The Sun Also Rises is a 1926 novel written by American author Ernest Hemingway, of a group of American and British expatriates traveling from Paris to the San FermÃÆ'n Festival in Pamplona to note the way the bulls and bullfights. An early and lasting modernist novel, he received mixed reviews on publications. However, Hemingway biographer Jeffrey Meyers writes that it is now "recognized as Hemingway's greatest work", and Hemingway scholar Linda Wagner-Martin calls it his most important novel. The novel was published in the United States in October 1926 by Scribner's. A year later, Jonathan Cape published a novel in London under the title Fiesta . It's still in print.
Hemingway began writing novels on his birthday - July 21 - in 1925, and completed the draft manuscript almost two months later, in September. After setting aside the script for a short time, he worked on revisions during the winter of 1926.
The basis for this novel was Hemingway's trip to Spain in 1925. The setting is unique and impressive, depicting the cruel café life in Paris and the excitement of the Pamplona festival, â € <â € This novel is the romance ÃÆ' clef : its character is based on real people in the Hemingway circle, and this action is based on real events. In the book, Hemingway presents his idea that the "Lost Generation" - considered to have degenerated, supple, and damaged beyond World War I - is in fact tough and strong. In addition, Hemingway investigates the themes of love and death; the reviving natural forces, and the concept of masculinity. Video The Sun Also Rises
​​â € <â €
In the 1920s Hemingway lived in Paris, was a foreign correspondent for the Toronto Star, and traveled to places like Smyrna to report on the Greco-Turkish War. He wants to use his journalistic experience to write fiction, believing that a story can be based on real events when a writer distills his own experience in such a way that, according to biographer Jeffrey Meyers, "what he makes is more true than what he remembers".
With his wife Hadley Richardson, Hemingway first visited the San FermÃÆ'n Festival in Pamplona, ​​Spain, in 1923, where he followed his passion against bullfights. The couple returned to Pamplona in 1924 - enjoying a great journey - this time accompanied by Chink Dorman-Smith, John Dos Passos, and Donald Ogden Stewart and his wife. Both returned a third time in June 1925 and stayed at the hotel of his friend Juanito Quintana. That year, they brought along a group of different American and British expatriates: Hemingway's teenage fellow in Michigan, Bill Smith, Stewart, recently divorced with Duff, Lady Twysden, his girlfriend Pat Guthrie and Harold Loeb. In Pamplona, ​​the group was quickly destroyed. Hemingway, interested in Duff, jealous of Loeb, who had just had a romantic vacation with him; by the end of the week the two men had a public fight. Against this background is the influence of a young matador from Ronda, Cayetano OrdÃÆ'³ÃÆ'  ± ez, whose brilliance in the bullring affects the audience. OrdÃÆ'³ÃÆ'  ± ez respects Hemingway's wife by presenting him, from the bullring, to the bull's ears that he killed. Beyond Pamplona, ​​a fishing trip to the Irati River (near Burguete in Navarre) is damaged by polluted water.
Hemingway intended to write a nonfiction book about bullfighting but decided later that week's experience had given him enough material for a novel. A few days after the party ended, on her birthday (July 21), she began writing what would eventually become The Sun Also Rises. On August 17, with 14 chapters written and the work title Fiesta The Lost Generation .
A few months later, in December 1925, Hemingway and his wife spent the winter in Schruns, Austria, where he began to revise the manuscript extensively. Pauline Pfeiffer joined them in January, and - against Richardson's advice - urged him to sign a contract with Scribner. Hemingway left Austria for a short trip to New York to meet with the publisher, and upon his return, during a stop in Paris, began an affair with Pauline. He returned to Schruns to complete the revision in March. In June, he was in Pamplona with Richardson and Pfeiffer. Upon returning to Paris, Richardson asked for a breakup, and went south of France. In August, alone in Paris, Hemingway completed the proof, dedicating the novel to his wife and son. After the publication of the book in October, Richardson asked for a divorce; Hemingway then gave him the book's royalties.
Maps The Sun Also Rises
Publishing history
Hemingway apparently maneuver Boni & amp; Liveright to terminate their contract so he can have The Sun Also Rises published by Scribner instead. In December 1925, he quickly wrote The Torrents of Spring - a satirical novel that attacked Sherwood Anderson - and mailed it to his publisher, Boni & amp; Liveright. Their three-book contract with them includes a termination clause if they reject one submission. Not satisfied with the innuendo of one of their best-selling writers, Boni & amp; Liveright immediately refused and terminated the contract. Within a few weeks Hemingway signed a contract with Scribner's, which agreed to publish The Torrents of Spring and all subsequent work.
Scribner published a novel on October 22, 1926. The first edition consisted of 5090 copies, sold for $ 2.00 per copy. Cleonike Damianakes illustrates a dust jacket with a Hellenistic design of a woman sitting, robed, head bent over her shoulders, eyes closed, one hand holding an apple, shoulders and open thighs. Editor Maxwell Perkins wants the design of "sexy Cleon sexy" to attract "female readers who control the destiny of many novels". Two months later the book was printed second with 7000 copies sold. Subsequent prints are ordered; in 1928, after the publication of Hemingway's short story collection Men Without Women, the novel is in eighth printing. In 1927 the novel was published in England by Jonathan Cape, entitled Fiesta , without two inscriptions. Two decades later, in 1947, Scribner released three works by Hemingway as a set of boxes, including The Sun Also Rises, A Farewell to Arms, and For Who Bell Tolls .
In 1983, The Sun Also Rises has been printed continuously since its publication in 1926, and it seems to be one of the most translated titles in the world. At that time Scribner began printing the cheaper mass-market papular books, in addition to the more expensive printed printed papers. In the 1990s, the English edition titled Fiesta: The Sun Also Increased. In 2006 Simon & amp; Schuster began producing an audiobook version of Hemingway's novels, including The Sun Also Rises .
Plot summary
On the surface, this novel is a love story between protagonist Jake Barnes - a man whose war wounds have made him impotent - and an indecent divorce usually identified as Lady Brett Ashley. Barnes is an American journalist living in Paris, while Brett is an English woman twice divorced with bob hair and much love affairs, and realizing new sexual freedom in the 1920s. Brett's affair with Robert Cohn caused Jake angry and broke off his friendship with Cohn; his seduction from a 19-year-old Romero's 19-year-old matador caused Jake to lose his good reputation among the Spaniards in Pamplona.
Book One is set in a cafe of young American expatriate community in Paris. In the opening scene, Jake plays tennis with his college friend Robert Cohn, takes a prostitute (Georgette), and runs to Brett and Count Mippipopolous at the nightclub. Later, Brett tells Jake he loves her, but they both know that they do not have a chance on a stable relationship.
In Book Two, Jake joined Bill Gorton, recently arriving from New York, and fiancé Brett Mike Campbell, who came from Scotland. Jake and Bill travel south and meet Robert Cohn at Bayonne for fishing in the hills in northeastern Pamplona. Instead of fishing, Cohn stays in Pamplona to wait for Brett and Mike who are due. Cohn had an affair with Brett a few weeks earlier and still felt possessive of him despite his engagement to Mike. After Jake and Bill enjoyed five days fishing in the river near Burguete, they rejoined the group in Pamplona.
All started drinking heavily. Cohn was hated by the others, who taunted him with anti-semitic comments. During the festival, the characters drank, ate, watched the bull game, attended bullfights, and quarreled with each other. Jake introduced Brett to a 19-year-old Romero matador at Hotel Montoya; he fell in love with her and seduced her. Jealous tension among the build people - Jake, Campbell, Cohn, and Romero each want Brett. Cohn, once a champion boxer in college, fights with Jake and Mike, and the other with Romero, whom he defeated. Despite the injury, Romero continued to perform brilliantly in the bullring.
Book Three shows the character after the party. Awake again, they left Pamplona; Bill returns to Paris, Mike stays in Bayonne, and Jake goes to San SebastiÃÆ'¡n on the north coast of Spain. When Jake will return to Paris, he receives a telegram from Brett asking for help; he went to Madrid with Romero. He found him there in a cheap hotel, without money, and without Romero. He announces he has decided to return to Mike. This novel ends with Jake and Brett in a taxi talking about things that might happen.
Main theme
Paris and the Missing Generation
The first book The Sun Also Rises is set in the mid 1920s Paris. Americans are drawn to Paris in the Roaring Twenties at a favorable exchange rate, with as many as 200,000 English expatriates living there. The Paris Tribune reported in 1925 that Paris had American Hospitals, American Libraries, and the American Chamber of Commerce. Many American writers are disappointed with the US, where they find less artistic freedom 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.)
Themes The Sun Also Rises appear in two epigraphs. The first is an allusion to the "Lost Generation," a term coined by Gertrude Stein that refers to the postwar generation; another inscription is a long excerpt from Ecclesiastes: "What gain does man acquire from all his work he has taken under the sun? One generation passes, and another generation comes: but the earth remains forever." The sun also rises, and the sun falls, and rushes to the place where he got up. "Hemingway told his editor Max Perkins that the book was not so much about the lost generation, but that" the earth remains forever. " He thinks the characters in The Sun Also Rises may have been "battered" but not lost.
The Hemingway scholar, Wagner-Martin writes that Hemingway wanted the book on morality, which he emphasized by changing the working title of the
Characters form groups, share similar norms, and each is strongly influenced by war. Hemingway captures a sense of age and beyond the love story of Brett and Jake, although they represent the period: Brett is hungry for certainty and love and Jake is sexually disabled. The wound symbolizes the age defects, disappointments, and frustrations felt by the whole generation.
Hemingway thought he lost touch with American values ​​while living in Paris, but his biographer Michael Reynolds claimed otherwise, looking at evidence of West American writers' values ​​in the novel. Hemingway admired the hard work. He describes the matadors and prostitutes, who work for life, in a positive way, but Brett, who prostitutes himself, is the symbol of the "rotten people" who live with the inheritance money. Jake, a working journalist, who pays bills again and again when those who can pay do not. Hemingway points out, through Jake's actions, his disagreement with those who do not pay. Reynolds said that Hemingway pointed out the tragedy, not about the decadence of the Montparnasse people, but the decline of American values ​​at the time. Thus, the author creates an impotent and powerless American hero. Jake becomes the moral center of this story. He never considered himself part of a stranger because he was a worker; for Jake a worker is genuine and authentic, and those who do not work to live spend their lives posing.
Women and love
The twice-divorced Brett Ashley represents the Released New Woman (in the 1920s, divorce was common and easily available in Paris). James Nagel writes that, in Brett, Hemingway created one of the more interesting women in American literature in the 20th century. Sexually loving, she is a resident of Paris nightlife and café. In Pamplona he triggered chaos: in front of him, men drinking too much and fighting. He also teases Romero's young fighter and becomes Circe at the festival. Critics describe it as diverse as elaborate, elusive, and confusing; Donald Daiker writes that Hemingway "treats him with a delicate balance of sympathy and antipathy." He is vulnerable, easy to forgive, independent - the qualities that Hemingway juxtaposes with other women in the book, who are either prostitutes or arrogant.
Nagel considered this novel a tragedy. Jake and Brett have a relationship that becomes destructive because their love can not be perfected. The conflict over Brett destroys Jake's friendship with Robert Cohn, and his behavior in Pamplona affects Jake's strong reputation among the Spaniards. Meyers sees Brett as a woman who wants sex without love while Jake can only give her love without sex. Although Brett slept with many men, it was his beloved Jake. Dana Fore writes that Brett is willing to be with Jake regardless of his disability, in "non-traditional erotic relationships." Other critics such as Leslie Fiedler and Nina Baym see it as a bitch; Fiedler sees Brett as one of the "remarkable examples of Hemingway prostitute women." Jake becomes bitter about their relationship, as when he says, "Send a girl to a man.... Now go and take it he came back and signed the wire with love. "
Criticism interprets Jake-Brett's relationship in various ways. Daiker points out that Brett's behavior in Madrid - once Romero goes and when Jake arrives at his call - reflects his immorality. Scott Donaldson thinks Hemingway presents Jake-Brett's relationship in such a way that Jake knows "that by having Brett to a friend 'he has gotten something for nothing' and that sooner or later he has to pay the bills." Daiker noted that Brett relied on Jake to pay the train fare from Madrid to San SebastiÃÆ'¡n, where he rejoined Mike's fiancée. In Hemingway's piece, he thinks Jake, "you learn a lot about a woman by not sleeping with her." At the end of the novel, though Jake loves Brett, he seems to be transforming in Madrid when he begins to distance himself from him. Reynolds believes that Jake represents "ordinary people", and that in the course of his narratives he loses his honor, faith, and hope. He sees this novel as a moral game with Jake as the most losers.
The corrida , fiesta, and nature
In the Sun also rises , Hemingway distinguishes Paris with Pamplona, ​​â € <â €
It's not just as brutal as they always say to us. This is a big tragedy - and the loveliest thing I've ever seen and needs more courage and skill and more courage than anything can. It's like having a ring seat in a war with nothing going on on you.
He demonstrates what he considers purity in the bullfighting culture - called aficiÃÆ'³n - and presents it as an authentic way of life, as opposed to Paris bohemian irreverence. Accepted as aficionado is rare for non-Spanish; Jake underwent a difficult process to gain acceptance by the "fellowship aficiÃÆ'³n. "
The Hemingway scholar Allen Josephs considers this novel to be centered on the "corrida" (bullfighting), and how each character reacts to it. Brett teases young matadors; Cohn failed to understand and hoped to be bored; Jake understood completely because he was the only one moving between the world of unauthentic expatriates and authentic Spaniards; the keeper of the Montoya hotel is a keeper of faith; and Romero is an artist in the ring - he is innocent and perfect, and who dares to face death. The
Hemingway presents the matador as a heroic character who dances in the bullring. He considers the bullring arena as a war with the right rules, in contrast to the real war chaos that he, and with Jake's extension, is natural. Keneth Kinnamon critic notes that young Romero is the only respectable character of this novel. Hemingway was named Romero after Pedro Romero, an 18th-century matador who killed thousands of bulls in the most difficult way: to have a bull stick in his sword as he stood still. Reynolds says Romero, who symbolizes pure classical matador, is "an ideal figure in the novel." Josephs said that when Hemingway changed Romero's name from Guerrita and gave him a historical Romero character, he also changed the scene in which Romero killed a bull to one of the recibiendo (receiving a bull) in honor of the historical name.
Before the group arrived in Pamplona, ​​Jake and Bill took a fishing trip to the Irati River. As Harold Bloom points out, the scene serves as a distraction between parts of Paris and Pamplona, ​​"an oasis that lies beyond linear time." More importantly, at another level reflects the "mainstream American fiction that begins with Pilgrim seeking refuge from British oppression" - a major theme in American literature that fled into the wilderness, as seen in Cooper, Hawthorne, Melville, Twain, and Thoreau. Fiedler calls the theme "The Sacred Land"; he thought the American West was resurrected in the Sun also rises by the Pyrenees and was given a symbolic nod with the name "Hotel Montana." In Hemingway's writings, nature is a refuge and rebirth, according to Stoltzfus, where hunters or fishermen acquire a moment of transcendence at the time of their prey. Nature is a place where men act without women: fish men, men hunting, men find redemption. In nature Jake and Bill need not discuss war because of their war experience, paradoxically, always there. The natural scene serves as a counter to the fiesta scene.
All the characters drink during the festival and generally throughout the novel. In his essay "Alcoholism at Hemingway's Masculinity and gender
Critics have seen Jake as Hemingway's ambiguous representative. For example, in a bar scene in Paris, Jake is angry at some homosexual men. Ira Elliot's critics point out that Hemingway views homosexuality as an unauthentic way of life, and that he aligns Jake with homosexual men because, like them, Jake does not have sex with women. Jake's anger shows his resentment at his disquiet and his lack of masculinity. The feeling of his masculine identity is gone - he's less than a man. Elliot wondered if Jake's wounds might signal latent homosexuality, not just losing masculinity; the emphasis in the novel, however, is Jake's interest in women. Hemingway's writing has been called homophobic because of the language used by his character. For example, in a fishing scene, Bill claims to like Jake, but then says, "I can not say that in New York, that means I'm a homosexual."
Unlike Jake's problematic masculinity, Romero represents an ideal masculine identity based on self-belief, courage, competence, and honesty. The Davidsons noted that Brett was interested in Romero for these reasons, and they speculated that Jake might try to damage Romero's manhood by bringing Brett to him and thereby reducing his ideal stature.
Critics have examined the issue of gender misidentification that is prevalent in many of Hemingway's works. He is interested in cross-gender themes, as illustrated by the portrayal of feminine men and women who are childish. In its fiction, a woman's hair is often symbolically important and is used to indicate gender. Brett, with his short hair, a double pair and compared to a boy - but his ambiguity lies in the fact that he is described as "a woman who looks very good." While Jake was interested in this ambiguity, Romero was disgusted by it. In keeping with his strict moral code, he wanted a feminine partner and refused Brett because, among other things, he would not grow his hair.
Anti-Semitism
Hemingway has been called anti-Semitic, mainly because of the characterization of Robert Cohn in this book. Other characters often refer to Cohn as a Jew, and once as a 'kike'. Avoided by other members of the group, Cohn was characterized as "different," unable or unwilling to understand and participate in the party. Cohn was never really part of the group - separated by his Jewish differences or beliefs. Critics Susan Beegel goes so far as to claim, "Hemingway never let the reader forget that Cohn is a Jew, not an unflattering character that happens as a Jew but an unflattering character because he is a Jew." Hemingway critic Josephine Knopf speculates that Hemingway might want to portray Cohn as "shlemiel" (or stupid), but he points out that Cohn does not have traditional shlemiel characteristics.
Cohn is based on Harold Loeb, a fellow writer who rivals Hemingway for Duff affection, Lady Twysden (real life inspiration for Brett). Biographer Michael Reynolds writes that in 1925, Loeb should have rejected Hemingway's invitation to join them in Pamplona. Before the trip he was Duff's lover and Hemingway's friend; during the failure of the party, he lost the friendship of Duff and Hemingway. Hemingway used Loeb as the basis of a character that was remembered primarily as a "rich Jew."
Writing style
This novel is famous for its style, which is variously described as modern, hard-boiled, or understated. As a budding writer and journalist in Paris, Hemingway turned to Ezra Pound - who had a reputation as "an unofficial cultural minister acting as middle wife for a new literary talent" - to mark and incise his short story. From Pound, Hemingway learns to write in a modernist style: he uses disdain, erases sentimentalism, and presents images and scenes without explanation of meaning, especially at the conclusion of the book, where many future possibilities are left for Brett and Jake. The scholar Anders Hallengren writes that because Hemingway learned from the Pound to "the adjective of unbelief," he created a style "in accordance with the aesthetics and ethics of raising the emotional temperature to the level of universal truth by closing the door to sentiment, to the subjective."
F. Scott Fitzgerald told Hemingway to "let the action of the book be played alone among his characters." The Hemingway scholar, Linda Wagner-Martin writes that, in taking Fitzgerald's suggestion, Hemingway produced a novel without a central narrator: "Hemingway's book is one step ahead, it's a modernist novel." When Fitzgerald advised Hemingway to trim at least 2500 words from the opening sequence, which is 30 pages long, Hemingway sent a publisher telling them to cut the entire 30-page opening. The result is a novel without a focused starting point, which is seen as a modern and well-received perspective.
Wagner-Martin speculates that Hemingway may want to have a weak or negative hero as defined by Edith Wharton, but he has no experience creating heroes or protagonists. At that time his fiction consisted of very short stories, none of which featured a hero. The hero changed during the writing of The Sun Also Rises: first the matador is a hero, so Cohn is a hero, then Brett, and finally Hemingway realizes "there may be no heroes at all, maybe a better story without a hero." Balassi believes that in removing another character as a protagonist, Hemingway brings Jake indirectly to the role of the novel hero.
As the novel ÃÆ' clef, the novel based its character on the living, causing scandal in the expatriate community. Hemingway biographer Carlos Baker writes that "word-of-mouth from book" helps sales. The Paris expatriates cheerfully try to match the fictional character with the original identity. In addition, he writes that Hemingway uses a prototype easily found in the Latin Quarter to base his character. Initial design identifies characters by their surviving counterparts; Jake's character is called Hem, and Brett is called Duff.
Although the novel is written in a journalistic style, Frederic Svoboda writes that the surprising thing about this work is "how fast it moves away from a simple event." Jackson Benson believes that Hemingway used autobiographical detail as a framing device for life in general. For example, Benson says that Hemingway drew his experience with the "what if" scenario: "what if I was injured in such a way that I could not sleep at night? What if I was hurt and made crazy, what would happen if I were sent back forward? "Hemingway believes that the author can describe one thing while completely different things happen beneath the surface - an approach he calls the iceberg theory, or the theory of neglect.
Balassi says Hemingway applies the iceberg theory better in The Sun Also Rises than in his other works, by editing foreign material or deliberately leaving a gap in the story. He made an editorial statement in a manuscript that showed he wanted to break away from the strict rules of Gertrude Stein's advice to use "clear and controlled writing". In the earliest draft, the novel began in Pamplona, ​​but Hemingway moved the setting setting to Paris because he considered the life of Montparnasse necessary as a counterpoint to the subsequent action in Spain. He writes about Paris extensively, intending "unrestricted by literary theory of others, [but] writing in his own way, and possibly, failing." He adds a metaphor for each character: Mike's money issue, Brett's association with Circe's myth, Robert's relationship with a separate steer. It was not until the revision process that he peeled down the story, took the unnecessary explanation, minimized the descriptive part, and disarmed the dialogue, all of which created "complicated but highly compressed stories."
Hemingway said he learned what he needed as a basis for his writing from the style sheet for The Kansas City Star, where he worked as a cub reporter. Critics John Aldridge said that the minimalist style resulted from Hemingway's conviction that to write authentically, every word should be chosen carefully because of its simplicity and authenticity and brought many weights. Aldridge writes that Hemingway's style "at least from the simple words that seem to be squeezed into the yard against a great necessity for silence, creates the impression that those words - if only because there are so few of them - are sacramental." In Paris, Hemingway has experimented with the King James Bible prosody, reading aloud with his friend John Dos Passos. From the style of biblical texts, he learns to build prose gradually; the action in the novel builds sentence by sentence, scene by scene and chapter by chapter.
The simplicity of his style is deceptive. Bloom writes that it is an effective paratactic use that enhances Hemingway's prose. Drawing on the Bible, Walt Whitman and Huckleberry Finn's Hemingway adventure, Hemingway wrote deliberately and he included parataxis, which in some cases almost became cinematic. His skeletal sentence was made in response to Henry James's observation that World War I had "used words," explains Hemingway scholar Zoe Trodd, who writes that his style is similar to the reality of "multi-focus" photography. Syntax, which has no subordinate conjunctions, produces static sentences. The "snapshot" style of photography creates a collage of images. Hemingway removes internal punctuation (colons, semicolons, hyphens, parentheses) that support short declarative sentences, intended to construct, when events are formed, to create a sense of totality. He also uses analogue techniques to the cinema, such as cutting quickly from one scene to the next, or unifying one scene to another. A deliberate omission allows the reader to fill the gap as if responding to the author's instructions and creating three-dimensional prose. Biographer James Mellow writes that the bullfighting scene is presented with crispness and clarity that evokes a sense of news.
Hemingway also uses the techniques of fine art and color to convey the emotional range in his description of the River Irati. In Translating Modernism: Fitzgerald and Hemingway, Ronald Berman compares Hemingway's treatment of the landscape with the post-Impressionist painter Paul CÃÆ' © zanne. During the 1949 interview, Hemingway told Lillian Ross that he learned from CÃÆ'Â © zanne how to "create a landscape." In comparing writing to painting, he told him, "This is what we are trying to do in writing, this and this, and the forests, and the rocks we have to climb." The landscape looks subjective - the observer's point of view is paramount. For Jake, landscaping "means looking for a solid form.... is absent existentially in [his] life in Paris."
Reception
Hemingway's first novel was arguably the best and most important and was later seen as an iconic modernist novel, though Reynolds emphasized that Hemingway was not philosophically a modernist. In the book, his character represents the postwar generation of expatriates for future generations. He has received good reviews for the volume of his short story, In Our Time , which Edmund Wilson wrote, "Hemingway's prose is the first difference." Wilson's comments are enough to attract the attention of young writers.
Good reviews come from many great publications. Conrad Aiken writes in the New York Herald Tribune , "If there is a better dialog to write today, I do not know where to find it"; and Bruce Barton wrote in The Atlantic that Hemingway "wrote as if he had never read anyone's writing, as if he had created his own writing art," and that the characters were "unbelievably real and life. "Many reviewers, among them, HL Mencken, praising Hemingway's style, use of disparaging statements, and strict writing.
Another criticism, however, does not like this novel. The Nation's critic believes Hemingway's hard style is more suitable for short stories published in In Our Time than his novels. Writing in New Mass , Hemingway's best friend, John Dos Passos asked: "What has happened to American writing lately?... Some uninformed young men of this lost generation must find another. how to find themselves rather than shown here. "Personally he wrote Hemingway an apology for review. The reviewers for the Chicago Daily Tribune wrote the novel," The Sun Also Rises is the kind of book that makes this review at least almost plain mad. "Some reviewers dislike characters, among them the reviewer for Dial , who thinks his character is superficial and bland; and The Nation and Atheneum thinks the character is boring and the novel is unimportant. The reviewers for The Cincinnati Enquirer wrote about the book "where it started and ended with nothing."
The Hemingways hated him. His mother, Grace Hemingway, was depressed because he could not face criticism in his local book class - where it was said that his son was "prostituting great ability.... for the lowest usage" - expressed his displeasure at a letter to him:
Critics seem to be full of praise for your style and the ability to draw words but good people always regret that you have to use such great gifts in perpetuating life and habits so crushing a layer of humanity. It is a dubious honor to produce one of the dirtiest books of the year.... What's the problem? Have you stopped interested in nobility, honor, and subtlety in life?.... Surely you have other words in your vocabulary than "shit" and "bitch" - Each page fills me with painful hatred.
However, this book sold well, and young women began to imitate Brett while male students at Ivy League universities wanted to be "Hemingway heroes." Scribner encouraged publicity and allowed Hemingway "to be a small phenomenon in America" ​​- a celebrity to the extent that his divorce from Richardson and marriage with Pfieffer attracted media attention.
Reynolds believed The Sun Also Rises could only be written in 1925: he perfectly captured the period between World War I and the Great Depression, and perpetuated a group of characters. In the years since its publication, the novel has been criticized for anti-Semitism, as expressed in the characterization of Robert Cohn. Reynolds explained that although the publisher complained to Hemingway about his description of the bulls, they allowed the use of the Jewish nickname, which indicates the extent to which anti-Semitism was accepted in the United States after World War I. Cohn represents the Jewish stand and contemporary readers will understand this from the description. Hemingway certainly made Cohn no different not only as a character but as a Jewish character. Critics of the 1970s and 1980s regard Hemingway as misogynous and homophobic; in the 1990s his work, including The Sun Also Rises, began receiving a critical review by female intellectuals.
Inheritance and adaptation
Hemingway's work continued to be popular in the second half of this century and after a suicide in 1961. During the 1970s, The Sun Also Rises appealed to what Beegel calls the lost generation of the Vietnam era. Aldridge writes that The Sun Also Rises retains its appeal because the novel is about being young. The characters live in the most beautiful city in the world, spend their days traveling, fishing, drinking, making love, and generally having fun in their youth. He believes expatriate writers of 1920 to propose this reason, but that Hemingway is the most successful in capturing time and place in The Sun Also Rises.
Bloom says that some characters do not stand the test of time, writing that modern readers feel uncomfortable with the anti-semitic treatment of Cohn's character and romanticizing the matador. In addition, Brett and Mike have the uniqueness to the Jazz Era and are not translated into the modern era. Bloom believes this novel is in the canon of American literature for its formal qualities: prose and style.
This novel made Hemingway famous, inspiring young women across America to wear short hair and sweaters like the hero - and act like him too - and change the style of writing in a way that can be seen in every American magazine published in the next twenty years. year. In many ways, the prose of stripped novel became a model for American writing in the 20th century. Nagel writes that "The Sun also Increases is a dramatic literary event and the impact has not diminished over the years."
The Sun Also Rises' success is guaranteed to draw from Broadway and Hollywood. In 1927 two Broadway producers wanted to adapt the story to the stage but did not make a direct offer. Hemingway considered marketing his story directly to Hollywood, telling his editor Max Perkins that he would not sell it for less than $ 30,000 - the money he wanted for his wife living abroad, Hadley Richardson. Conrad Aiken considers the book perfect for film adaptation solely on the power of dialogue. Hemingway will not see the stage or film adaptation any time soon: he sold his movie rights to RKO Pictures in 1932, but only in 1956 the novel was adapted to a movie of the same name. Peter Viertel wrote the scenario. Tyrone Power when Jake played the lead role in front of Ava Gardner as Brett and Errol Flynn as Mike. Royalty fell to Richardson. It was again adapted into a film in 1984. It was adapted into a one-act opera in 2000.
Hemingway wrote more books about bullfighting: Death in the Afternoon was published in 1932 and Dangerous Summer was published posthumously in 1985. His portrayal of Pamplona, ​​â € < â €
References
Quote
Source
External links
Source of the article : Wikipedia
0 Comments