“The story' Sanders would say "the whole tone, man, you're wrecking it."Tone?'The sound. You need to get a consitent sound, like slow or fast, funny or sad. All these disgressions, they just screw up your story's sound. Stick to what happened.”

“But I do like churches. The way it feels inside. It feels good when you just sit there, like you're in a forest and everything's really quiet, expect there's still this sound you can't hear.”

“Not a minister," he said, "but I do like churches. The way it feels inside. It feels good when you just sit there, like you're in a forest and everything's really quiet, except there's still this sound you can't hear.”

“You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, 'Is it true?' and if the answer matters, you've got your answer . . . Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth.”

“In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told that way. The angles of vision are skewed. When a booby trap explodes, you close your eyes and duck and float outside yourself. .. The pictures get jumbled, you tend to miss a lot. And then afterward, when you go to tell about it, there is always that surreal seemingness, which makes the story seem untrue, but which in fact represents the hard and exact truth as it seemed.”

“What would you do?Would you jump? Would you feel pity for yourself? Would you think about your family and your childhood and your dreams and all you're leaving behind? Would it hurt? Would it feel like dying? Would you cry, as I did?”

“I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth.”