Skip to content Skip to sidebar Skip to footer
Home / Lets Play Sword Art Online Hollow Fragment Part 1

Lets Play Sword Art Online Hollow Fragment Part 1

Post a Comment

1926 novel by Ernest Hemingway

Get-go edition of The Sun Likewise Rises, published in 1926 by Scribner'due south, with dust jacket illustrated by Cleonike Damianakes. The Hellenistic jacket design "breathed sex still besides evoked classical Greece".[ane]

The Sun Besides Rises is a 1926 novel past American writer Ernest Hemingway, his first, that portrays American and British expatriates who travel from Paris to the Festival of San Fermín in Pamplona to watch the running of the bulls and the bullfights. An early and enduring modernist novel, it received mixed reviews upon publication. Withal, Hemingway biographer Jeffrey Meyers writes that it is now "recognized equally Hemingway's greatest work",[2] and Hemingway scholar Linda Wagner-Martin calls information technology his most important novel.[three] The novel was published in the Us in October 1926 by Scribner'due south. A yr after, Jonathan Greatcoat published the novel in London under the title Fiesta . Information technology remains in impress.

The novel is a roman à clef: the characters are based on real people in Hemingway's circle, and the action is based on real events, particularly Hemingway'southward life in Paris in the 1920s and a trip to Spain in 1925 for the Pamplona festival and line-fishing in the Pyrenees. Hemingway presents his notion that the "Lost Generation"—considered to have been decadent, dissolute, and irretrievably damaged by World War I—was in fact resilient and strong.[iv] Hemingway investigates the themes of love and expiry, the revivifying power of nature, and the concept of masculinity. His spare writing style, combined with his restrained use of clarification to convey characterizations and action, demonstrates his "Iceberg Theory" of writing.

Background [edit]

In the 1920s Hemingway lived in Paris equally a strange contributor for the Toronto Star, and traveled to Smyrna to report on the Greco–Turkish War. He wanted to use his journalism experience to write fiction, believing that a story could be based on real events when a writer distilled his own experiences in such a way that, according to biographer Jeffrey Meyers, "what he made upward was truer than what he remembered".[five]

With his wife Hadley Richardson, Hemingway kickoff visited the Festival of San Fermín in Pamplona in 1923, where he was following his recent passion for bullfighting.[half dozen] The couple returned to Pamplona in 1924—enjoying the trip immensely—this time accompanied by Chink Dorman-Smith, John Dos Passos, and Donald Ogden Stewart and his wife.[7] The ii returned a third time in June 1925 and stayed at the hotel of his friend Juanito Quintana. That yr, they brought with them a unlike group of American and British expatriates: Hemingway's Michigan adolescence friend Bill Smith, Stewart, recently divorced Duff, Lady Twysden, her lover Pat Guthrie, and Harold Loeb.[eight] Hemingway'southward memory spanning multiple trips might explain the inconsistent timeframe in the novel indicating both 1924 and 1925.[nine] In Pamplona, the group chop-chop disintegrated. Hemingway, attracted to Duff, was jealous of Loeb, who had recently been on a romantic getaway with her; by the stop of the week the two men had a public fistfight. Against this background was the influence of the immature matador from Ronda, Cayetano Ordóñez, whose brilliance in the bullring affected the spectators. Ordóñez honored Hemingway'due south wife by presenting her, from the bullring, with the ear of a bull he killed. Outside of Pamplona, the fishing trip to the Irati River (nearly Burguete in Navarre) was marred by polluted water.[8]

Hemingway had intended to write a nonfiction book about bullfighting, simply then decided that the week's experiences had presented him with enough material for a novel.[7] A few days after the fiesta ended, on his altogether (21 July), he began writing what would eventually become The Sunday Also Rises.[x] By 17 August, with xiv chapters written and a working title of Fiesta chosen, Hemingway returned to Paris. He finished the draft on 21 September 1925, writing a foreword the following weekend and irresolute the championship to The Lost Generation.[11]

A few months afterwards, in December 1925, Hemingway and his married woman spent the wintertime in Schruns, Austria, where he began revising the manuscript extensively. Pauline Pfeiffer joined them in January, and—against Hadley's advice—urged him to sign a contract with Scribner's. Hemingway left Republic of austria for a quick trip to New York to meet with the publishers, and on his return, during a stop in Paris, began an matter with Pauline. He returned to Schruns to finish the revisions in March.[12] In June, he was in Pamplona with both Richardson and Pfeiffer. On their return to Paris, Richardson asked for a separation, and left for the southward of France.[13] In August, alone in Paris, Hemingway completed the proofs, dedicating the novel to his wife and son.[14] After the publication of the book in October, Hadley asked for a divorce; Hemingway subsequently gave her the volume'due south royalties.[xv]

Publication history [edit]

Hemingway maneuvered Boni & Liveright into terminating their contract with him so that The Sun Also Rises could be published by Scribner's instead. In December 1925 he rapidly wrote The Torrents of Spring—a satirical novella attacking Sherwood Anderson—and sent it to his publishers Boni & Liveright. His iii-book contract with them included a termination clause should they refuse a single submission. Unamused by the satire against one of their most saleable authors, Boni & Liveright immediately rejected it and terminated the contract.[16] Within weeks Hemingway signed a contract with Scribner'south, who agreed to publish The Torrents of Bound and all of his subsequent piece of work.[17] [note 1]

Scribner's published the novel on 22 October 1926. Its showtime edition consisted of 5090 copies, selling at $two.00 per copy.[18] Cleonike Damianakes illustrated the grit jacket with a Hellenistic design of a seated, robed woman, her caput bent to her shoulder, optics closed, one hand holding an apple, her shoulders and a thigh exposed. Editor Maxwell Perkins intended "Cleon's respectably sexy"[1] blueprint to attract "the feminine readers who command the destinies of and so many novels".[19]

Two months later on the book was in a 2nd press with 7000 copies sold. Subsequent printings were ordered; past 1928, after the publication of Hemingway'due south short story collection Men Without Women, the novel was in its eighth printing.[xx] [21] In 1927 the novel was published in the UK by Jonathan Cape, titled Fiesta, without the two epigraphs.[22] Ii decades subsequently, in 1947, Scribner'southward released three of Hemingway'due south works as a boxed set, including The Sun Besides Rises, A Farewell to Arms, and For Whom the Bell Tolls.[23]

By 1983, The Sun As well Rises had been in print continuously since its publication in 1926, and was likely one of the well-nigh translated titles in the globe. At that time Scribner's began to print cheaper mass-marketplace paperbacks of the book, in addition to the more expensive trade paperbacks already in print.[24] In the 1990s, British editions were titled Fiesta: The Sunday Also Rises. [25] In 2006 Simon & Schuster began to produce audiobook versions of Hemingway's novels, including The Sun Too Rises.[26] In May 2016 a new "Hemingway Library Edition" was published by Simon & Schuster, including early drafts, passages that were deleted from the final draft, and alternative titles for the volume, which help to explain the author's journey to produce the final version of this acclaimed work.[27] [28]

Plot summary [edit]

On the surface, the novel is a love story betwixt the protagonist Jake Barnes—a man whose war wound has fabricated him unable to take sexual activity—and the promiscuous divorcée Lady Brett Ashley. Jake is an expatriate American journalist living in Paris, while Brett is a twice-divorced Englishwoman with bobbed hair and numerous love affairs, and embodies the new sexual freedom of the 1920s. Brett's matter with Jake'due south college friend Robert Cohn causes Jake to be upset and break off his friendship with Robert; her seduction of the nineteen-year-old matador Romero causes Jake to lose his good reputation amid the Spaniards in Pamplona.

Book 1 is set up in the café society of young American expatriates in Paris. In the opening scenes, Jake plays tennis with Robert, picks upwardly a prostitute (Georgette), and runs into Brett and Count Mippipopolous in a nightclub. Later, Brett tells Jake she loves him, but they both know that they take no adventure at a stable human relationship.

In Volume 2, Jake is joined by Bill Gorton, recently arrived from New York, and Brett's fiancé Mike Campbell, who arrives from Scotland. Jake and Neb travel south and meet Robert at Bayonne for a angling trip in the hills northeast of Pamplona. Instead of fishing, Robert stays in Pamplona to wait for the overdue Brett and Mike. Robert had an affair with Brett a few weeks earlier and nevertheless feels possessive of her despite her engagement to Mike. Later Jake and Bill enjoy v days of line-fishing the streams well-nigh Burguete, they rejoin the group in Pamplona.

All brainstorm to beverage heavily. Robert is resented past the others, who taunt him with antisemitic remarks. During the fiesta the characters drink, swallow, watch the running of the bulls, nourish bullfights, and bicker with each other. Jake introduces Brett to the xix-year-sometime matador Romero at the Hotel Montoya; she is smitten with him and seduces him. The jealous tension amid the men builds—Jake, Mike, Robert, and Romero each desire Brett. Robert, who had been a champion boxer in college, has a fistfight with Jake and Mike, and another with Romero, whom he beats upwardly. Despite his injuries, Romero continues to perform brilliantly in the bullring.

Book Three shows the characters in the backwash of the fiesta. Sober again, they leave Pamplona; Bill returns to Paris, Mike stays in Bayonne, and Jake goes to San Sebastián on the northern coast of Kingdom of spain. As Jake is about to render to Paris, he receives a telegram from Brett asking for help; she had gone to Madrid with Romero. He finds her there in a inexpensive hotel, without money, and without Romero. She announces she has decided to get back to Mike. The novel ends with Jake and Brett in a taxi speaking of the things that might accept been.

Themes and analysis [edit]

Paris and the Lost Generation [edit]

The beginning book of The Lord's day Too Rises is set in mid-1920s Paris. Americans were fatigued to Paris in the Roaring Twenties past the favorable exchange charge per unit, with as many equally 200,000 English language-speaking expatriates living there. The Paris Tribune reported in 1925 that Paris had an American Hospital, an American Library, and an American Sleeping room of Commerce.[29] Many American writers were disenchanted with the US, where they plant less artistic liberty than in Europe. (For example, Hemingway was in Paris during the period when Ulysses, written by his friend James Joyce, was banned and burned in New York.)[30]

The themes of The Sun Likewise Rises appear in its two epigraphs. The first is an allusion to the "Lost Generation", a term coined by Gertrude Stein referring to the post-war generation;[note ii] [31] the other epigraph is a long quotation from Ecclesiastes: "1 generation passeth away, and another generation cometh: but the earth abideth for always. The dominicus also ariseth, and the sunday goeth down, and hasteth to his place where he arose."[32] Hemingway told his editor Max Perkins that the volume was non and then much about a generation being lost, but that "the world abideth forever." He thought the characters in The Sun As well Rises may have been "battered" only were not lost.[4]

Hemingway scholar Wagner-Martin writes that Hemingway wanted the volume to exist about morality, which he emphasized past changing the working title from Fiesta to The Dominicus Also Rises. Wagner-Martin argues that the book can be read either every bit a novel nigh bored expatriates or equally a morality tale about a protagonist who searches for integrity in an immoral world.[33] Months earlier Hemingway left for Pamplona, the press was depicting the Parisian Latin Quarter, where he lived, as decadent and depraved. He began writing the story of a matador corrupted by the influence of the Latin Quarter crowd; he expanded it into a novel about Jake Barnes at risk of being corrupted by wealthy and inauthentic expatriates.[34]

Hemingway at dwelling house in his apartment on the Left Depository financial institution, Paris, 1924

The characters form a group, sharing similar norms, and each greatly affected by the state of war.[33] Hemingway captures the malaise of the age and transcends the love story of Brett and Jake, although they are representative of the period: Brett is starved for reassurance and love and Jake is sexually maimed. His wound symbolizes the disability of the age, the disillusion, and the frustrations felt past an unabridged generation.[33]

Hemingway thought he lost touch with American values while living in Paris, but his biographer Michael Reynolds claims the opposite, seeing evidence of the author'due south midwestern American values in the novel. Hemingway admired difficult piece of work. He portrayed the matadors and the prostitutes, who piece of work for a living, in a positive manner, but Brett, who prostitutes herself, is emblematic of "the rotten oversupply" living on inherited money. Information technology is Jake, the working journalist, who pays the bills again and again when those who can pay exercise not. Hemingway shows, through Jake's actions, his disapproval of the people who did not pay up.[35] Reynolds says that Hemingway shows the tragedy, non so much of the decadence of the Montparnasse crowd, but of the decline in American values of the flow. As such, the author created an American hero who is impotent and powerless. Jake becomes the moral center of the story. He never considers himself function of the expatriate crowd because he is a working man; to Jake a working homo is 18-carat and authentic, and those who do not work for a living spend their lives posing.[36]

Women and love [edit]

The twice-divorced Brett Ashley represented the liberated New Adult female (in the 1920s, divorces were common and easy to be had in Paris).[37] James Nagel writes that, in Brett, Hemingway created ane of the more than fascinating women in 20th-century American literature. Sexually promiscuous, she is a denizen of Parisian nightlife and cafés. In Pamplona she sparks chaos: in her presence, the men drink also much and fight. She also seduces the young bullfighter Romero and becomes a Circe in the festival.[38] Critics describe her variously as complicated, elusive, and enigmatic; Donald Daiker writes that Hemingway "treats her with a delicate balance of sympathy and antipathy."[39] She is vulnerable, forgiving, independent—qualities that Hemingway juxtaposes with the other women in the book, who are either prostitutes or overbearing nags.[xl]

Nagel considers the novel a tragedy. Jake and Brett have a relationship that becomes destructive because their love cannot be consummated. Conflict over Brett destroys Jake'due south friendship with Robert Cohn, and her beliefs in Pamplona affects Jake's hard-won reputation amid the Spaniards.[38] Meyers sees Brett as a woman who wants sexual practice without love while Jake can only give her honey without sex activity. Although Brett sleeps with many men, it is Jake she loves.[41] Dana Fore writes that Brett is willing to be with Jake in spite of his disability, in a "non-traditional erotic relationship."[42] Other critics such every bit Leslie Fiedler and Nina Baym see her as a supreme bitch; Fiedler sees Brett as one of the "outstanding examples of Hemingway's 'bitch women.'"[43] [44] Jake becomes biting about their relationship, as when he says, "Send a girl off with a man .... At present become and bring her back. And sign the wire with love."[45]

Critics interpret the Jake–Brett relationship in diverse means. Daiker suggests that Brett'due south behavior in Madrid—subsequently Romero leaves and when Jake arrives at her summons—reflects her immorality.[46] Scott Donaldson thinks Hemingway presents the Jake–Brett relationship in such a manner that Jake knew "that in having Brett for a friend 'he had been getting something for aught' and that sooner or afterward he would have to pay the pecker."[47] Daiker notes that Brett relies on Jake to pay for her train fare from Madrid to San Sebastián, where she rejoins her fiancé Mike.[48] In a piece Hemingway cutting, he has Jake thinking, "you lot learned a lot about a woman by not sleeping with her."[49] By the end of the novel, although Jake loves Brett, he appears to undergo a transformation in Madrid when he begins to altitude himself from her.[49] Reynolds believes that Jake represents the "everyman," and that in the form of the narrative he loses his honor, organized religion, and hope. He sees the novel as a morality play with Jake as the person who loses the most.[50]

The corrida, the fiesta, and nature [edit]

Hemingway (in white trousers and nighttime shirt) fighting a bull in the amateur corrida at Pamplona fiesta, July 1925

In The Dominicus Also Rises, Hemingway contrasts Paris with Pamplona, and the frenzy of the fiesta with the tranquillity of the Spanish countryside. Spain was Hemingway's favorite European country; he considered it a salubrious identify, and the only country "that hasn't been shot to pieces."[51] He was profoundly affected by the spectacle of bullfighting, writing,

It isn't just roughshod like they always told the states. Information technology's a great tragedy—and the nigh beautiful affair I've ever seen and takes more guts and skill and guts over again than anything mayhap could. Information technology'south only like having a ringside seat at the war with nothing going to happen to you.[51]

He demonstrated what he considered the purity in the culture of bullfighting—called afición—and presented it as an authentic way of life, contrasted confronting the inauthenticity of the Parisian bohemians.[52] To be accepted every bit an aficionado was rare for a non-Spaniard; Jake goes through a difficult process to proceeds credence past the "fellowship of afición."[53]

The Hemingway scholar Allen Josephs thinks the novel is centered on the corrida (the bullfighting), and how each graphic symbol reacts to it. Brett seduces the young matador; Cohn fails to understand and expects to be bored; Jake understands fully because simply he moves between the world of the inauthentic expatriates and the authentic Spaniards; the hotel keeper Montoya is the keeper of the faith; and Romero is the artist in the band—he is both innocent and perfect, and the ane who bravely faces death.[54] The corrida is presented every bit an idealized drama in which the matador faces death, creating a moment of existentialism or nada (nothingness), broken when he vanquishes death by killing the balderdash.[55]

Hemingway named his character Romero for Pedro Romero, shown here in Goya's carving Pedro Romero Killing the Halted Bull (1816).

Hemingway presents matadors as heroic characters dancing in a bullring. He considered the bullring every bit war with precise rules, in contrast to the messiness of the existent war that he, and by extension Jake, experienced.[33] Critic Keneth Kinnamon notes that young Romero is the novel'due south merely honorable character.[53] Hemingway named Romero afterwards Pedro Romero, an 18th-century bullfighter who killed thousands of bulls in the most difficult manner: having the balderdash kill itself on his sword equally he stood perfectly however. Reynolds says Romero, who symbolizes the classically pure matador, is the "1 idealized figure in the novel."[56] Josephs says that when Hemingway inverse Romero'south proper name from Guerrita and imbued him with the characteristics of the historical Romero, he also changed the scene in which Romero kills a balderdash to one of recibiendo (receiving the bull) in homage to the historical namesake.[57]

Before the group arrives in Pamplona, Jake and Pecker have a fishing trip to the Irati River. Every bit Harold Blossom points out, the scene serves every bit an interlude between the Paris and Pamplona sections, "an oasis that exists outside linear time." On some other level information technology reflects "the mainstream of American fiction start with the Pilgrims seeking refuge from English oppression"—the prominent theme in American literature of escaping into the wilderness, equally seen in Cooper, Hawthorne, Melville, Twain, and Thoreau.[58] Fiedler calls the theme "The Sacred Land"; he thinks the American West is evoked in The Sun Also Rises by the Pyrenees and given a symbolic nod with the proper name of the "Hotel Montana."[43] In Hemingway'southward writing, nature is a place of refuge and rebirth, according to Stoltzfus, where the hunter or fisherman gains a moment of transcendence at the moment the prey is killed.[55] Nature is the place where men human action without women: men fish, men hunt, men find redemption.[43] In nature Jake and Bill do not need to discuss the war because their war experience, paradoxically, is ever-present. The nature scenes serve as counterpoint to the fiesta scenes.[33]

All of the characters potable heavily during the fiesta and generally throughout the novel. In his essay "Alcoholism in Hemingway'due south The Sun Too Rises", Matts Djos says the principal characters exhibit alcoholic tendencies such as depression, anxiety and sexual inadequacy. He writes that Jake's self-pity is symptomatic of an alcoholic, as is Brett's out-of-control behavior.[59] William Balassi thinks that Jake gets drunk to avoid his feelings for Brett, notably in the Madrid scenes at the stop where he has three martinis earlier lunch and drinks three bottles of vino with lunch.[60] Reynolds, however, believes the drinking is relevant every bit set against the historical context of Prohibition in the U.s.. The atmosphere of the fiesta lends itself to drunkenness, merely the degree of revelry among the Americans likewise reflects a reaction confronting Prohibition. Bill, visiting from the U.s.a., drinks in Paris and in Kingdom of spain. Jake is rarely drunk in Paris where he works merely on vacation in Pamplona, he drinks constantly. Reynolds says that Prohibition dissever attitudes about morality, and in the novel Hemingway made clear his dislike of Prohibition.[61]

Masculinity and gender [edit]

Critics have seen Jake as an ambiguous representative of Hemingway manliness. For example, in the bar scene in Paris, Jake is aroused at some homosexual men. The critic Ira Elliot suggests that Hemingway viewed homosexuality as an inauthentic manner of life, and that he aligns Jake with homosexual men because, similar them, Jake does not take sex with women. Jake'south anger shows his self-hatred at his inauthenticity and lack of masculinity.[62] His sense of masculine identity is lost—he is less than a human.[63] Elliot wonders if Jake's wound perhaps signifies latent homosexuality, rather than only a loss of masculinity; the emphasis in the novel, yet, is on Jake'south interest in women.[64] Hemingway's writing has been called homophobic because of the language his characters use. For example, in the fishing scenes, Bill confesses his fondness for Jake but then goes on to say, "I couldn't tell you that in New York. It'd mean I was a faggot."[65]

In contrast to Jake'south troubled masculinity, Romero represents an ideal masculine identity grounded in self-balls, bravery, competence, and uprightness. The Davidsons notation that Brett is attracted to Romero for these reasons, and they speculate that Jake might be trying to undermine Romero's masculinity by bringing Brett to him and thus diminishing his ideal stature.[66]

Critics have examined issues of gender misidentification that are prevalent in much of Hemingway's piece of work. He was interested in cantankerous-gender themes, as shown past his depictions of effeminate men and boyish women.[67] In his fiction, a woman's hair is often symbolically important and used to denote gender. Brett, with her brusque pilus, is androgynous and compared to a boy—yet the ambiguity lies in the fact that she is described as a "damned fine-looking adult female." While Jake is attracted to this ambiguity, Romero is repulsed by it. In keeping with his strict moral lawmaking he wants a feminine partner and rejects Brett considering, among other things, she will not abound her hair.

Antisemitism [edit]

Mike lay on the bed looking similar a death mask of himself. He opened his optics and looked at me.
'Hello Jake' he said very slowly. 'I'm getting a little sleep. I've wanted a lilliputian sleep for a long time ....'
'Y'all'll sleep, Mike. Don't worry, boy.'
'Brett's got a bullfighter,' Mike said. 'Merely her Jew has gone abroad .... Damned skillful thing, what?'

Hemingway has been called antisemitic, well-nigh notably because of the label of Robert Cohn in the volume. The other characters often refer to Cohn equally a Jew, and one time as a 'kike'.[69] Shunned by the other members of the group, Cohn is characterized equally "unlike", unable or unwilling to understand and participate in the fiesta.[69] Cohn is never really part of the grouping—separated by his deviation or his Jewish organized religion.[33] Barry Gross, comparison Jewish characters in literature of the menstruum, commented that "Hemingway never lets the reader forget that Cohn is a Jew, non an unattractive grapheme who happens to be a Jew only a character who is unattractive because he is a Jew."[seventy] [71] Hemingway critic Josephine Knopf speculates that Hemingway might have wanted to depict Cohn every bit a "shlemiel" (or fool), but she points out that Cohn lacks the characteristics of a traditional shlemiel.[72]

Cohn is based on Harold Loeb, a swain writer who rivaled Hemingway for the affections of Duff, Lady Twysden (the real-life inspiration for Brett). Biographer Michael Reynolds writes that in 1925, Loeb should have declined Hemingway's invitation to join them in Pamplona. Before the trip he was Duff'south lover and Hemingway's friend; during the fiasco of the fiesta, he lost Duff and Hemingway'due south friendship. Hemingway used Loeb equally the footing of a grapheme remembered chiefly as a "rich Jew."[73]

Writing style [edit]

The novel is well known for its style, which is variously described as mod, difficult-boiled, or understated.[74] As a novice writer and journalist in Paris, Hemingway turned to Ezra Pound—who had a reputation equally "an unofficial minister of civilization who acted every bit mid-married woman for new literary talent"—to mark and blue-ink his short stories.[75] From Pound, Hemingway learned to write in the modernist style: he used understatement, pared away sentimentalism, and presented images and scenes without explanations of significant, most notably at the book's conclusion, in which multiple future possibilities are left for Brett and Jake.[74] [note 3] The scholar Anders Hallengren writes that because Hemingway learned from Pound to "distrust adjectives," he created a style "in accordance with the esthetics and ethics of raising the emotional temperature towards the level of universal truth by shutting the door on sentiment, on the subjective."[76]

F. Scott Fitzgerald told Hemingway to "let the book's action play itself out among its characters." Hemingway scholar Linda Wagner-Martin writes that, in taking Fitzgerald's advice, Hemingway produced a novel without a primal narrator: "Hemingway's book was a step ahead; it was the modernist novel."[77] When Fitzgerald brash Hemingway to trim at least 2500 words from the opening sequence, which was thirty pages long, Hemingway wired the publishers telling them to cut the opening 30 pages altogether. The issue was a novel without a focused starting point, which was seen every bit a modern perspective and critically well received.[78]

Each fourth dimension he let the bull pass and so shut that the man and the bull and the cape that filled and pivoted ahead of the balderdash were all one sharply etched mass. It was all so slow and and then controlled. It was as though he were rocking the bull to slumber. He made four veronicas like that ... and came abroad toward the applause, his hand on his hip, his cape on his arm, and the bull watching his back going away. —bullfighting scene from The Sun Also Rises [79]

Wagner-Martin speculates that Hemingway may have wanted to have a weak or negative hero as divers by Edith Wharton, only he had no experience creating a hero or protagonist. At that betoken his fiction consisted of extremely short stories, non one of which featured a hero.[33] The hero inverse during the writing of The Sun Also Rises: first the matador was the hero, then Cohn was the hero, so Brett, and finally Hemingway realized "perchance there is not any hero at all. Perhaps a story is better without any hero."[80] Balassi believes that in eliminating other characters as the protagonist, Hemingway brought Jake indirectly into the function of the novel's hero.[81]

As a roman à clef, the novel based its characters on living people, causing scandal in the expatriate customs. Hemingway biographer Carlos Baker writes that "give-and-take-of-mouth of the volume" helped sales. Parisian expatriates gleefully tried to match the fictional characters to real identities. Moreover, he writes that Hemingway used prototypes easily found in the Latin Quarter on which to base of operations his characters.[82] The early typhoon identified the characters by their living counterparts; Jake's character was called Hem, and Brett's was called Duff.[83]

Although the novel is written in a journalistic mode, Frederic Svoboda writes that the striking thing about the piece of work is "how quickly it moves away from a simple recounting of events."[84] Jackson Benson believes that Hemingway used autobiographical details as framing devices for life in general. For case, Benson says that Hemingway drew out his experiences with "what if" scenarios: "what if I were wounded in such a mode that I could not sleep at dark? What if I were wounded and fabricated crazy, what would happen if I were sent dorsum to the front?"[85] Hemingway believed that the writer could describe one thing while an entirely different thing occurs below the surface—an approach he called the iceberg theory, or the theory of omission.[86]

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the author is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an water ice-berg is due to just 1-eighth of it beingness above water. A writer who omits things because he does non know them only makes hollow places in his writing. —Hemingway explained the iceberg theory in Death in the Afternoon (1932).[87]

Balassi says Hemingway applied the iceberg theory better in The Sun Also Rises than in any of his other works, by editing inapplicable material or purposely leaving gaps in the story. He made editorial remarks in the manuscript that prove he wanted to break from the stricture of Gertrude Stein's advice to utilize "articulate restrained writing." In the earliest draft, the novel begins in Pamplona, but Hemingway moved the opening setting to Paris because he thought the Montparnasse life was necessary as a counterpoint to the later action in Spain. He wrote of Paris extensively, intending "not to be limited past the literary theories of others, [merely] to write in his own way, and peradventure, to neglect."[88] He added metaphors for each character: Mike'due south money problems, Brett'southward association with the Circe myth, Robert's clan with the segregated steer.[89] It wasn't until the revision process that he pared down the story, taking out unnecessary explanations, minimizing descriptive passages, and stripping the dialogue, all of which created a "complex just tightly compressed story."[90]

Hemingway said that he learned what he needed as a foundation for his writing from the mode sail for The Kansas Metropolis Star, where he worked as cub reporter.[note 4] [91] The critic John Aldridge says that the minimalist style resulted from Hemingway's belief that to write authentically, each word had to exist carefully called for its simplicity and authenticity and carry a great deal of weight. Aldridge writes that Hemingway'southward style "of a minimum of simple words that seemed to exist squeezed onto the page confronting a great compulsion to be silent, creates the impression that those words—if but because there are so few of them—are sacramental."[92] In Paris Hemingway had been experimenting with the prosody of the Male monarch James Bible, reading aloud with his friend John Dos Passos. From the style of the biblical text, he learned to build his prose incrementally; the action in the novel builds sentence by sentence, scene by scene and chapter by chapter.[33]

Paul Cézanne, Fifty'Estaque, Melting Snow, c. 1871. Author Ronald Berman draws comparison betwixt Cézanne's treatment of this landscape and the fashion Hemingway imbues the Irati River with emotional texture. In both, the landscape is a subjective element seen differently by each character.[93]

The simplicity of his manner is deceptive. Flower writes that it is the effective apply of parataxis that elevates Hemingway'southward prose. Drawing on the Bible, Walt Whitman and Adventures of Blueberry Finn, Hemingway wrote in deliberate understatement and he heavily incorporated parataxis, which in some cases nearly becomes cinematic.[94] His skeletal sentences were crafted in response to Henry James'south observation that World State of war I had "used up words," explains Hemingway scholar Zoe Trodd, who writes that his style is like to a "multi-focal" photographic reality. The syntax, which lacks subordinating conjunctions, creates static sentences. The photographic "snapshot" way creates a collage of images. Hemingway omits internal punctuation (colons, semicolons, dashes, parentheses) in favor of short declarative sentences, which are meant to build, as events build, to create a sense of the whole. He also uses techniques analogous to cinema, such every bit cutting apace from one scene to the next, or splicing one scene into some other. Intentional omissions permit the reader to fill the gap as though responding to instructions from the author and create three-dimensional prose.[95] Biographer James Mellow writes that the bullfighting scenes are presented with a crispness and clarity that evoke the sense of a newsreel.[96]

Hemingway also uses color and visual art techniques to convey emotional range in his descriptions of the Irati River. In Translating Modernism: Fitzgerald and Hemingway, Ronald Berman compares Hemingway'due south treatment of landscape with that of the postal service-Impressionist painter Paul Cézanne. During a 1949 interview, Hemingway told Lillian Ross that he learned from Cézanne how to "make a landscape." In comparing writing to painting he told her, "This is what we effort to do in writing, this and this, and woods, and the rocks we have to climb over."[97] The landscape is seen subjectively—the viewpoint of the observer is paramount.[98] To Jake, landscape "meant a search for a solid form .... not existentially nowadays in [his] life in Paris."[98]

Reception [edit]

Hemingway's beginning novel was arguably his all-time and most of import and came to be seen as an iconic modernist novel, although Reynolds emphasizes that Hemingway was non philosophically a modernist.[99] In the volume, his characters epitomized the post-war expatriate generation for hereafter generations.[100] He had received good reviews for his book of brusque stories, In Our Time, of which Edmund Wilson wrote, "Hemingway'south prose was of the first distinction." Wilson'due south comments were enough to bring attention to the young author.[101]

No amount of analysis tin can convey the quality of The Sun As well Rises. It is a truly gripping story, told in a lean, difficult, athletic narrative prose that puts more literary English to shame. Mr. Hemingway knows how not just to brand words be specific but how to arrange a collection of words which shall betray a keen deal more than is to be found in the private parts. Information technology is magnificent writing. —The New York Times review of The Sun Also Rises, 31 October 1926.[102]

Good reviews came in from many major publications. Conrad Aiken wrote in the New York Herald Tribune, "If at that place is a better dialogue to exist written today I exercise not know where to discover it"; and Bruce Barton wrote in The Atlantic that Hemingway "writes as if he had never read anybody's writing, every bit if he had fashioned the art of writing himself," and that the characters "are amazingly real and alive."[twenty] Many reviewers, among them H.L. Mencken, praised Hemingway'south mode, apply of understatement, and tight writing.[103]

Other critics, however, disliked the novel. The Nation 's critic believed Hemingway's hard-boiled style was better suited to the short stories published in In Our Fourth dimension than his novel. Writing in the New Masses, Hemingway's friend John Dos Passos asked: "What's the thing with American writing these days? .... The few unsad young men of this lost generation will accept to look for another manner of finding themselves than the one indicated here." Privately he wrote Hemingway an apology for the review.[20] The reviewer for the Chicago Daily Tribune wrote of the novel, "The Sunday Also Rises is the kind of book that makes this reviewer at to the lowest degree almost plain aroused."[104] Some reviewers disliked the characters, among them the reviewer for The Dial, who thought the characters were shallow and vapid; and The Nation and Atheneum deemed the characters boring and the novel unimportant.[103] The reviewer for The Cincinnati Enquirer wrote of the book that it "begins nowhere and ends in nothing."[1]

Hemingway's family hated it. His mother, Grace Hemingway, distressed that she could not face the criticism at her local book study class—where it was said that her son was "prostituting a great power .... to the lowest uses"—expressed her displeasure in a letter to him:

The critics seem to exist full of praise for your fashion and power to draw discussion pictures only the decent ones always regret that you should use such great gifts in perpetuating the lives and habits of then degraded a strata of humanity .... Information technology is a doubtful laurels to produce i of the filthiest books of the year .... What is the matter? Accept yous ceased to exist interested in nobility, honor and fineness in life? .... Surely you lot have other words in your vocabulary than "damn" and "bitch"—Every page fills me with a sick loathing.[105]

Still, the book sold well, and young women began to emulate Brett while male students at Ivy League universities wanted to get "Hemingway heroes." Scribner's encouraged the publicity and allowed Hemingway to "become a minor American phenomenon"—a celebrity to the bespeak that his divorce from Richardson and marriage to Pfeiffer attracted media attention.[106]

Reynolds believes The Sun As well Rises could accept been written just circa 1925: it perfectly captured the period between World State of war I and the Keen Depression, and immortalized a group of characters.[107] In the years since its publication, the novel has been criticized for its antisemitism, as expressed in the characterization of Robert Cohn. Reynolds explains that although the publishers complained to Hemingway about his clarification of bulls, they allowed his utilise of Jewish epithets, which showed the degree to which antisemitism was accepted in the U.s. after World War I. Cohn represented the Jewish institution and contemporary readers would take understood this from his description. Hemingway conspicuously makes Cohn unlikeable not only as a grapheme merely as a graphic symbol who is Jewish.[108] Critics of the 1970s and 1980s considered Hemingway to be misogynistic and homophobic; by the 1990s his work, including The Sunday Also Rises, began to receive critical reconsideration by female scholars.[109]

Legacy and adaptations [edit]

Hemingway'due south work continued to be popular in the latter one-half of the century and after his suicide in 1961. During the 1970s, The Sun Besides Rises appealed to what Beegel calls the lost generation of the Vietnam era.[110] Aldridge writes that The Sun Also Rises has kept its appeal because the novel is about beingness young. The characters live in the most beautiful city in the world, spend their days traveling, fishing, drinking, making love, and generally reveling in their youth. He believes the expatriate writers of the 1920s appeal for this reason, simply that Hemingway was the nearly successful in capturing the time and the place in The Sun Also Rises.[111]

Bloom says that some of the characters accept not stood the test of time, writing that modern readers are uncomfortable with the antisemitic treatment of Cohn's character and the romanticization of a bullfighter. Moreover, Brett and Mike belong uniquely to the Jazz Age and practice not interpret to the modernistic era. Blossom believes the novel is in the catechism of American literature for its formal qualities: its prose and way.[112]

The novel made Hemingway famous, inspired young women across America to wear short hair and sweater sets like the heroine'due south—and to act like her too—and changed writing style in ways that could be seen in any American magazine published in the side by side twenty years. In many ways, the novel's stripped-down prose became a model for 20th-century American writing. Nagel writes that "The Sun Likewise Rises was a dramatic literary effect and its effects take non diminished over the years."[113]

The success of The Sun Also Rises led to interest from Broadway and Hollywood. In 1927 ii Broadway producers wanted to adapt the story for the stage but made no immediate offers. Hemingway considered marketing the story straight to Hollywood, telling his editor Max Perkins that he would non sell information technology for less than $30,000—coin he wanted his estranged wife Hadley Richardson to have. Conrad Aiken thought the book was perfect for a picture adaptation solely on the strength of dialogue. Hemingway would non meet a stage or film adaption anytime soon:[114] he sold the moving picture rights to RKO Pictures in 1932,[115] but only in 1956 was the novel adjusted to a film of the same proper name. Peter Viertel wrote the screenplay. Tyrone Power as Jake played the lead role contrary Ava Gardner every bit Brett and Errol Flynn as Mike. The royalties went to Richardson.[116]

Hemingway wrote more books nigh bullfighting: Death in the Afternoon was published in 1932 and The Dangerous Summer was published posthumously in 1985. His depictions of Pamplona, beginning with The Sun Besides Rises, helped to popularize the almanac running of the bulls at the Festival of St. Fermin.[117]

References [edit]

  1. ^ The Torrents of Jump has little scholarly criticism as it is considered to exist of less importance than Hemingway's subsequent piece of work. See Oliver (1999), 330
  2. ^ Hemingway may have used the term every bit an early championship for the novel, according to biographer James Mellow. The term originated from a remark in French fabricated to Gertrude Stein by the owner of a garage, speaking of those who went to state of war: "C'est une génération perdue" (literally, "they are a lost generation"). See Mellow (1992), 309
  3. ^ Hemingway wrote a fragment of an unpublished sequel in which he has Jake and Brett coming together in the Dingo Bar in Paris. With Brett is Mike Campbell. Encounter Daiker (2009), 85
  4. ^ "Utilise brusk sentences. Use curt first paragraphs. Use vigorous English. Be positive, not negative."

Citations [edit]

  1. ^ a b c Leff (1999), 51
  2. ^ Meyers (1985), 192
  3. ^ Wagner-Martin (1990), i
  4. ^ a b Bakery (1972), 82
  5. ^ Meyers (1985), 98–99
  6. ^ Meyers (1985), 117–119
  7. ^ a b Balassi (1990), 128
  8. ^ a b Nagel (1996), 89
  9. ^ Chapter 9 references the Ledoux-Kid fight which took place 9 June 1925. Link Chapter 15 references Sunday the 6th of July which must be 1924 which easily tin be verified past an online agenda or by Linux users with the command cal -y 1924.
  10. ^ Meyers (1985), 189
  11. ^ Balassi (1990), 132, 142, 146
  12. ^ Reynolds (1989), half-dozen–7
  13. ^ Meyers (1985), 172
  14. ^ Bakery (1972), 44
  15. ^ Mellow (1992), 338–340
  16. ^ Mellow (1992), 317–321
  17. ^ Baker (1972), 76, 30–34
  18. ^ Oliver (1999), 318
  19. ^ qtd. in Leff (1999), 51
  20. ^ a b c Mellow (1992), 334–336
  21. ^ Leff (1999), 75
  22. ^ White (1969), 4
  23. ^ Reynolds (1999), 154
  24. ^ McDowell, Edwin, "Hemingway's Condition Revives Amid Scholars and Readers". The New York Times (July 26, 1983). Retrieved 27 Feb 2011
  25. ^ "Books at Random Business firm" Archived 2010-05-16 at the Wayback Automobile. Random Business firm. Retrieved 31 May 2011.
  26. ^ "Hemingway books coming out in audio editions" MSNBC.com (February fifteen, 2006). Retrieved 27 Feb 2011.
  27. ^ Crouch, Ian, Hemingway's Hidden Metafictions. The New Yorker (7 August 2014).
  28. ^ Hemingway, Ernest (2014). The Sun Likewise Rises. ISBN978-1-4767-3995-3.
  29. ^ Reynolds (1990), 48–49
  30. ^ Oliver (1999), 316–318
  31. ^ Meyers (1985), 191
  32. ^ Ecclesiastes 1:iii–5, King James Version.
  33. ^ a b c d e f grand h Wagner-Martin (1990), 6–nine
  34. ^ Reynolds (1990), 62–63
  35. ^ Reynolds (1990), 45–l
  36. ^ Reynolds (1990), 60–63
  37. ^ Reynolds (1990), 58–59
  38. ^ a b Nagel (1996), 94–96
  39. ^ Daiker (2009), 74
  40. ^ Nagel (1996), 99–103
  41. ^ Meyers (1985), 190
  42. ^ Fore (2007), eighty
  43. ^ a b c Fiedler (1975), 345–365
  44. ^ Baym (1990), 112
  45. ^ qtd. in Reynolds (1990), lx
  46. ^ Daiker (2009), 80
  47. ^ Donaldson (2002), 82
  48. ^ Daiker (2009), 83
  49. ^ a b Balassi (1990), 144–146
  50. ^ Reynolds (1989), 323–324
  51. ^ a b qtd. in Balassi (1990), 127
  52. ^ Müller (2010), 31–32
  53. ^ a b Kinnamon (2002), 128
  54. ^ Josephs (1987), 158
  55. ^ a b Stoltzfus (2005), 215–218
  56. ^ Reynolds (1989), 320
  57. ^ Josephs (1987), 163
  58. ^ Bloom (2007), 31
  59. ^ Djos (1995), 65–68
  60. ^ Balassi (1990), 145
  61. ^ Reynolds (1990), 56–57
  62. ^ Elliot (1995), 80–82
  63. ^ Elliot (1995), 86–88
  64. ^ Elliot (1995), 87
  65. ^ Mellow (1992), 312
  66. ^ Davidson (1990), 97
  67. ^ Fore (2007), 75
  68. ^ Hemingway (2006 ed), 214
  69. ^ a b Oliver (1999), 270
  70. ^ Gross, Barry (Dec 1985). ""Yours Sincerely, Sinclair Levy"". Commentary, The monthly magazine of opinion. Archived from the original on 19 March 2022. Retrieved nineteen March 2022.
  71. ^ Beegel (1996), 288
  72. ^ Knopf (1987), 68–69
  73. ^ Reynolds (1989), 297
  74. ^ a b Wagner-Martin (1990), 2–four
  75. ^ Meyers (1985), 70–74
  76. ^ Hallengren, Anders. "A Case of Identity: Ernest Hemingway", Nobelprize.org. Retrieved 15 April 2011.
  77. ^ Wagner-Martin (2002), 7
  78. ^ Wagner-Martin (1990), 11–12
  79. ^ Hemingway (2006 ed), 221
  80. ^ qtd. in Balassi (1990), 138
  81. ^ Balassi (1990), 138
  82. ^ Baker (1987), xi
  83. ^ Mellow (1992), 303
  84. ^ Svoboda (1983), 9
  85. ^ Benson (1989), 351
  86. ^ Oliver (1999), 321–322
  87. ^ qtd. in Oliver (1999), 322
  88. ^ Balassi (1990), 136
  89. ^ Balassi (1990), 125, 136, 139–141
  90. ^ Balassi (1990), 150; Svoboda (1983), 44
  91. ^ "Star manner and rules for writing" Archived 2014-04-08 at the Wayback Machine. The Kansas City Star. KansasCity.com. Retrieved 15 April 2011.
  92. ^ Aldridge (1990), 126
  93. ^ Berman (2011), 59
  94. ^ Bloom (1987), vii–8
  95. ^ Trodd (2007), 8
  96. ^ Mellow (1992), 311
  97. ^ Berman (2011), 52
  98. ^ a b Berman (2011), 55
  99. ^ Wagner-Martin (1990), 1, 15; Reynolds (1990), 46
  100. ^ Mellow (1992), 302
  101. ^ Wagner-Martin (2002), four–5
  102. ^ "The Sun Too Rises". (October 31, 1926) The New York Times. Retrieved xiii March 2011.
  103. ^ a b Wagner-Martin (2002), one–2
  104. ^ qtd. in Wagner-Martin (1990), 1
  105. ^ qtd. in Reynolds (1998), 53
  106. ^ Leff (1999), 63
  107. ^ Reynolds (1990), 43
  108. ^ Reynolds (1990), 53–55
  109. ^ Bloom (2007), 28; Beegel (1996), 282
  110. ^ Beegel (1996), 281
  111. ^ Aldridge (1990), 122–123
  112. ^ Bloom (1987), 5–half dozen
  113. ^ Nagel (1996), 87
  114. ^ Leff (1999), 64
  115. ^ Leff (1999), 156
  116. ^ Reynolds (1999), 293
  117. ^ Palin, Michael. "Lifelong Aficionado" and "San Fermín Festival". in Michael Palin'southward Hemingway Run a risk. PBS.org. Retrieved 23 May 2011.

Sources [edit]

  • Aldridge, John W. (1990). "Afterthought on the Twenties and The Sunday Besides Rises". in Wagner-Martin, Linda (ed). New Essays on Sun Also Rises. New York: Cambridge Upwardly. ISBN 978-0-521-30204-3
  • Bakery, Carlos (1972). Hemingway: The Writer as Artist. Princeton: Princeton UP. ISBN 978-0-691-01305-iii
  • Baker, Carlos (1987). "The Wastelanders". in Flower, Harold (ed). Mod Critical Interpretations: Ernest Hemingway'southward "The Sun Also Rises". New York: Chelsea Firm. ISBN 978-ane-55546-053-2
  • Balassi, William (1990). "Hemingway'south Greatest Iceberg: The Composition of The Lord's day Likewise Rises". in Barbour, James and Quirk, Tom (eds). Writing the American Classics. Chapel Hill: Due north Carolina Upwards. ISBN 978-0-8078-1896-ane
  • Baym, Nina (1990). "Actually I Felt Distressing for the Lion". in Benson, Jackson J. (ed). New Critical Approaches to the Short Stories of Ernest Hemingway. Durham: Duke UP. ISBN 978-0-8223-1067-ix
  • Beegel, Susan (1996). "Conclusion: The Critical Reputation". in Donaldson, Scott (ed). The Cambridge Companion to Ernest Hemingway. New York: Cambridge UP. ISBN 978-0-521-45574-9
  • Benson, Jackson (1989). "Ernest Hemingway: The Life as Fiction and the Fiction every bit Life". American Literature. 61 (3): 354–358
  • Berman, Ronald (2011). Translating Modernism: Fitzgerald and Hemingway. Tuscaloosa: Alabama Upwardly. ISBN 978-0-8173-5665-1
  • Bloom, Harold (1987). "Introduction". in Bloom, Harold (ed). Modern Critical Interpretations: Ernest Hemingway'southward "The Sun As well Rises". New York: Chelsea House. ISBN 978-one-55546-053-2
  • Bloom, Harold (2007). "Introduction". in Bloom, Harold (ed). Ernest Hemingway's "The Sun Likewise Rises". New York: Infobase Publishing. ISBN 978-0-7910-9359-7
  • Daiker, Donald (2009). "Lady Ashley, Pedro Romero and the Madrid Sequence of The Lord's day Too Rises". The Hemingway Review. 29 (1): 73–86
  • Davidson, Cathy and Arnold (1990). "Decoding the Hemingway Hero in The Sun Too Rises". in Wagner-Martin, Linda (ed). New Essays on Sunday Also Rises. New York: Cambridge UP. ISBN 978-0-521-30204-3
  • Djos, Matt (1995). "Alcoholism in Ernest Hemingway'south The Sun Too Rises". The Hemingway Review. 14 (2): 64–78
  • Donaldson, Scott (2002). "Hemingway's Morality of Bounty". in Wagner-Martin, Linda (ed). Ernest Hemingway's The Sun Besides Rises: A Casebook. New York: Oxford Upward. ISBN 978-0-19-514573-1
  • Elliot, Ira (1995). "Performance Art: Jake Barnes and Masculine Signification in The Dominicus Also Rises". American Literature. 63 (i): 77–94
  • Fiedler, Leslie (1975). Love and Expiry in the American Novel. New York: Stein and Day. ISBN 978-0-8128-1799-vii
  • Fore, Dana (2007). "Life Unworthy of Life? Masculinity, Disability, and Guilt in The Sun Besides Rises. The Hemingway Review. 16 (i): 75–88
  • Hays, Peter Fifty., ed. (2007). "Instruction Hemingway's The Dominicus Also Rises." Kent, OH: The Kent State Academy Press.
  • Hemingway, Ernest (1926). The Sunday Also Rises. New York: Scribner. 2006 edition. ISBN 978-0-7432-9733-two
  • Josephs, Allen (1987). "Torero: The Moral Centrality of The Lord's day Too Rises". in Flower, Harold (ed). Modern Critical Interpretations: Ernest Hemingway's "The Sun Also Rises". New York: Chelsea House. ISBN 978-i-55546-053-2
  • Kinnamon, Keneth (2002). "Hemingway, the Corrida, and Kingdom of spain". in Wagner-Martin, Linda (ed). Ernest Hemingway's The Sun Also Rises: A Casebook. New York: Oxford UP. ISBN 978-0-19-514573-1
  • Knopf, Josephine (1987). "Meyer Wolfsheim and Robert Cohn: A Study of a Jew Type and Sterotype". in Flower, Harold (ed). Modern Critical Interpretations: Ernest Hemingway's The Sun Also Rises". New York: Chelsea House. ISBN 978-1-55546-053-2
  • Leff, Leonard (1999). Hemingway and His Conspirators: Hollywood, Scribner's and the making of American Celebrity Civilisation. Lanham: Rowman & Littlefield. ISBN 978-0-8476-8545-5
  • Mellow, James (1992). Hemingway: A Life Without Consequences. Boston: Houghton Mifflin. ISBN 978-0-395-37777-2
  • Meyers, Jeffrey (1985). Hemingway: A Biography. New York: Macmillan. ISBN 978-0-333-42126-0
  • Müller, Timo (2010). "The Uses of Actuality: Hemingway and the Literary Field, 1926–1936". Periodical of Mod Literature. 33 (1): 28–42
  • Nagel, James (1996). "Brett and the Other Women in The Dominicus Besides Rises". in Donaldson, Scott (ed). The Cambridge Companion to Ernest Hemingway. New York: Cambridge Upwardly. ISBN 978-0-521-45574-9
  • Oliver, Charles (1999). Ernest Hemingway A to Z: The Essential Reference to the Life and Work. New York: Checkmark Publishing. ISBN 978-0-8160-3467-3
  • Reynolds, Michael (1990). "Recovering the Historical Context". in Wagner-Martin, Linda (ed). New Essays on Sun Also Rises. New York: Cambridge Upward. ISBN 978-0-521-30204-3
  • Reynolds, Michael (1999). Hemingway: The Concluding Years. New York: Norton. ISBN 978-0-393-32047-3
  • Reynolds, Michael (1989). Hemingway: The Paris Years. New York: Norton. ISBN 978-0-393-31879-1
  • Reynolds, Michael (1998). The Young Hemingway. New York: Norton. ISBN 978-0-393-31776-3
  • Stoltzfus, Ben (2005). "Sartre, "Nada," and Hemingway's African Stories". Comparative Literature Studies. 42 (3): 228–250
  • Stoneback, H.R. (2007). "Reading Hemingway'due south The Sun Also Rises: Glossary and Commentary." Kent, OH: The Kent State UP.
  • Svoboda, Frederic (1983). Hemingway & The Sunday Also Rises: The Crafting of a Manner. Lawrence: Kansas Up. ISBN 978-0-7006-0228-five
  • Trodd, Zoe (2007). "Hemingway's Camera Eye: The Problems of Language and an Interwar Politics of Grade". The Hemingway Review. 26 (two): 7–21
  • Wagner-Martin, Linda (2002). "Introduction". in Wagner-Martin, Linda (ed). Ernest Hemingway's The Sunday Also Rises: A Casebook. New York: Oxford Upwardly. ISBN 978-0-19-514573-1
  • Wagner-Martin, Linda (1990). "Introduction". in Wagner-Martin, Linda (ed). New Essays on Sun Likewise Rises. New York: Cambridge UP. ISBN 978-0-521-30204-3
  • White, William (1969). The Merrill Studies in The Sun Also Rises. Columbus: C. E. Merrill.
  • Young, Philip (1973). Ernest Hemingway. St. Paul: Minnesota UP. ISBN 978-0-8166-0191-2

External links [edit]

whittenroques.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Sun_Also_Rises

You may like these posts

Post a Comment for "Lets Play Sword Art Online Hollow Fragment Part 1"