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Romanticism in Tim O'Brien's Going After Cacciato founders of Tim O'Brien's Going After Cacciato have analyzed its narrative technique (see Raymond) and its own position in literature as metafiction (see Herzog). Another critics have commented on the subject of time (view McWilliams) and also the motif and construction (see Vannatta). On the last point, critics discover the structure of this publication is fragmented to reveal the essence of the United States' involvement in Vietnam. Sadly, this fragmentation creates the book appear structurally weak. Critics have found no linking element to the elements to confirm the sense of wholeness readers sense after completing O'Brien's novel. Nonetheless, the reader feels that the seemingly arbitrary structure of this novel serves to highlight the arbitrary nature of the Vietnam war. However, to lightly dismiss O'Brien's business as just fragmentary does great disservice to this American writer. A critical evaluation of a conventional element found in Western Literature since its inception - the exemplary usage of Character - unifies Going After Cacciato and places the work firmly in the Romantic tradition. Just as Romanticists have depended upon Nature to unify and add significant depth to their novels so, also, has O'Brien. Especially, another element of Nature appears in each of the segments of the publication. The novel divides into three distinct parts: the monitoring post chapters, the recollected history chapters, and the pursuing Cacciato chapters. From the observation post phases, Nature is represented by the sea. In the recollected history chapters, the Nature is represented by the property and the new water. In the chasing Cacciato chapters, Nature becomes.