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

112 Pages·2007·1.09 MB·English
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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 (212) 967-8800 or (800) 322-8755. 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. 

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