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            <title xml:lang="en">Veterans in Ruins: The Soldier's Impossible Homecoming in Tim O'Brien's The Things They Carried</title>
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                <term xml:lang="fr">guerre</term>
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                <term xml:lang="fr">retour du soldat Tim O'Brien</term>
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              <p>&lt;div&gt;English summary:&lt;p&gt;The notion of homecoming is the focal point of Tim O'Brien's short story "Speaking of Courage," which presents an irreconcilable scission between the present and the soldier's past self and life, before the war. This cleavage is mainly embodied in the landscape of the story: the city that was once familiar seems remote after his homecoming. The way in which the protagonist looks at his hometown while driving around the lake that constitutes its center point allows the gradual (re)appearance of Vietnam landscapes and events in the descriptions, until memories from the past and visions of the present superimpose completelythereby blurring the boundaries between war and peace, between suburban America and Vietnam battlegrounds. The bedimming of differences between the structural polarities of the "here" and the "elsewhere" enables the emergence of paradoxical esthetics based on the notions of conflation and reversal, which thwart the prospect of ever returning home by rendering the very notion of return nonsensical and unachievable. Through writing, O'Brien thus puts into question the very possibility and completeness of the soldier's homecoming by collapsing together different spatiotemporal realities.&lt;/p&gt;&lt;/div&gt; &lt;div&gt;French summary:&lt;p&gt;La notion de retour du vétéran aux États-Unis est au centre de la nouvelle de Tim O'Brien « Speaking of Courage », qui met en avant un écart irréconciliable entre la vie du soldat avant et après la guerre. Cette scission s'incarne principalement au sein du paysage : la ville qui était jadis familière au soldat lui semble désormais étrange et indéchiffrable. Le regard qu'il pose sur sa ville d'origine alors qu'il conduit autour du lac qui en constitue le centre permet la réapparition graduelle de paysages de guerre dans les descriptions, jusqu'à ce que les souvenirs du passé se superposent complètement aux visions du présent. La limite entre la paix et la guerre, entre la banlieue américaine et le champ de bataille vietnamien est ainsi révoquée. L'annihilation des différences entre les pôles de l'« ici » et de l'« ailleurs » catalyse l'émergence d'une esthétique paradoxale basée sur un principe d'amalgame et de renversement, et contrarie la perspective du retour chez soi en rendant celui-ci essentiellement absurde et irréalisable. Par le biais de l'écriture, O'Brien remet ainsi en question la possibilité même du retour au pays après la guerre en entremêlant différentes réalités spatiotemporelles.&lt;/p&gt;&lt;/div&gt;</p>
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