was shut, his other eye was a star-shaped hole” (118). The dead man lies in a trail, wearing a shirt and pajama pants. The narrator speculates that the man would’ve heard stories about war heroes from his family, but that the man himself wasn’t a fighter. Instead, the man had liked books and had wanted to become a math teacher. A soldier named Azar says some crude words about the appearance of the dead man and Kiowa tells Azar to go away. Kiowa encourages the narrator to stop staring at the dead man, but the narrator continues to look, studying the young man’s appearance and thinking about his history. He explains:
The nose was undamaged. The skin on the right cheek was smooth and fine-grained and hairless. Frail-looking, delicately boned, the young man would not have wanted to be a soldier and in his heart would have feared performing badly in battle (121).
Blue flowers line the trail; Kiowa continues to try to get the narrator to stop staring at the man. The narrator imagines that the man spent his nights alone, writing poems and enjoying doing math. Kiowa attempts to convince the narrator that even if the narrator hadn’t killed him, someone else would have. Kiowa gives the narrator five more minutes to stare, then covers up the body and encourages the narrator to “talk about it” (124): “One eye was shut. The other was a star-shaped hole. ‘Talk,’ Kiowa said” (124).
The narrator’s daughter asks if the narrator has ever killed anyone. The narrator replies, “Of course not” (125). Then he expresses a desire to “tell her exactly what happened” (125) once she’s grown.
Late in the night, the men move to an ambush site near My Khe. They work in two-man teams keeping watch. When it is the narrator’s turn, he keeps three grenades in front of him, ready to be thrown. Dawn begins to break and the narrator sees a man wearing black clothes and sandals and carrying an ammunition belt emerging from the fog. The narrator pulls the pin on a grenade: “It was entirely automatic. I did not hate the young man; I did not see him as the enemy” (126). The narrator throws the grenade before telling himself to throw it. The grenade lands and the man on the trail begins to run before hesitating, turning, and glancing down at the grenade. There is a popping sound and the man is pulled upward into the air. He falls on his back and lies at the center of the trail. The narrator laments, “[e]ven now I haven’t finished sorting it out. Sometimes I forgive myself, other times I don’t” (128).
In “Stockings” and “Church,” Henry Dobbins’s character introduces the theme of Factual and Emotional Truth in this section. He is aligned with mystery, via his somewhat odd practice of wrapping his girlfriend’s stockings around his neck before going into battle. Though the superstitious practice earns him teasing from the other soldiers, they marvel at how often he survives conflicts without being wounded. “Church” takes the theme of mystery or divine power deeper when Dobbins and Cross find the abandoned pagoda. Their discussion about being nice to people and enjoying the peacefulness of the monastic environment is juxtaposed with the image of the monks cleaning Dobbins’s gun, a reminder that they are technically enemies. Though Dobbins gives the monks a gift in parting and believes he is living his motto of “just be nice,” it is implied that he and Cross will continue killing the Viet Cong.
Despite these contradictions, the pagoda is also a symbol of sanctuary and respite. Its peaceful and sacred atmosphere contrasts sharply with the surrounding war-torn landscape, offering a brief escape from the constant threat of violence. This setting underscores the soldiers’ longing for moments of tranquility and connection to something larger than themselves, highlighting their shared humanity and vulnerability.
“The Man I Killed,” is a portrait of paralysis in the wake of a witnessed death and a stark example of Survivor’s Guilt. The story establishes the importance of Talking as a Way of Processing Trauma to combat such paralysis—a theme that reemerges later in the book. Though the narrator is the central character of the story, he does not have any lines of dialogue. Instead, the reader is aware of the narrator’s paralysis through the words of Kiowa, who continually encourages the narrator to look away from the body of the dead man. He attempts to alleviate the narrator’s guilt: “Kiowa said, ‘I’m serious. Nothing anybody could do. Come on, stop staring’” (120). By the end of the story, Kiowa pleads with the narrator simply to say something; this encouragement to talk is eventually what leads the narrator to write and saves him from a deeper paralysis.
The narrator takes up this theme in the following story, “Ambush.” His daughter says, “You keep writing these war stories, […] so I guess you must’ve killed somebody” (125). The narrator expresses the desire to tell her the truth once she’s older, then says, “This is why I keep writing war stories” (125). He describes the day that he killed someone, which might be understood as a long-delayed response to Kiowa’s demand that he “talk” (124).
By Tim O'Brien
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