Understanding 'The Lives of the Dead': An AP English Language Exercise
"The Lives of the Dead" Use the information in the passage below to answer the following questions. But this too is true: stories can save us. I'm forty-three years old, and a writer now, and even still, right here, I keep dreaming Linda alive. And Ted Lavender, too, and Kiowa, and Curt Lemon, and a slim young man I killed, and an old man sprawled beside a pigpen, and several others whose bodies I once lifted and dumped into a truck. They're all dead. But in a story, which is a kind of dreaming, the dead sometimes smile and sit up and return to the world. Start here: a body without a name. On an afternoon in 1969 the platoon took sniper fire from a filthy little village along the South China Sea. It lasted only a minute or two, and nobody was hurt, but even so Lieutenant Jimmy Cross got on the radio and ordered up an air strike. For the next half hour we watched the place burn. It was a cool bright morning, like early autumn, and the jets were glossy black against the sky. When it ended, we formed into a loose line and swept east through the village. It was all wreckage. I remember the smell of burnt straw; I remember broken fences and torn-up trees and heaps of stone and brick and pottery. The place was deserted—no people, no animals—and the only confirmed kill was an old man who lay face-up near a pigpen at the center of the village. His right arm was gone. At his face there were already many flies and gnats. Dave Jensen went over and shook the old man's hand. "How-deedoo," he said. One by one the others did it too. They didn't disturb the body, they just grabbed the old man's hand and offered a few words and moved away. Rat Kiley bent over the corpse. "Gimme five," he said. "A real honor." "Pleased as punch," said Henry Dobbins. I was brand-new to the war. It was my fourth day; I hadn't yet developed a sense of humor. Right away, as if I'd swallowed something, I felt a moist sickness rise up in my throat. I sat down beside the pigpen, closed my eyes, put my head between my knees. After a moment Dave Jensen touched my shoulder. "Be polite now," he said. "Go introduce yourself. Nothing to be afraid about, just a nice old man. Show a little respect for your elders." "No way." "Maybe it's too real for you?" "That's right," I said. "Way too real." Jensen kept after me, but I didn't go near the body. I didn't even look at it except by accident. For the rest of the day there was still that sickness inside me, but it wasn't the old man's corpse so much, it was that awesome act of greeting the dead. At one point, I remember, they sat the body up against a fence. They crossed his legs and talked to him. "The guest of honor," Mitchell Sanders said, and he placed a can of orange slices in the old man's lap. "Vitamin C," he said gently. "A guy's health, that's the most important thing." They proposed toasts. They lifted their canteens and drank to the old man's family and ancestors, his many grandchildren, his newfound life after death. It was more than mockery. There was a formality to it, like a funeral without the sadness. Dave Jensen flicked his eyes at me. "Hey, O'Brien," he said, "you got a toast in mind? Never too late for Manners." I found things to do with my hands. I looked away and tried not to think. Late in the afternoon, just before dusk, Kiowa came up and asked if he could sit at my foxhole for a minute. He offered me a Christmas cookie from a batch his father had sent him. It was February now, but the cookies tasted fine. For a few moments Kiowa watched the sky. "You did a good thing today," he said. "That shaking hands crap, it isn't decent. The guys'll hassle you for a while—especially Jensen—but just keep saying no. Should've done it myself. Takes guts, I know that." "It wasn't guts. I was scared." Kiowa shrugged. "Same difference." "No, I couldn't do it. A mental block or something . . . I don't know, just creepy." "Well, you're new here. You'll get used to it." He paused for a second, studying the green and red sprinkles on a cookie. "Today—I guess this was your first look at a real body?" I shook my head. All day long I'd been picturing Linda's face, the way she smiled. "It sounds funny," I said, "but that poor old man, he reminds me of... I mean, there's this girl I used to know. I took her to the movies once. My first date." Kiowa looked at me for a long while. Then he leaned back and smiled. "Man," he said, "that's a bad date."
1
What does the narrator imply by stating that 'stories can save us'?
Stories can physically protect individuals from harm.
Stories are a means of escaping reality permanently.
Stories have the power to keep memories of the deceased alive.
Stories are only useful for entertainment purposes.
2
What was the immediate outcome of the sniper fire the platoon encountered in 1969?
The platoon captured the sniper and interrogated him.
The platoon retreated without engaging the enemy.
Lieutenant Jimmy Cross ordered an air strike on the village.
The platoon suffered heavy casualties.
3
How did the soldiers in the platoon respond to the death of the old man?
They buried the body with full military honors.
They shook his hand and spoke to him as if he were alive.
They ignored the body and continued their mission.
They reported the death to their superiors and waited for instructions.
4
What prompted the narrator to feel a 'moist sickness'?
The smell of burnt straw and destruction in the village.
The act of the soldiers greeting the dead old man.
The sight of the old man's missing arm.
The fear of being in a new and dangerous environment.
5
What contrast is depicted between the narrator's reaction and the other soldiers' actions towards the old man's body?
The soldiers were indifferent, but the narrator showed compassion by burying the body.
The soldiers treated the body with a strange respect, while the narrator was repulsed and refused to participate.
The soldiers wanted to leave the body, but the narrator insisted on reporting it.
The soldiers were scared, but the narrator was curious and examined the body.
6
What does Kiowa mean when he tells the narrator, 'You did a good thing today'?
The narrator's refusal to partake in the handshaking was a show of decency.
The narrator helped the platoon navigate through the village safely.
The narrator successfully completed his first combat mission.
The narrator showed bravery by being the first to shake the old man's hand.
7
How does the narrator's memory of Linda relate to his experience with the old man's body?
The old man's body reminded the narrator of Linda and his past.
Linda was a nurse who taught the narrator how to deal with dead bodies.
Linda was present during the air strike and helped the narrator cope.
Linda was a fellow soldier who died in the same village.
8
What themes are evident in the soldiers' toast to the old man's family and ancestors?
Celebration of victory and the joy of survival.
The complexities of war, respect for the dead, and coping with mortality.
The importance of following military protocol at all times.
The soldiers' desire for revenge against the villagers.
9
Why did the narrator refuse to shake the old man's hand, according to his conversation with Jensen?
He found the act of greeting the dead body too real and unsettling.
He was afraid of contracting a disease from the corpse.
He did not want to participate in what he saw as a pointless ritual.
He did not feel it was respectful to the old man's memory.
10
What does Kiowa's offering of a Christmas cookie symbolize in the context of the passage?
A gesture of friendship and an attempt to comfort the narrator.
Kiowa's disdain for the war and its senseless violence.
The narrator's homesickness and longing for normalcy.
A celebration of the platoon's victory over the village.
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