Symbolism is an element par excellence in all writing, be it prose or poetry. “The Red Convertible,” a short story written by Louise Erdrich, chronicles the destructive nature of war, through the strain caused on families by improper deconditioning. The story's main characters, Lyman and Henry Lamartine, are brothers who develop a seemingly inseparable bond through a car; a red convertible. Lyman, the younger of the two, worked hard and always managed to “make money” (Erdrich 394). He manages to climb the employment ladder at the Joliet Café from “washing dishes” (Erdrich 394) to becoming the owner of the establishment. Henry was soon drafted into the war and became a Marine. Upon returning from the Vietnam War “Henry was very different” (Erdrich 396) and “the change was not good” (Erdrich 396). Furthermore, given the name in the title, it is fitting that the convertible plays a very important role in the story. The red convertible, Henry's refusal to take off his war clothing, and the image of the two brothers are symbols that complete the story by providing insight into their lives and personalities. While there are many symbols throughout the story, the most established is the red convertible. Louise Erdrich uses the red convertible as a symbolic representation of not only the relationship between Lyman and Henry, but of all the families separated by the war. The convertible was common enjoyment for both brothers and is representative of their independence. When Henry returned from the war scarred, “quiet and never comfortable sitting still anywhere” (Erdrich 396). Lyman was upset that his brother was acting differently, therefore, to arouse emotions and “interest” (Erdrich 396) Lyman damaged the......middle of paper......d the relationship of Lyman. A notable example is when Lyman “plows” (Erdrich 400) the car into the river. Eventually, the car's engine shuts down; just like Henry and the relationship between the two brothers. Clothes, an occupational marker in this case, show Henry's inability to distance himself from the war. His robes act as a binding force and a memory that will oppress him until his death. In comparison, the image serves as a reminder of the past that continues to haunt Lyman, so much so that he “placed the image in a brown bag and folded the bag tightly over and over again” (Erdrich 398). The author uses the most disparaging aspect of life, death, to portray that life is not eternal and that, although we will not live forever, our memories will. The symbols deepen the story by opening a door into the emotional and physical states of the brothers.