Pub Date : 2021-08-10DOI: 10.9783/9780812291193-001
H. James
{"title":"The Death of the Lion","authors":"H. James","doi":"10.9783/9780812291193-001","DOIUrl":"https://doi.org/10.9783/9780812291193-001","url":null,"abstract":"","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"GE-24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84615633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Way It Was","authors":"","doi":"10.2307/j.ctv1nxcv1g.7","DOIUrl":"https://doi.org/10.2307/j.ctv1nxcv1g.7","url":null,"abstract":"","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89298646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Lady Brett Ashley in The Sun Also Rises has been heavily criticized for her treatment of the male characters in the novel. Her changeable affections and reluctance to commit to stable relationships have frequently been discussed in terms of the harm her behavior inflicts on men, however little has been done to explore what it reveals about Brett herself. This article moves focus away from the wounded male egos to the social factors which underlie Brett's flirtatious behavior, unpacking the trauma which informs her desire to avoid committed romantic relationships and questioning whether the male characters' disappointed desires are always reasonable ones.
{"title":"\"To Hell with Women Anyway\": Flirtatiousness and Male Entitlement in Hemingway's The Sun Also Rises","authors":"Julie Conway","doi":"10.1353/hem.2021.0002","DOIUrl":"https://doi.org/10.1353/hem.2021.0002","url":null,"abstract":"Abstract:Lady Brett Ashley in The Sun Also Rises has been heavily criticized for her treatment of the male characters in the novel. Her changeable affections and reluctance to commit to stable relationships have frequently been discussed in terms of the harm her behavior inflicts on men, however little has been done to explore what it reveals about Brett herself. This article moves focus away from the wounded male egos to the social factors which underlie Brett's flirtatious behavior, unpacking the trauma which informs her desire to avoid committed romantic relationships and questioning whether the male characters' disappointed desires are always reasonable ones.","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"6 1","pages":"23 - 38"},"PeriodicalIF":0.0,"publicationDate":"2021-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73677750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Archetypal Figures in \"The Snows of Kilimanjaro.\" by David L. Anderson (review)","authors":"M. Hart","doi":"10.1353/hem.2021.0009","DOIUrl":"https://doi.org/10.1353/hem.2021.0009","url":null,"abstract":"","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"402 1","pages":"151 - 154"},"PeriodicalIF":0.0,"publicationDate":"2021-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86830862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:As Hemingway wrote to his editor, Maxwell Perkins, he once thought "A Way You'll Never Be" would give his collection, Winner Take Nothing, an action-packed tale. Instead, the story became what Hemingway described as a "hell of a difficult one." At the center of its difficulty and its power are interior monologues from the viewpoint of Nick Adams, who veers between memories of battles on the Italian front, memories of Paris, and dreams centered on a yellow house. In order to understand Nick's monologues, this essay explores four allusions in the story—to an Italian battle cry ("Savoia"), to a "teleferica," to Parisian night scenes, and to a yellow house. Hemingway completed a story whose difficulties are central to its powerful portrait of Nick's struggle for self-command.
{"title":"Nick Adams's Interior Monologues in Hemingway's \"A Way You'll Never Be\"","authors":"John Beall","doi":"10.1353/hem.2021.0006","DOIUrl":"https://doi.org/10.1353/hem.2021.0006","url":null,"abstract":"Abstract:As Hemingway wrote to his editor, Maxwell Perkins, he once thought \"A Way You'll Never Be\" would give his collection, Winner Take Nothing, an action-packed tale. Instead, the story became what Hemingway described as a \"hell of a difficult one.\" At the center of its difficulty and its power are interior monologues from the viewpoint of Nick Adams, who veers between memories of battles on the Italian front, memories of Paris, and dreams centered on a yellow house. In order to understand Nick's monologues, this essay explores four allusions in the story—to an Italian battle cry (\"Savoia\"), to a \"teleferica,\" to Parisian night scenes, and to a yellow house. Hemingway completed a story whose difficulties are central to its powerful portrait of Nick's struggle for self-command.","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"1 1","pages":"115 - 94"},"PeriodicalIF":0.0,"publicationDate":"2021-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88227106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Paris, France, the setting of the first third of The Sun Also Rises, is central not simply to Book One but to the novel's entirety. Although early critics have seen the city as a wasteland populated by aimless and degenerate expatriates, I argue that Jake's Paris is orderly and his life there pleasant, patterned, and purposeful. Jake has made the French language his own and Paris, a "good town," his home—in part through a job he values and friends he has won through his generosity and warm sense of humor. When Jake leaves Paris, the city is not left behind. The Paris happenings reverberate throughout key scenes in Bayonne, France and Burguete, Pamplona, and San Sebastian, Spain. These echo scenes chart the progress of Jake's evolving relationship with Lady Brett Ashley. They show Jake's growing control, his assuming the dominance that Brett had earlier exercised. Together, these echo scenes make clear that Jake's Paris holds the key not only to Book One but to the novel as a whole.
{"title":"Hemingway's The Sun Also Rises: The Centrality of Jake's Paris","authors":"Donald A. Daiker","doi":"10.1353/hem.2021.0004","DOIUrl":"https://doi.org/10.1353/hem.2021.0004","url":null,"abstract":"Abstract:Paris, France, the setting of the first third of The Sun Also Rises, is central not simply to Book One but to the novel's entirety. Although early critics have seen the city as a wasteland populated by aimless and degenerate expatriates, I argue that Jake's Paris is orderly and his life there pleasant, patterned, and purposeful. Jake has made the French language his own and Paris, a \"good town,\" his home—in part through a job he values and friends he has won through his generosity and warm sense of humor. When Jake leaves Paris, the city is not left behind. The Paris happenings reverberate throughout key scenes in Bayonne, France and Burguete, Pamplona, and San Sebastian, Spain. These echo scenes chart the progress of Jake's evolving relationship with Lady Brett Ashley. They show Jake's growing control, his assuming the dominance that Brett had earlier exercised. Together, these echo scenes make clear that Jake's Paris holds the key not only to Book One but to the novel as a whole.","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"3 22 1","pages":"53 - 70"},"PeriodicalIF":0.0,"publicationDate":"2021-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76298530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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