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.RESOURCESPrimary WorkBy-Line: Ernest Hemingway, edited by William H.White (New York: Scribners,1967).Collects four decades of Hemingway s journalistic reporting, treating many topicsthat he later transmuted into fiction.BiographyCarlos Baker, Ernest Hemingway: A Life Story (New York: Scribners, 1969).The standard one-volume Hemingway biography, notable for its meticulousdocumentation and highly informative notes.Matthew J.Bruccoli, Scott and Ernest: The Authority of Failure and the Authority ofSuccess (New York: Random House, 1978); revised as Fitzgerald and Heming-way: A Dangerous Friendship (New York: Carroll & Graf, 1994).The most authoritative account of how F.Scott Fitzgerald s editorial advicechanged the structure of The Sun Also Rises.Ernest Hemingway: Selected Letters, 1917 1961, edited by Baker (New York:Scribners, 1981).An indispensable biographical resource.It includes Hemingway s observationson the evolution of The Sun Also Rises, his artistic intentions in writing it, thecharacters of the novel, and his reactions to critics of the work.Michael S.Reynolds, Hemingway: The Paris Years (Oxford & New York: Black-well, 1989).The second volume of a five-volume biography.Supplementing the treatment ofHemingway s Paris apprenticeship in Baker s biography, it provides extensive infor-mation about Hemingway and bullfighting, personal conflicts among Hemingwayand friends in Pamplona in 1925, and Hemingway s  rediscovered Catholicity  apoint relevant to the notion of religion as regeneration in the novel.BibliographyAudre Hanneman, Ernest Hemingway: A Comprehensive Bibliography (Princeton:Princeton University Press, 1967).The standard bibliography of works by and about Hemingway.Ernest Hemingway 167Hanneman, Supplement to Ernest Hemingway: A Comprehensive Bibliography(Princeton: Princeton University Press, 1975).Updates the 1967 volume.The Hemingway Review (1981 ).Includes an annotated current bibliography.Articles in The Hemingway Reviewitself are omitted, because of the immediate availability of abstracts.In 1986 aspecial issue marked the sixtieth anniversary of The Sun Also Rises.Kelli A.Larson, Ernest Hemingway: A Reference Guide 1974 1989 (Boston: G.K.Hall, 1990).Updates the Hanneman supplement; a good annotated secondarybibliography.CriticismCarlos Baker, The Writer as Artist, fourth edition (Princeton: Princeton UniversityPress, 1972).Remains important for integrating Hemingway s life and art and crediblereadings of his work.It does not treat posthumous works after Islands in theStream.Scott Donaldson,  Hemingway s Morality of Compensation, in Ernest Heming-way s The Sun Also Rises, edited by Harold Bloom, Modern Critical Inter-pretations (New York: Chelsea House, 1987), pp.71-90.Argues that money is a metaphor by which the  moral responsibility of Jake, Bill,and Pedro is contrasted with the lack of responsibility of Mike, Brett, and Robert;illuminates the  moral bankruptcy component of the regeneration theme.The Hemingway Society [accessed 24November 2009].Provides links to indices of The Hemingway Review, Hemingway Notes, and theHemingway collection at the Kennedy Library.Allen Josephs,  Toreo: The Moral Axis in The Sun Also Rises, Hemingway Review,6 (Fall 1986): 88 99.Argues for the centrality of the bullfight and the quest for authenticity inHemingway s aesthetic.James Nagel,  Brett and Other Women in The Sun Also Rises, in The CambridgeCompanion to Hemingway, edited by Scott Donaldson (New York: Cam-bridge University Press, 1996), pp.87 108.Comprehensive overview of the  New Woman in American literary history thatdefines Brett s role by comparing her with other women in the Paris section ofthe novel.Linda Wagner-Martin, ed., New Essays on The Sun Also Rises (New York: Cam-bridge University Press, 1987).A collection of six essays on the novel, including Wendy Martin s  Brett Ashley asNew Woman. Martin discusses the social and sexual characteristics of the  New168 American Modernism, 1914 1945Woman and draws distinctions between the Victorian ideal and Brett, who isseen to exemplify defining criteria for the new type. John C.UnruehErnest Hemingway, A Farewell to Arms(New York: Scribners, 1929)A Farewell to Arms (1929), a novel of love and war, affirmed and securedHemingway s career, which had been launched by The Sun Also Rises (1926).Hemingway began writing A Farewell to Arms in February 1928; like most ofhis work, it is considerably informed by the author s personal experiences trans-muted into art.Like the protagonist of the novel, Frederic Henry, Hemingwaywas an ambulance driver on the Italian front in World War I; was severelywounded by an Austrian mortar shell and spent time in a Milan hospitalrehabilitating after surgery on his right knee; and fell in love with his nurse.Catherine Barkley, however, is a composite character, derived not only fromHemingway s nurse, Agnes Von Kurowsky, but also from his first and secondwives, Hadley and Pauline; Hemingway witnessed Pauline s cesarean sectionduring the birth of their son Patrick in Kansas City in 1928.As Hemingwaywould have acknowledged, however, most of the events in the novel wereinvented from what he knew or came to know through research.Nevertheless,few writers have ever created scenes that convey such impressions of authentic-ity.In fact, many readers were convinced that Hemingway actually experiencedevents of the war that occurred before his arrival in Italy; biographer MichaelReynolds attests that Italian critics who had been in the Caporetto retreat werecertain that Hemingway had been there, as well.To comprehend the extent towhich Hemingway s research into war influenced the composition of A Farewellto Arms, students should see Reynolds s Hemingway s First War: The Writing ofA Farewell to Arms.A Farewell to Arms was published on 27 September 1929,and most reviewers praised it effusively, observing that Hemingway was alreadya major influence on other writers and the direction of American literature.Inless than three weeks the novel sold more than twenty-eight thousand copies,and by November it was a best seller.TOPICS FOR DISCUSSION AND RESEARCH1.Disparate readings of Catherine Barkley s character have dominated thescholarly discourse since the appearance of A Farewell to Arms.EdmundWilson saw Catherine, like Maria in For Whom the Bell Tolls, as Hemingway s youthful erotic dream, an idealized woman that Rudyard Kipling might haveconceived.In a letter to Carlos Baker, Malcolm Cowley wrote that he foundCatherine  only a woman at the beginning of the book, in her near madness.Ernest Hemingway 169For a rebuttal of the Wilson and Cowley positions, see Baker s  The Mountainand the Plain in his Hemingway: The Writer as Artist (1972).Many feministcritics concur with Wilson s reading of Catherine s character.Bernice Kertargues that Catherine is idealized and submissive but points to the resiliencecommon to Hemingway s wives and lovers.Students will find that Kert s TheHemingway Women (1983) provides helpful insights into the complex relation-ships between Hemingway and women.Biographer Michael S [ Pobierz całość w formacie PDF ]