Ernest Hemingway's The Sun Also Rises (Bloom's Guides)

112 Pages·2007·1.09 MB·English

by  Harold Bloom

Bloom’s
GUIDES
Ernest Hemingway’s
The Sun Also Rises
Currently AvAilAble
The Adventures of Huckleberry Lord of the Flies
Finn Macbeth
All the Pretty Horses Maggie: A Girl of the Streets
Animal Farm The Member of the Wedding
Beloved The Metamorphosis
Beowulf Native Son
Brave New World Of Mice and Men
The Catcher in the Rye 1984
The Chosen The Odyssey
The Crucible Oedipus Rex
Cry, the Beloved Country One Hundred Years of Solitude
Death of a Salesman Pride and Prejudice
Fahrenheit 451 Ragtime
Frankenstein The Red Badge of Courage
The Glass Menagerie Romeo and Juliet
The Grapes of Wrath Slaughterhouse-Five
Great Expectations The Scarlet Letter
The Great Gatsby Snow Falling on Cedars
Hamlet A Streetcar Named Desire
The Handmaid’s Tale The Sun Also Rises
The House on Mango Street A Tale of Two Cities
I Know Why the Caged Bird Sings The Things They Carried
The Iliad To Kill a Mockingbird
Jane Eyre The Waste Land
Bloom’s
GUIDES
Ernest Hemingway’s
The Sun Also Rises
Edited & with an Introduction
by Harold Bloom
Bloom’s Guides: The Sun Also Rises
Copyright © 2007 Infobase Publishing
Introduction © 2007 by Harold Bloom
All rights reserved. No part of this book may be reproduced or utilized
in any form or by any means, electronic or mechanical, including
photocopying, recording, or by any information storage or retrieval
systems, without permission in writing from the publisher. For
information contact:
Bloom's Literary Criticism
An imprint of Infobase Publishing
132 West 31st Street
New York NY 10001
ISBN-10: 0-7910-9359-X
ISBN-13: 978-0-7910-9359-7
Library of Congress Cataloging-in-Publication Data
Ernest Hemingway’s The sun also rises / Harold Bloom, editor.
p. cm. — (Bloom’s guides)
Includes bibliographical references (p. ) and index.
ISBN 0-7910-9359-X
1. Hemingway, Ernest, 1899-1961. Sun also rises. [1. American
literature—History and criticism.] I. Bloom, Harold. II. Title: Sun also
rises. III. Series.
PS3515.E37S8 2007
813’.52--dc22 2006037267
Bloom's Literary Criticism books are available at special discounts when
purchased in bulk quantities for businesses, associations, institutions, or
sales promotions. Please call our Special Sales Department in New York
at [phone] or [phone].
You can find Bloom's Literary Criticism on the World Wide Web at
http://www.chelseahouse.com
Contributing Editor: Portia Williams Weiskel
Cover design by Takeshi Takahashi
Printed in the United States of America
Bang EJB 10 9 8 7 6 5 4 3 2 1
This book is printed on acid-free paper.
All links and web addresses were checked and verified to be correct at
the time of publication. Because of the dynamic nature of the web, some
addresses and links may have changed since publication and may no
longer be valid.
Contents
Introduction 7
Biographical Sketch 10
The Story Behind the Story 13
List of Characters 16
Summary and Analysis 20
Critical Views
The New York Times Book Review of The Sun Also Rises
(1926) 49
Carlos Baker on Hemingway’s Skill at Telling It
“The Way It Was” 51
Mark Spilka on the Ruination of “the good place” 54
Philip Young on the Novel as Hemingway’s Waste Land 57
Donald Daiker on Jake’s Achievement of Self-Mastery 59
Mimi Reisel Gladstein on Brett as Hemingway’s
Destructive Indestructible Woman 64
Scott Donaldson on Bill Gorton’s Humor 69
Robert Casillo on the Ostracism of Robert Cohn 73
Thomas Strychacz on Jake as Observer 74
Peter Griffin on the Models for Jake and Brett 76
James Nagel on the Other Women 77
Debra A. Moddelmog on Sexual Ambiguity in the Novel 81
Linda Wagner-Martin on Henry James’s Influence
in the Novel 86
Works by Ernest Hemingway 93
Annotated Bibliography 95
Contributors 101
Acknowledgments 104
Index 107

Introduction
HAROLD BLOOM
So severely stylized and rigorously mannered is Ernest
Hemingway’s The Sun Also Rises that it continues to achieve
a classic status, decades after its initial publication. It is a
masterpiece of stance and of sensibility, and like The Great
Gatsby (which influenced it) The Sun Also Rises evades all the
dangers that might have reduced it to become another mere
period piece. Again like The Great Gatsby, The Sun Also Rises
is something of a prose-poem, emerging from the literary era
dominated by T. S. Eliot’s The Waste Land. Like Eliot himself,
who was much affected by Joseph Conrad’s Heart of Darkness,
both Fitzgerald and Hemingway take up a narrative stance that
is influenced by Conrad’s Marlow, the prime narrator of Heart
of Darkness, Lord Jim, and (though he is unnamed there) “The
Secret Sharer.” Nick Carraway in The Great Gatsby and Jake
Barnes in The Sun Also Rises are equivocal narrators, each with
a protagonist who is his main concern: Gatsby for Carraway,
and Lady Brett Ashley for Jake Barnes. There is something
feminine in sensibility about both Carraway and Barnes, as
there was about Conrad’s Marlow, and about Eliot’s Tiresias,
the implied narrative sensibility of The Waste Land.
The wounded Fisher King of The Waste Land, impotent and
yearning for spiritual salvation, is clearly akin to the impotent
Jake Barnes, maimed in World War I and so no longer Brett
Ashley’s lover, though they continue to be in love with one
another. Interpreters of Brett take remarkably varied views
of her, ranging from a man-eating, Circean bitch-goddess
to another lost Waste Lander, stoic and disinterested and
essentially tragic, questing for what cannot be recovered, a
lost image of sexual fulfillment. It is suggestive that the hidden
model for Eliot’s The Waste Land was the most powerful of
all American poems, Walt Whitman’s elegy for the martyred
Abraham Lincoln, When Lilacs Last in the Dooryard Bloom’d.

Whitman’s poem is truly a self-elegy, as are The Waste Land,
The Great Gatsby, and The Sun Also Rises. When the funeral
procession of President Lincoln passes him, Whitman makes a
symbolic gesture of self-castration by surrendering the “tally,”
the sprig of lilac that was his own image of voice, and more
ambiguously the image for his sexual identity. Elegy is the
literary genre of The Sun Also Rises and ought to help determine
our attitude towards Brett as well as towards Jake, who
mourns not only his lost potency but his largely abandoned
Catholicism.
Hemingway’s nostalgias were numerous: for God,
heroism, a perfect love, and an antagonistic supremacy in
Western literature, even against such titans as Melville and
Tolstoy. The Sun Also Rises profoundly studies many other
American nostalgias but above all our longing for innocence,
in the Whitmanian sense of an original American destiny,
compounded of freedom, hope, and millennial potential.
Against that “optative mood,” as Ralph Waldo Emerson termed
it, Hemingway sets the negativity of Ecclesiastes, the most
nihilistic book of the Hebrew Bible. The novel’s epigraph, the
source of its title, states Hemingway’s ethos and also the stoic
condition of Jake Barnes and Brett Ashley:
One generation passeth away, and another generation
cometh; but the earth abideth forever.... The sun also
ariseth, and the sun goeth down, and hasteth to the place
where he arose.... The wind goeth toward the south,
and turneth about unto the north; it whirleth about
continually, and the wind returneth again according to his
circuits.... All the rivers run into the sea; yet the sea is not
full; unto the place from whence the rivers come, thither
they return again.
All the generations are lost—not just that of Brett and Jake
and their friends—in this dark view of mortality and mutability.
The Sun Also Rises, like Ecclesiastes, does not urge us either to
religious assurance or to an absolute nihilism or despair. One of
the most poignant of all American elegies, it affirms the virtues

of giving a style to despair and of enduring the loss of love with
something like a tragic dignity. Hemingway was never again
to write so compelling a novel, though his genius for the short
story continued undiminished. Lyrical intensity has rarely
sustained a novel with such economy, or such grace.