海明威的尼克·亚当斯和他失踪的“印第安女孩”

Donald A. Daiker
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摘要

摘要:在海明威死后出版的《最后的好国家》手稿中,有两段被斯克里布纳(Scribner)删节的段落,突显了印第安女孩特鲁迪在海明威小说中的重要性,以及普鲁登斯·博尔顿在他生活中的重要性。这两段都强调了尼克对特鲁迪的深刻感情和她失去的痛苦——这是对印第安人命运的隐喻,他们“都以同样的方式结束了”。很久以前就好了。现在不行。”但印第安人灭绝的主题本身就隐喻了海明威小说中失落的力量、重要性,甚至是普遍性。除了对海明威最早的主人公尼克·亚当斯和杰克·巴恩斯的正面描写外,在《我们的时代》中至少有一半的故事中,在《永别了,武器》的苦涩结尾中,在《第五纵队》和《前49个故事》开头的四个关于失败和死亡的新故事中,“失去”占据了主导地位。海明威同意吉格的观点,“一旦他们拿走了,你就再也找不回来了。”
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Hemingway’s Nick Adams and His Lost “Indian Girl”
Abstract:Two Scribner’s-excised passages from the manuscript of the posthumously published “The Last Good Country” reinforce the importance of the Indian girl Trudy in Hemingway’s fiction and of Prudence Boulton in his life. Both passages underline Nick’s depth of feeling for Trudy and the pain of her loss—a metaphor for the fate of Indians, who “all ended the same way. Long time ago good. Now no good.” But the theme of Indian extinction is itself a metaphor for the power, prominence, and even prevalence of loss in Hemingway’s fiction. Excepting the positive portrayals of Nick Adams and Jake Barnes, Hemingway’s earliest protagonists, loss dominates—in at least half the In Our Time stories, in the bitter conclusion of A Farewell to Arms, and in the four new tales of defeat and death that open The Fifth Column and the First Forty-Nine Stories. Hemingway agrees with Jig that “once they take it away, you never get it back.”
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