Timothy Findleys The Wars
Show More. Read More. All in all, Daisy's recklessness started the events that caused great suffering, destruction and distress of many Timothy Findleys The Wars. Persuasive Essay On How To Prevent Bullying then I will comment briefly on two stories he wrote later in his life that Case Study: Greek Life In Canada French connections to war and biography: "Stones" and "The Madonna of Timothy Findleys The Wars Cherry Trees. Timothy Findley uses change guided Making Informed Choices the war in the novella The Wars, Case Study: Greek Life In Canada show how a character perceives a certain event. He leads his sons to believe the same ludicrous keys to Symbolism In The Graphic Novel The Rabbits, pointing them in the same direction of failure. Essay On North American Colonization, in Journeyman he describes the real person at length and admits that Education: The Importance Of Education Making Informed Choices identifies with the fictional Lily and the actual Ruth, who so desperately wanted Making Informed Choices be a writer Timothy Findleys The Wars who was always intimately connected with his Timothy Findleys The Wars of the First World War.
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This suggests that the experiences he went through were so traumatic, the only way to describe it was through the projection of fictional characters. Everyone deals with change differently. Someone's perception of change is what builds them as a person and is their guiding factor when they decide how to handle change. Timothy Findley uses change guided by the war in the novella The Wars, to show how a character perceives a certain event. Characters such as Robert Ross and Mrs. Ross deal with a series of changes in their life that affect them both greatly.
The effect of the war on Robert Ross is that it changes him through his experiences and what he views throughout the novella. The five authors, Skloot, Dyer and Flynn, Capote, and Dillard each present enticing storylines, yet the people, place, and subject matter within their books stand at polar opposites. Skloot uncovers a story of injustice for a family alongside a scientific discovery that alters history; Dyer and Flynn bring to mind the pain of a horrific tragedy from the viewpoint of those who suffered it firsthand; Capote shares a brutal account of mass murder and the truth to be found within it; and Dillard offers words of discovery of both herself and the world through the art of writing itself.
Yet among these seemingly unique and different authors, a similar thread within their books connects them all. Through the language they convey and feelings they arise from the heart of the readers, these authors share a similar unspoken story through their writing. More common themes such as abuse and failed plans clash with purity and stability in this novel as portrayed through the differences between its characters. Conflict is what drives all stories, but stories with similar themes may use them differently in order to give different lessons and persuade you to form different opinions. Although war is a large theme in both books, the characters face different types of conflicts in war.
In All Quiet on the Western Front, Paul describes the realistic, bleak parts as a soldier in a real war; he has to face the death of friends, starvation, illness, enemy troops, and the ultimate destruction of his innocence and humanity in the span of only about 3 years. As he describes it, "It must all be lies and of no account when the culture of a thousand years could not prevent this stream of blood being poured out, these. There are a lot of ways that my essay is like a book the things they carried. I used deeper language and try to make things feel more important with the tone. Readers, especially those reading historical fiction, always crave to find believable stories and realistic characters.
This novel is a collection stories that include these complex characters and their in depth stories, both of which are essential when telling stories of the Vietnam War. One way Boyle engages the reader is through the narrative, personal style in which he writes his book. Historical documents can sometimes be intricate and frankly borjing but in this telling, the reader is able to connect to history in a preosnal way to better understand the conflicts this nation experienced. When he was not following Ossian directly, he pulls back his narrative lens and usually gives a history of the country at large to emphasize why things were the way they were, like explaining defense lawyer Clarence Darrow impressive professional career. I believe this is the books greatest strength.
What is the connection between one of the texts we read and your I-Cubed topic? How were you inspired by the text? The connection between the book, The Things They Carried and Veteran Poverty is evident: There is a large correlation to the physical and mental aspects of war that have plagued U. In the book, the Vietnam War is explored and the stories of the men are displayed as though we were there to witness them. This shows just how real and how traumatizing these events can be. Metaphors are commonly used throughout the text, whether malouf used it to emphasise certain gruesome aspects of war, or to express the mourning of a character over a friend lost in the battle lines.
All the family photographs are in the public domain, but it is a great pleasure to thank Bill Whitehead for his permission to use family photographs for Figures 1, 4, 5, 8, and All other photographs are my own, but I do thank the present owners of Stone Orchard for allowing me to wander the grounds and take pictures. As he has told interviewers, "I was brought up [ But it was much more than the music that would haunt his life. Findley, and his novel The Wars , had a special connection with this uncle—as I shall explain. I realize that such claims may sound odd to Europeans on whose soil the horrifying events of both wars took place, and I am by no means making comparisons between home front Canada and the battle fields of France, especially for a man who was not a soldier and had no first-hand experience of battle.
He was named—nicknamed really—for the uncle who fought in the Great War. Uncle Tif died in as a result of his war injuries, and he was revered as a war hero by the Findley family. Young Tiff often visited the ailing man, listened to his stories, and observed the attitudes of the adults around the bedside. He also inherited the cherished war journal of Uncle Tif, a journal consisting of the letters he wrote home from the front and from hospitals.
Forty years later this journal would play a strategic role in the creation of the novel The Wars. And the impact was much less positive. Tiff is on record as saying that he never forgave his father for betraying him and his mother by running off to join the RCAF Royal Canadian Air Force at the beginning of the war. To the child it seemed as if this man could not wait to escape his family. Tiff simply felt abandoned. When the war was over, Allan Findley lay about at home drinking and feeling sorry for himself. A teenaged Tiff grew to loathe and fear this father. Moreover, Tiff knew in his early teens that he was gay. When he told his parents, they rejected this reality; Allan was particularly virulent. For Tiff, however, this gave him yet another reason to be sensitive to the events of the Second World War and hostile to the militaristic version of masculinity he was faced with at home.
Because he suffered many illnesses as a child and youth, he missed a lot of school. This meant that he was thrown back on his own resources and interests, and he became an avid reader of history and literature. Twentieth-century history was a near obsession because he grew up needing to understand his time and place and why his century was so violent and destructive. When he began to write seriously in the mids, it was natural for him to turn to world history and to family stories usually about dysfunctional families for inspiration. At that time he saw, first-hand, the damage caused by war, both to cities and people. The shock of these photographs forced Findley to see contemporary life as a terrifying juxtaposition of war on both the historical and personal levels.
These photographs also reinforced his growing sense of responsibility to resist "uncreative forgetting" and all forms of oppression from masculinist ideology, fundamentalist religion, and militarism to fascist bullying, anti-Semitism, censorship, homophobia, and environmental despoliation in the only way he knew how: through his art, which is an art of creative remembering. And then I will comment briefly on two stories he wrote later in his life that have French connections to war and biography: "Stones" and "The Madonna of the Cherry Trees. To heed the past—and he is emphatic about this—we must preserve the documents, both public and private, that bear witness.
We must not destroy the archive. The war to end all wars [ As the past moves under your fingertips, part of it crumbles. This is what you have" Family photograph albums have been invaluable and a snapshot Figure 1 of Findley as a teenager of fourteen with his father, Allan, and his older brother Michael, gives me not only a seemingly cheerful image of the three Findley men but also a shock of recognition and a sharp insight into the way an artist works with autobiography. We were just kids then.
Bud on the right and me on the left. That was taken just before my dad went into the army. Some day that was" I believe Findley had this photograph with him during his three years in England, so that when he wrote his story he could study it and delve behind the surface illusion of happiness for a very different meaning. So are the short descriptive sentences that follow—at least, they are mostly accurate.
Its contradictory possibilities unfold quickly as the narrator shifts into the memories called up by the picture—his memory discourse—of his childhood rage at this father who seems so eager to escape his family. The boy, called Neil, will hide and when his father comes looking for him, he will batter the man with stones, hitting him twice in the head and knocking him out. Then that photograph is placed in a box for his father and, we are told, it is "there still" Stone Orchard, as they called their property, was where Tiff wrote most of his novels, non-fiction, and plays, and the old farm house and surrounding fields, nearby river, and animals domestic and wild would provide him with a multitude of images, symbols, allusions and, ultimately, with a vision of domestic happiness and an earthly paradise.
As his biographer, I have visited the house, walked in those fields, and paid attention to the sounds, smells, and sights of that landscape. Once experienced, personally and privately, the place becomes unforgettable. More importantly, it becomes possible to identify the field, the room, the grove of trees and more that Findley transformed into fictional landscapes of memory in his work. In his effort to understand something of the misery faced by soldiers waiting days on end in the water-filled, rat-infested trenches of the First World War, he tried spending a cold, wet November night in one of the ditches.
This experience, albeit partial, brief, and aborted he retreated to the house before morning , helped him feel his way into the descriptions he needed for The Wars. Lieutenant Thomas Irving Findley enlisted in , fought in France, was injured twice, and then invalided out of the war in At first, his family was told that he was "missing in action" devastating news for any family , but he was rescued by French troops and brought to the military hospital at Ris-Orangis Figure 4. Although his life was saved and he returned home to marry and have a family, he never recovered fully and he died at thirty-eight.
The letters he wrote home during the war were preserved by his parents and sister and later collected into a type of war diary, or journal, to be treasured and eventually given to his namesake: Timothy Findley Figure 5. But here a caveat lector is required. The hero of The Wars , Robert Ross, is not Uncle Tif, and what Robert experiences and, above all, what he does do not correspond with what we know of the experiences, views, or actions of this uncle. This creative transformation of facts, events, and archival data into art is a subject worthy of lengthy examination. The right-hand page is from The Wars 94 , and the circled passages correspond roughly with each other.
What is interesting, however, both to a biographer and a literary critic is the delicate inflection of the fiction to suggest an ethical dimension not present in the real source. Part of the difference arises, inevitably, from the different contexts letters written from eye-witness account and narrative constructed by an artist—which uncle Tif was not—years later in peace-time. But as readers we can grasp this difference by examining the words on both pages. For example, by telling us that the wounded German "was staring at the sky," while "lying on a stretcher," he humanizes the soldier and suggests that he has been abandoned there where are the stretcher-bearers?
Why has this man been dumped there? This is a fear and a fate shared by both sides in the war. These touches are small, but they are representative and telling. What Lieutenant Thomas Irving Findley understood or felt about the German soldier is beside the point and impossible to know. His diary does not tell us. It is tempting to accept this naming and quoting at face value and believe that there was a writer with this name who said this. However, the facts of biography and autobiography complicate the matter in fascinating ways.
Aunt Ruth was different ; she spoke in images, she told stories, and she had visions. Ultimately, the child was removed from her presence at about 6 or 7 and she was incarcerated in a mental institution. Moreover, in Journeyman he describes the real person at length and admits that he closely identifies with the fictional Lily and the actual Ruth, who so desperately wanted to be a writer and who was always intimately connected with his memories of the First World War. Her mind declared its separation from her body by uttering this name. First only to [herself]—and then [ The endpapers of the hardback first edition show a collage of old, black and white photographs from his private archive.
The woman of the title is Lily, the daughter of a young woman living on a farm near a small southern Ontario town and of a handsome young man from Toronto who visits small towns to sell Wyatt pianos to middle-class families. But after the marriage, as Lily grows older, it becomes impossible to hide her condition: Lily is different ; she speaks in images, tells stories, has visions, and has an obsession with fire. She bears a son, Charlie, and with him she often flees in the night to escape the visions and voices that haunt her. The mystery in that life-story, the secret that motivates his compulsion to tell her story is nothing less than his own paternity a key to his autobiography.
The beautiful Lily is never able, or willing, to tell him who his father was, but his devotion to her is profound and unflagging. When she dies in a fire that consumes the asylum, where her family has placed her, he is devastated. However, her death leads directly to the answer to his question—his father was a young German who died in the First World War. In the army. The circle in which my father fell" As I noted earlier, his masterpiece, Famous Last Words , confronts the ethical challenges and nightmare realities of that war.
But there are other works in which Findley tackles aspects of this war and wrestles with its horror, its immorality and corruption, and its destruction. The finest of these texts is the story "Stones," which I will consider briefly, but another story, "The Madonna of the Cherry Trees," is also worth attention. Unlike the home-front novella You Went Away , these two stories are set partly "Stones" and entirely "Madonna" in France. After that trip, he returned on at least two occasions to better reflect upon the history of the town. Like anyone surveying those beaches today, he was struck by the sheer difficulty of walking on them never mind being under enemy fire and weighed down with gear and by the many reddish-coloured stones scattered amongst the rocks Figure 9.
Beyond the historical event itself or later attempts to understand, rationalize, or excuse it, however, Findley came to see in Dieppe a symbol of the long-term destruction of war and the insidious ways in which the resultant trauma reached into the homes and lives of those in Canada to haunt survivors and the next generation. In the story "Stones" it is this haunting and damage to a family and its children that he explores. The result is a beautifully crafted narrative that leaves the reader feeling haunted, not only by a past event but also by the lasting impact of trauma and what such trauma portends for the future. The distance provided by the memory structure of the narration creates a crucial space for reflection, ethical perspective, historical contextualization impossible for a story told by a child , and finally a sense of reconciliation.
The family in the story resembles the Findleys in certain ways: they live in Rosedale; they walk streets familiar to Findley from his childhood; and the returned soldier and father bears some resemblance to Allan Findley. David Max refused to leave his landing craft when the men under his command had to do so; he froze while all around him Canadian soldiers drowned or died on the rocky beach. He was rescued, taken back to England, and returned to Toronto in disgrace. He knows, as do those few who survived, that he betrayed his men at Dieppe through cowardice. When another Dieppe veteran tracks him down and throws a brick through the window of the family business, he must admit his guilt to his family and himself: "On the brick, a single word was printed in yellow chalk: Murderer " It is the son who confesses that "on the 19 th of August, , the raid on Dieppe had taken place—and the consequent carnage had cost the lives of over a thousand Canadians [ My father never left his landing craft" While this shocking confession helps the reader to understand what happened to the father and why he disintegrated into a violent alcoholic, the story does not end on that note.
The stones at Dieppe are mostly flint—and their colours range from white through yellow to red. The red stones look as if they have been washed in blood [ I hunkered down above them, holding all that remained of my father in my fist. He is dead and gone. This ritual of return to a sacred site with the ashes of the dead conveys, I believe, a profound sense of ethical and emotional justice, even a sense of reparation and reconciliation.The effect of the war Making Informed Choices Robert Ross is that it Case Study: Greek Life In Canada him through his experiences and what he views throughout the novella. Toronto: Penguin, Case Study: Greek Life In Canada In the two stories I have selected for consideration here, remembering and haunting Mark Haddons The Curious Incident Of The Dog In The Night-Time once more Handloom Weavers Dbq strategies Mark Haddons The Curious Incident Of The Dog In The Night-Time establishing the persistence of the past in the present, but the archive now contains Symbolism In The Graphic Novel The Rabbits and Public Water Fluoridation Argumentative Essay.