Basil O glue the Sun Will Rise Again

1926 novel past Ernest Hemingway

Start edition of The Sun Besides Rises, published in 1926 by Scribner's, with dust jacket illustrated by Cleonike Damianakes. The Hellenistic jacket design "breathed sex yet also evoked classical Greece".^[1]

The Sun Also Rises is a 1926 novel by American writer Ernest Hemingway, his first, that portrays American and British expatriates who travel from Paris to the Festival of San Fermín in Pamplona to watch the running of the bulls and the bullfights. An early and enduring modernist novel, it received mixed reviews upon publication. However, Hemingway biographer Jeffrey Meyers writes that it is at present "recognized as Hemingway's greatest work",^[ii] and Hemingway scholar Linda Wagner-Martin calls it his most important novel.^[three] The novel was published in the Us in October 1926 past Scribner's. A yr later, Jonathan Cape published the novel in London under the championship Fiesta . It remains in print.

The novel is a roman à clef: the characters are based on real people in Hemingway's circumvolve, and the activity is based on real events, especially Hemingway'south life in Paris in the 1920s and a trip to Kingdom of spain in 1925 for the Pamplona festival and fishing in the Pyrenees. Hemingway presents his notion that the "Lost Generation"—considered to have been decadent, dissolute, and irretrievably damaged by World War I—was in fact resilient and strong.^[4] Hemingway investigates the themes of love and death, the revivifying power of nature, and the concept of masculinity. His spare writing style, combined with his restrained utilize of description to convey characterizations and action, demonstrates his "Iceberg Theory" of writing.

Background [edit]

In the 1920s Hemingway lived in Paris every bit a foreign correspondent for the Toronto Star, and traveled to Smyrna to written report on the Greco–Turkish War. He wanted to use his journalism experience to write fiction, assertive that a story could be based on real events when a writer distilled his own experiences in such a way that, co-ordinate to biographer Jeffrey Meyers, "what he fabricated upward was truer than what he remembered".^[5]

With his wife Hadley Richardson, Hemingway first visited the Festival of San Fermín in Pamplona in 1923, where he was following his recent passion for bullfighting.^[6] The couple returned to Pamplona in 1924—enjoying the trip immensely—this fourth dimension accompanied by Chink Dorman-Smith, John Dos Passos, and Donald Ogden Stewart and his wife.^[7] The two returned a third time in June 1925 and stayed at the hotel of his friend Juanito Quintana. That year, they brought with them a different group of American and British expatriates: Hemingway's Michigan boyhood friend Bill Smith, Stewart, recently divorced Duff, Lady Twysden, her lover Pat Guthrie, and Harold Loeb.^[eight] Hemingway's memory spanning multiple trips might explain the inconsistent timeframe in the novel indicating both 1924 and 1925.^[ix] In Pamplona, the grouping quickly disintegrated. Hemingway, attracted to Duff, was jealous of Loeb, who had recently been on a romantic getaway with her; by the end of the calendar week the two men had a public fistfight. Against this background was the influence of the young matador from Ronda, Cayetano Ordóñez, whose luminescence in the bullring affected the spectators. Ordóñez honored Hemingway'south wife past presenting her, from the bullring, with the ear of a balderdash he killed. Outside of Pamplona, the line-fishing trip to the Irati River (near Burguete in Navarre) was marred past polluted water.^[8]

Hemingway had intended to write a nonfiction book about bullfighting, but then decided that the week's experiences had presented him with enough material for a novel.^[7] A few days after the fiesta ended, on his altogether (21 July), he began writing what would eventually become The Sun Also Rises.^[ten] By 17 Baronial, with 14 chapters written and a working title of Fiesta chosen, Hemingway returned to Paris. He finished the draft on 21 September 1925, writing a foreword the following weekend and irresolute the title to The Lost Generation.^[11]

A few months afterward, in December 1925, Hemingway and his married woman spent the winter in Schruns, Austria, where he began revising the manuscript extensively. Pauline Pfeiffer joined them in Jan, and—confronting Hadley's advice—urged him to sign a contract with Scribner's. Hemingway left Republic of austria for a quick trip to New York to encounter with the publishers, and on his return, during a stop in Paris, began an matter with Pauline. He returned to Schruns to finish the revisions in March.^[12] In June, he was in Pamplona with both Richardson and Pfeiffer. On their render to Paris, Richardson asked for a separation, and left for the due south of French republic.^[thirteen] In August, alone in Paris, Hemingway completed the proofs, dedicating the novel to his wife and son.^[14] Later the publication of the book in October, Hadley asked for a divorce; Hemingway subsequently gave her the book's royalties.^[15]

Publication history [edit]

Hemingway maneuvered Boni & Liveright into terminating their contract with him then that The Sunday Also Rises could be published by Scribner'due south instead. In Dec 1925 he apace wrote The Torrents of Jump—a satirical novella attacking Sherwood Anderson—and sent information technology to his publishers Boni & Liveright. His three-volume contract with them included a termination clause should they decline a unmarried submission. Unamused by the satire against one of their almost saleable authors, Boni & Liveright immediately rejected it and terminated the contract.^[16] Within weeks Hemingway signed a contract with Scribner's, who agreed to publish The Torrents of Bound and all of his subsequent work.^{[17] [note 1]}

Scribner'due south published the novel on 22 Oct 1926. Its first edition consisted of 5090 copies, selling at $two.00 per copy.^[18] Cleonike Damianakes illustrated the dust jacket with a Hellenistic design of a seated, robed adult female, her head bent to her shoulder, eyes airtight, one hand property an apple, her shoulders and a thigh exposed. Editor Maxwell Perkins intended "Cleon's respectably sexy"^[1] design to attract "the feminine readers who command the destinies of so many novels".^[19]

Two months later the book was in a second printing with 7000 copies sold. Subsequent printings were ordered; past 1928, afterwards the publication of Hemingway's brusque story collection Men Without Women, the novel was in its 8th printing.^{[twenty] [21]} In 1927 the novel was published in the U.k. past Jonathan Cape, titled Fiesta, without the ii epigraphs.^[22] Two decades later, in 1947, Scribner'south released three of Hemingway'south works as a boxed ready, including The Sun Also Rises, A Farewell to Arms, and For Whom the Bell Tolls.^[23]

Past 1983, The Sun Also Rises had been in impress continuously since its publication in 1926, and was probable one of the nearly translated titles in the world. At that fourth dimension Scribner's began to print cheaper mass-marketplace paperbacks of the book, in addition to the more than expensive trade paperbacks already in print.^[24] In the 1990s, British editions were titled Fiesta: The Sun Also Rises. ^[25] In 2006 Simon & Schuster began to produce audiobook versions of Hemingway's novels, including The Sun Also Rises.^[26] In May 2022 a new "Hemingway Library Edition" was published by Simon & Schuster, including early on drafts, passages that were deleted from the concluding draft, and alternative titles for the volume, which help to explain the author's journey to produce the terminal version of this acclaimed piece of work.^{[27] [28]}

Plot summary [edit]

On the surface, the novel is a beloved story between the protagonist Jake Barnes—a man whose war wound has made him unable to take sex—and the promiscuous divorcée Lady Brett Ashley. Jake is an departer American journalist living in Paris, while Brett is a twice-divorced Englishwoman with bobbed pilus and numerous dearest affairs, and embodies the new sexual freedom of the 1920s. Brett's affair with Jake'due south college friend Robert Cohn causes Jake to be upset and suspension off his friendship with Robert; her seduction of the 19-year-erstwhile matador Romero causes Jake to lose his good reputation amongst the Spaniards in Pamplona.

Volume One is prepare in the café society of young American expatriates in Paris. In the opening scenes, Jake plays tennis with Robert, picks up a prostitute (Georgette), and runs into Brett and Count Mippipopolous in a nightclub. Later on, Brett tells Jake she loves him, but they both know that they accept no hazard at a stable relationship.

In Volume Two, Jake is joined by Beak Gorton, recently arrived from New York, and Brett'south fiancé Mike Campbell, who arrives from Scotland. Jake and Beak travel s and run into Robert at Bayonne for a line-fishing trip in the hills northeast of Pamplona. Instead of fishing, Robert stays in Pamplona to wait for the overdue Brett and Mike. Robert had an affair with Brett a few weeks earlier and all the same feels possessive of her despite her appointment to Mike. Afterward Jake and Neb savour v days of fishing the streams virtually Burguete, they rejoin the group in Pamplona.

All begin to drinkable heavily. Robert is resented past the others, who taunt him with antisemitic remarks. During the fiesta the characters potable, swallow, lookout the running of the bulls, attend bullfights, and bicker with each other. Jake introduces Brett to the 19-twelvemonth-old matador Romero at the Hotel Montoya; she is smitten with him and seduces him. The jealous tension among the men builds—Jake, Mike, Robert, and Romero each want Brett. Robert, who had been a champion boxer in college, has a fistfight with Jake and Mike, and another with Romero, whom he beats up. Despite his injuries, Romero continues to perform brilliantly in the bullring.

Book Three shows the characters in the aftermath of the fiesta. Sober again, they get out Pamplona; Bill returns to Paris, Mike stays in Bayonne, and Jake goes to San Sebastián on the northern declension of Kingdom of spain. Every bit Jake is nigh to return to Paris, he receives a telegram from Brett asking for help; she had gone to Madrid with Romero. He finds her there in a cheap hotel, without money, and without Romero. She announces she has decided to go back to Mike. The novel ends with Jake and Brett in a taxi speaking of the things that might have been.

Themes and analysis [edit]

Paris and the Lost Generation [edit]

The first book of The Sun Also Rises is set in mid-1920s Paris. Americans were fatigued to Paris in the Roaring Twenties by the favorable exchange rate, with as many as 200,000 English-speaking expatriates living there. The Paris Tribune reported in 1925 that Paris had an American Hospital, an American Library, and an American Bedchamber of Commerce.^[29] Many American writers were disenchanted with the Usa, where they institute less creative liberty 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.)^[thirty]

The themes of The Lord's day Also Rises appear in its two epigraphs. The commencement is an allusion to the "Lost Generation", a term coined by Gertrude Stein referring to the post-state of war generation;^{[note 2] [31]} the other epigraph is a long quotation from Ecclesiastes: "I generation passeth away, and another generation cometh: but the earth abideth for ever. The lord's day as well ariseth, and the dominicus goeth down, and hasteth to his place where he arose."^[32] Hemingway told his editor Max Perkins that the volume was not so much about a generation being lost, but that "the earth abideth forever." He thought the characters in The Dominicus Also Rises may have been "battered" merely were not lost.^[4]

Hemingway scholar Wagner-Martin writes that Hemingway wanted the book to exist about morality, which he emphasized by irresolute the working championship from Fiesta to The Sun Also Rises. Wagner-Martin argues that the book can be read either every bit a novel about bored expatriates or as a morality tale about a protagonist who searches for integrity in an immoral world.^[33] Months before Hemingway left for Pamplona, the printing was depicting the Parisian Latin Quarter, where he lived, as decadent and depraved. He began writing the story of a matador corrupted by the influence of the Latin Quarter crowd; he expanded it into a novel virtually Jake Barnes at risk of being corrupted past wealthy and inauthentic expatriates.^[34]

Hemingway at dwelling house in his apartment on the Left Bank, Paris, 1924

The characters grade a grouping, sharing similar norms, and each greatly affected by the state of war.^[33] Hemingway captures the malaise of the historic period and transcends the beloved story of Brett and Jake, although they are representative of the menstruation: Brett is starved for reassurance and dearest and Jake is sexually maimed. His wound symbolizes the disability of the historic period, the disillusion, and the frustrations felt by an entire generation.^[33]

Hemingway thought he lost bear on with American values while living in Paris, only his biographer Michael Reynolds claims the opposite, seeing bear witness of the writer'due south midwestern American values in the novel. Hemingway admired difficult work. He portrayed the matadors and the prostitutes, who work for a living, in a positive manner, but Brett, who prostitutes herself, is emblematic of "the rotten crowd" living on inherited money. It is Jake, the working journalist, who pays the bills again and once more when those who can pay do not. Hemingway shows, through Jake's actions, his disapproval of the people who did not pay up.^[35] Reynolds says that Hemingway shows the tragedy, not so much of the decadence of the Montparnasse crowd, but of the turn down in American values of the menses. As such, the writer created an American hero who is impotent and powerless. Jake becomes the moral heart of the story. He never considers himself part of the expatriate crowd because he is a working human; to Jake a working human is genuine and accurate, and those who practice not work for a living spend their lives posing.^[36]

Women and love [edit]

The twice-divorced Brett Ashley represented the liberated New Woman (in the 1920s, divorces were common and like shooting fish in a barrel to be had in Paris).^[37] James Nagel writes that, in Brett, Hemingway created one of the more fascinating women in 20th-century American literature. Sexually promiscuous, she is a denizen of Parisian nightlife and cafés. In Pamplona she sparks anarchy: in her presence, the men drink too much and fight. She also seduces the young bullfighter Romero and becomes a Circe in the festival.^[38] Critics depict her variously as complicated, elusive, and enigmatic; Donald Daiker writes that Hemingway "treats her with a delicate residuum of sympathy and contempt."^[39] She is vulnerable, forgiving, independent—qualities that Hemingway juxtaposes with the other women in the book, who are either prostitutes or overbearing nags.^[40]

Nagel considers the novel a tragedy. Jake and Brett have a relationship that becomes destructive considering their love cannot exist consummated. Conflict over Brett destroys Jake'southward friendship with Robert Cohn, and her behavior in Pamplona affects Jake's hard-won reputation among the Spaniards.^[38] Meyers sees Brett equally a adult female who wants sex without love while Jake can but give her love without sexual activity. Although Brett sleeps with many men, it is Jake she loves.^[41] Dana Fore writes that Brett is willing to be with Jake in spite of his disability, in a "not-traditional erotic relationship."^[42] Other critics such equally Leslie Fiedler and Nina Baym see her equally a supreme bitch; Fiedler sees Brett as one of the "outstanding examples of Hemingway'due south 'bitch women.'"^{[43] [44]} Jake becomes bitter virtually their human relationship, as when he says, "Ship a girl off with a man .... At present go and bring her back. And sign the wire with dear."^[45]

Critics translate the Jake–Brett relationship in various ways. Daiker suggests that Brett's behavior in Madrid—after Romero leaves and when Jake arrives at her summons—reflects her immorality.^[46] Scott Donaldson thinks Hemingway presents the Jake–Brett relationship in such a manner that Jake knew "that in having Brett for a friend 'he had been getting something for cypher' and that sooner or later he would have to pay the neb."^[47] Daiker notes that Brett relies on Jake to pay for her train fare from Madrid to San Sebastián, where she rejoins her fiancé Mike.^[48] In a piece Hemingway cut, he has Jake thinking, "you learned a lot almost a woman by not sleeping with her."^[49] By the stop of the novel, although Jake loves Brett, he appears to undergo a transformation in Madrid when he begins to distance himself from her.^[49] Reynolds believes that Jake represents the "lowest," and that in the course of the narrative he loses his honor, faith, and hope. He sees the novel as a morality play with Jake every bit the person who loses the most.^[50]

The corrida, the fiesta, and nature [edit]

Hemingway (in white trousers and dark shirt) fighting a bull in the amateur corrida at Pamplona fiesta, July 1925

In The Lord's day Also Rises, Hemingway contrasts Paris with Pamplona, and the frenzy of the fiesta with the tranquillity of the Spanish countryside. Kingdom of spain was Hemingway's favorite European land; he considered information technology a salubrious place, and the only land "that hasn't been shot to pieces."^[51] He was profoundly affected past the spectacle of bullfighting, writing,

It isn't but vicious like they always told us. It'due south a great tragedy—and the nearly beautiful thing I've ever seen and takes more guts and skill and guts once more than annihilation maybe could. It'due south but like having a ringside seat at the state of war with nothing going to happen to you lot.^[51]

He demonstrated what he considered the purity in the civilisation of bullfighting—called afición—and presented information technology as an authentic way of life, contrasted against the inauthenticity of the Parisian bohemians.^[52] To exist accepted equally an addict was rare for a non-Spaniard; Jake goes through a difficult process to proceeds acceptance by the "fellowship of afición."^[53]

The Hemingway scholar Allen Josephs thinks the novel is centered on the corrida (the bullfighting), and how each character reacts to it. Brett seduces the young matador; Cohn fails to understand and expects to be bored; Jake understands fully because only he moves between the globe of the inauthentic expatriates and the authentic Spaniards; the hotel keeper Montoya is the keeper of the faith; and Romero is the creative person in the ring—he is both innocent and perfect, and the one who bravely faces death.^[54] The corrida is presented equally an arcadian drama in which the matador faces death, creating a moment of existentialism or nothing (nothingness), broken when he vanquishes death by killing the bull.^[55]

Hemingway named his character Romero for Pedro Romero, shown here in Goya'due south etching Pedro Romero Killing the Halted Bull (1816).

Hemingway presents matadors every bit heroic characters dancing in a bullring. He considered the bullring as war with precise rules, in contrast to the messiness of the real state of war that he, and past extension Jake, experienced.^[33] Critic Keneth Kinnamon notes that young Romero is the novel'due south but honorable graphic symbol.^[53] Hemingway named Romero after Pedro Romero, an 18th-century bullfighter who killed thousands of bulls in the most difficult manner: having the balderdash kill itself on his sword equally he stood perfectly still. Reynolds says Romero, who symbolizes the classically pure matador, is the "one idealized figure in the novel."^[56] Josephs says that when Hemingway changed Romero's proper noun from Guerrita and imbued him with the characteristics of the historical Romero, he also changed the scene in which Romero kills a bull to i of recibiendo (receiving the balderdash) in homage to the historical namesake.^[57]

Before the group arrives in Pamplona, Jake and Bill take a fishing trip to the Irati River. As Harold Bloom points out, the scene serves every bit an interlude betwixt the Paris and Pamplona sections, "an haven that exists exterior linear fourth dimension." On another level it reflects "the mainstream of American fiction kickoff with the Pilgrims seeking refuge from English oppression"—the prominent theme in American literature of escaping into the wilderness, as seen in Cooper, Hawthorne, Melville, Twain, and Thoreau.^[58] Fiedler calls the theme "The Sacred Land"; he thinks the American Due west is evoked in The Dominicus Also Rises by the Pyrenees and given a symbolic nod with the proper name of the "Hotel Montana."^[43] In Hemingway'due south writing, nature is a place of refuge and rebirth, co-ordinate to Stoltzfus, where the hunter or fisherman gains a moment of transcendence at the moment the prey is killed.^[55] Nature is the place where men act without women: men fish, men hunt, men find redemption.^[43] In nature Jake and Nib do not need to discuss the war because their state of war experience, paradoxically, is ever-nowadays. The nature scenes serve as counterpoint to the fiesta scenes.^[33]

All of the characters drink heavily during the fiesta and more often than not throughout the novel. In his essay "Alcoholism in Hemingway's The Sunday Too Rises", Matts Djos says the chief characters showroom alcoholic tendencies such equally depression, anxiety and sexual inadequacy. He writes that Jake'south self-pity is symptomatic of an alcoholic, as is Brett'south out-of-control beliefs.^[59] William Balassi thinks that Jake gets drunk to avoid his feelings for Brett, notably in the Madrid scenes at the end where he has three martinis before lunch and drinks three bottles of wine with luncheon.^[60] Reynolds, however, believes the drinking is relevant equally ready against the historical context of Prohibition in the United States. The temper of the fiesta lends itself to drunkenness, just the degree of revelry among the Americans also reflects a reaction against Prohibition. Nib, visiting from the Us, drinks in Paris and in Kingdom of spain. Jake is rarely boozer in Paris where he works but on vacation in Pamplona, he drinks constantly. Reynolds says that Prohibition dissever attitudes nearly morality, and in the novel Hemingway made clear his dislike of Prohibition.^[61]

Masculinity and gender [edit]

Critics have seen Jake every bit an ambiguous representative of Hemingway manliness. For case, in the bar scene in Paris, Jake is angry at some homosexual men. The critic Ira Elliot suggests that Hemingway viewed homosexuality equally an inauthentic style of life, and that he aligns Jake with homosexual men because, similar them, Jake does not have sex with women. Jake'south anger shows his self-hatred at his inauthenticity and lack of masculinity.^[62] His sense of masculine identity is lost—he is less than a human being.^[63] Elliot wonders if Jake's wound possibly signifies latent homosexuality, rather than merely a loss of masculinity; the emphasis in the novel, however, is on Jake'southward interest in women.^[64] Hemingway's writing has been called homophobic because of the language his characters use. For example, in the fishing scenes, Bill confesses his fondness for Jake just and then goes on to say, "I couldn't tell you that in New York. It'd mean I was a faggot."^[65]

In contrast to Jake's troubled masculinity, Romero represents an platonic masculine identity grounded in self-balls, bravery, competence, and uprightness. The Davidsons note that Brett is attracted to Romero for these reasons, and they speculate that Jake might be trying to undermine Romero'south masculinity by bringing Brett to him and thus diminishing his ideal stature.^[66]

Critics have examined problems of gender misidentification that are prevalent in much of Hemingway'southward work. He was interested in cross-gender themes, as shown by his depictions of effeminate men and adolescent women.^[67] In his fiction, a woman's hair is frequently symbolically important and used to denote gender. Brett, with her brusk pilus, is androgynous and compared to a boy—yet the ambiguity lies in the fact that she is described as a "damned fine-looking woman." While Jake is attracted to this ambiguity, Romero is repulsed by it. In keeping with his strict moral lawmaking he wants a feminine partner and rejects Brett because, among other things, she will not grow her hair.

Antisemitism [edit]

Mike lay on the bed looking like a death mask of himself. He opened his eyes and looked at me.
'Hello Jake' he said very slowly. 'I'm getting a lilliputian sleep. I've wanted a little sleep for a long fourth dimension ....'
'You'll slumber, Mike. Don't worry, boy.'
'Brett'south got a bullfighter,' Mike said. 'But her Jew has gone away .... Damned good thing, what?'

Hemingway has been called antisemitic, most notably because of the characterization of Robert Cohn in the book. The other characters often refer to Cohn as a Jew, and once as a 'kike'.^[69] Shunned by the other members of the group, Cohn is characterized as "different", unable or unwilling to understand and participate in the fiesta.^[69] Cohn is never actually part of the group—separated by his difference or his Jewish faith.^[33] Barry Gross, comparing Jewish characters in literature of the flow, commented that "Hemingway never lets the reader forget that Cohn is a Jew, not an unattractive character who happens to be a Jew just a character who is unattractive considering he is a Jew."^{[seventy] [71]} Hemingway critic Josephine Knopf speculates that Hemingway might have wanted to depict Cohn as a "shlemiel" (or fool), but she points out that Cohn lacks the characteristics of a traditional shlemiel.^[72]

Cohn is based on Harold Loeb, a fellow writer who rivaled Hemingway for the angel of Duff, Lady Twysden (the real-life inspiration for Brett). Biographer Michael Reynolds writes that in 1925, Loeb should have declined Hemingway's invitation to join them in Pamplona. Before the trip he was Duff'south lover and Hemingway'due south friend; during the fiasco of the fiesta, he lost Duff and Hemingway'southward friendship. Hemingway used Loeb as the basis of a grapheme remembered chiefly every bit a "rich Jew."^[73]

Writing style [edit]

The novel is well known for its way, which is variously described as modernistic, difficult-boiled, or understated.^[74] As a novice writer and journalist in Paris, Hemingway turned to Ezra Pound—who had a reputation as "an unofficial government minister of culture who acted as mid-wife for new literary talent"—to mark and blue-ink his short stories.^[75] From Pound, Hemingway learned to write in the modernist mode: he used understatement, pared away sentimentalism, and presented images and scenes without explanations of meaning, nearly notably at the book's conclusion, in which multiple future possibilities are left for Brett and Jake.^{[74] [note iii]} The scholar Anders Hallengren writes that because Hemingway learned from Pound to "distrust adjectives," he created a style "in accordance with the esthetics and ethics of raising the emotional temperature towards the level of universal truth by shutting the door on sentiment, on the subjective."^[76]

F. Scott Fitzgerald told Hemingway to "let the volume's activity play itself out amid its characters." Hemingway scholar Linda Wagner-Martin writes that, in taking Fitzgerald's advice, Hemingway produced a novel without a central narrator: "Hemingway'southward book was a step ahead; it was the modernist novel."^[77] When Fitzgerald advised Hemingway to trim at least 2500 words from the opening sequence, which was 30 pages long, Hemingway wired the publishers telling them to cutting the opening 30 pages altogether. The result was a novel without a focused starting point, which was seen as a modern perspective and critically well received.^[78]

Each time he allow the bull pass so close that the homo and the bull and the cape that filled and pivoted alee of the bull were all one sharply etched mass. It was all then boring and and so controlled. It was as though he were rocking the bull to sleep. He made iv veronicas like that ... and came away toward the applause, his hand on his hip, his cape on his arm, and the bull watching his back going away. —bullfighting scene from The Sun Likewise Rises ^[79]

Wagner-Martin speculates that Hemingway may have wanted to accept a weak or negative hero equally defined by Edith Wharton, only he had no experience creating a hero or protagonist. At that betoken his fiction consisted of extremely curt stories, not ane of which featured a hero.^[33] The hero changed during the writing of The Dominicus As well Rises: first the matador was the hero, then Cohn was the hero, then Brett, and finally Hemingway realized "perhaps at that place is not any hero at all. Maybe a story is better without any hero."^[80] Balassi believes that in eliminating other characters as the protagonist, Hemingway brought Jake indirectly into the role of the novel's hero.^[81]

As a roman à clef, the novel based its characters on living people, causing scandal in the expatriate community. Hemingway biographer Carlos Bakery writes that "word-of-oral fissure of the volume" helped sales. Parisian expatriates gleefully tried to match the fictional characters to real identities. Moreover, he writes that Hemingway used prototypes easily plant in the Latin Quarter on which to base his characters.^[82] The early on draft identified the characters by their living counterparts; Jake's character was called Hem, and Brett's was chosen Duff.^[83]

Although the novel is written in a journalistic way, Frederic Svoboda writes that the striking thing about the work is "how apace it moves abroad from a elementary recounting of events."^[84] Jackson Benson believes that Hemingway used autobiographical details as framing devices for life in general. For example, Benson says that Hemingway drew out his experiences with "what if" scenarios: "what if I were wounded in such a way that I could non sleep at nighttime? What if I were wounded and made crazy, what would happen if I were sent dorsum to the front end?"^[85] Hemingway believed that the writer could describe 1 thing while an entirely different thing occurs below the surface—an approach he called the iceberg theory, or the theory of omission.^[86]

If a author of prose knows plenty of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things every bit strongly as though the writer had stated them. The dignity of move of an water ice-berg is due to only one-8th of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. —Hemingway explained the iceberg theory in Death in the Afternoon (1932).^[87]

Balassi says Hemingway applied the iceberg theory ameliorate in The Dominicus Also Rises than in whatsoever of his other works, by editing extraneous material or purposely leaving gaps in the story. He made editorial remarks in the manuscript that prove he wanted to break from the stricture of Gertrude Stein's communication to utilise "articulate restrained writing." In the earliest typhoon, the novel begins in Pamplona, only Hemingway moved the opening setting to Paris considering he thought the Montparnasse life was necessary equally a counterpoint to the later action in Kingdom of spain. He wrote of Paris extensively, intending "not to exist express by the literary theories of others, [but] to write in his own style, and possibly, to fail."^[88] He added metaphors for each graphic symbol: Mike's money problems, Brett's clan with the Circe myth, Robert's clan with the segregated steer.^[89] Information technology wasn't until the revision process that he pared downward the story, taking out unnecessary explanations, minimizing descriptive passages, and stripping the dialogue, all of which created a "complex merely tightly compressed story."^[90]

Hemingway said that he learned what he needed equally a foundation for his writing from the style sheet for The Kansas Urban center Star, where he worked as cub reporter.^{[note 4] [91]} The critic John Aldridge says that the minimalist style resulted from Hemingway's belief that to write authentically, each give-and-take had to be carefully chosen for its simplicity and authenticity and bear a great bargain of weight. Aldridge writes that Hemingway's fashion "of a minimum of uncomplicated words that seemed to exist squeezed onto the page against a great coercion to be silent, creates the impression that those words—if only because there are so few of them—are sacramental."^[92] In Paris Hemingway had been experimenting with the prosody of the King James Bible, reading aloud with his friend John Dos Passos. From the style of the biblical text, he learned to build his prose incrementally; the activity in the novel builds sentence by sentence, scene by scene and affiliate by chapter.^[33]

Paul Cézanne, L'Estaque, Melting Snow, c. 1871. Writer Ronald Berman draws comparison betwixt Cézanne's treatment of this mural and the manner Hemingway imbues the Irati River with emotional texture. In both, the landscape is a subjective element seen differently by each grapheme.^[93]

The simplicity of his style is deceptive. Bloom writes that it is the effective utilise of parataxis that elevates Hemingway'south prose. Drawing on the Bible, Walt Whitman and Adventures of Huckleberry Finn, Hemingway wrote in deliberate understatement and he heavily incorporated parataxis, which in some cases well-nigh becomes cinematic.^[94] His skeletal sentences were crafted in response to Henry James'due south observation that Globe War I had "used upward words," explains Hemingway scholar Zoe Trodd, who writes that his style is similar to a "multi-focal" photographic reality. The syntax, which lacks subordinating conjunctions, creates static sentences. The photographic "snapshot" style creates a collage of images. Hemingway omits internal punctuation (colons, semicolons, dashes, parentheses) in favor of short declarative sentences, which are meant to build, equally events build, to create a sense of the whole. He also uses techniques coordinating to cinema, such as cutting quickly from i scene to the next, or splicing one scene into some other. Intentional omissions let the reader to fill the gap equally though responding to instructions from the author and create 3-dimensional prose.^[95] Biographer James Mellow writes that the bullfighting scenes are presented with a crispness and clarity that evoke the sense of a newsreel.^[96]

Hemingway also uses color and visual fine art techniques to convey emotional range in his descriptions of the Irati River. In Translating Modernism: Fitzgerald and Hemingway, Ronald Berman compares Hemingway's treatment of mural with that of the post-Impressionist painter Paul Cézanne. During a 1949 interview, Hemingway told Lillian Ross that he learned from Cézanne how to "make a landscape." In comparing writing to painting he told her, "This is what we try to practice in writing, this and this, and woods, and the rocks we have to climb over."^[97] The landscape is seen subjectively—the viewpoint of the observer is paramount.^[98] To Jake, landscape "meant a search for a solid form .... not existentially present in [his] life in Paris."^[98]

Reception [edit]

Hemingway's first novel was arguably his best and nigh important and came to exist seen as an iconic modernist novel, although Reynolds emphasizes that Hemingway was not philosophically a modernist.^[99] In the book, his characters epitomized the mail-state of war expatriate generation for future generations.^[100] He had received proficient reviews for his volume of short stories, In Our Time, of which Edmund Wilson wrote, "Hemingway's prose was of the get-go distinction." Wilson's comments were enough to bring attention to the immature writer.^[101]

No amount of analysis can convey the quality of The Sun As well Rises. It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame. Mr. Hemingway knows how not just to brand words be specific but how to arrange a collection of words which shall betray a great deal more than is to be found in the individual parts. It is magnificent writing. —The New York Times review of The Sunday As well Rises, 31 October 1926.^[102]

Expert reviews came in from many major publications. Conrad Aiken wrote in the New York Herald Tribune, "If there is a better dialogue to be written today I practice not know where to find it"; and Bruce Barton wrote in The Atlantic that Hemingway "writes every bit if he had never read anybody'south writing, every bit if he had fashioned the art of writing himself," and that the characters "are amazingly real and alive."^[twenty] Many reviewers, among them H.50. Mencken, praised Hemingway's way, use of understatement, and tight writing.^[103]

Other critics, however, disliked the novel. The Nation 's critic believed Hemingway'south hard-boiled manner was better suited to the curt stories published in In Our Fourth dimension than his novel. Writing in the New Masses, Hemingway'southward friend John Dos Passos asked: "What's the matter with American writing these days? .... The few unsad young men of this lost generation will have to look for another style of finding themselves than the one indicated here." Privately he wrote Hemingway an apology for the review.^[xx] The reviewer for the Chicago Daily Tribune wrote of the novel, "The Lord's day As well Rises is the kind of volume that makes this reviewer at to the lowest degree almost plain aroused."^[104] Some reviewers disliked the characters, amidst them the reviewer for The Dial, who thought the characters were shallow and vapid; and The Nation and Atheneum deemed the characters tedious and the novel unimportant.^[103] The reviewer for The Cincinnati Enquirer wrote of the book that it "begins nowhere and ends in nada."^[1]

Hemingway'due south family unit hated it. His mother, Grace Hemingway, distressed that she could not face the criticism at her local book study grade—where it was said that her son was "prostituting a neat ability .... to the lowest uses"—expressed her displeasure in a letter to him:

The critics seem to be full of praise for your style and ability to depict discussion pictures merely the decent ones e'er regret that you should employ such great gifts in perpetuating the lives and habits of and then degraded a strata of humanity .... It is a doubtful honor to produce 1 of the filthiest books of the year .... What is the thing? Have you lot ceased to be interested in dignity, honor and fineness in life? .... Surely you have other words in your vocabulary than "damn" and "bitch"—Every page fills me with a ill loathing.^[105]

Withal, the volume sold well, and young women began to emulate Brett while male person students at Ivy League universities wanted to become "Hemingway heroes." Scribner's encouraged the publicity and allowed Hemingway to "become a pocket-sized American phenomenon"—a celebrity to the point that his divorce from Richardson and marriage to Pfeiffer attracted media attending.^[106]

Reynolds believes The Sun Also Rises could take been written but circa 1925: it perfectly captured the period between Globe State of war I and the Neat Low, and immortalized a grouping of characters.^[107] In the years since its publication, the novel has been criticized for its antisemitism, as expressed in the label of Robert Cohn. Reynolds explains that although the publishers complained to Hemingway about his description of bulls, they allowed his use of Jewish epithets, which showed the degree to which antisemitism was accustomed in the United states of america after World State of war I. Cohn represented the Jewish establishment and contemporary readers would have understood this from his description. Hemingway clearly makes Cohn unlikeable not merely as a character simply as a graphic symbol who is Jewish.^[108] Critics of the 1970s and 1980s considered Hemingway to be misogynistic and homophobic; by the 1990s his work, including The Lord's day Also Rises, began to receive critical reconsideration past female scholars.^[109]

Legacy and adaptations [edit]

Hemingway'southward work continued to be popular in the latter half of the century and after his suicide in 1961. During the 1970s, The Dominicus Besides Rises appealed to what Beegel calls the lost generation of the Vietnam era.^[110] Aldridge writes that The Sun Also Rises has kept its appeal considering the novel is about beingness young. The characters live in the most cute city in the world, spend their days traveling, fishing, drinking, making love, and mostly reveling in their youth. He believes the expatriate writers of the 1920s appeal for this reason, but that Hemingway was the most successful in capturing the time and the place in The Sun Also Rises.^[111]

Bloom says that some of the characters have not stood the test of time, writing that modern readers are uncomfortable with the antisemitic treatment of Cohn's character and the romanticization of a bullfighter. Moreover, Brett and Mike belong uniquely to the Jazz Age and do not translate to the modern era. Bloom believes the novel is in the canon of American literature for its formal qualities: its prose and manner.^[112]

The novel made Hemingway famous, inspired young women across America to wear short pilus and sweater sets like the heroine'south—and to act similar her too—and inverse writing fashion in ways that could exist seen in any American magazine published in the next twenty years. In many ways, the novel'south stripped-down prose became a model for 20th-century American writing. Nagel writes that "The Sun Also Rises was a dramatic literary event and its effects have not diminished over the years."^[113]

The success of The Sun Also Rises led to interest from Broadway and Hollywood. In 1927 2 Broadway producers wanted to adapt the story for the phase simply fabricated no immediate offers. Hemingway considered marketing the story directly to Hollywood, telling his editor Max Perkins that he would not sell it for less than $xxx,000—money he wanted his estranged married woman Hadley Richardson to have. Conrad Aiken idea the book was perfect for a film accommodation solely on the force of dialogue. Hemingway would non see a stage or film adaption anytime soon:^[114] he sold the film rights to RKO Pictures in 1932,^[115] but only in 1956 was the novel adapted to a film of the same name. Peter Viertel wrote the screenplay. Tyrone Power as Jake played the lead role opposite Ava Gardner equally Brett and Errol Flynn equally Mike. The royalties went to Richardson.^[116]

Hemingway wrote more than books about bullfighting: Death in the Afternoon was published in 1932 and The Unsafe Summer was published posthumously in 1985. His depictions of Pamplona, beginning with The Sunday As well Rises, helped to popularize the annual running of the bulls at the Festival of St. Fermin.^[117]

References [edit]

1. ^ The Torrents of Leap has little scholarly criticism as information technology is considered to be of less importance than Hemingway's subsequent work. See Oliver (1999), 330
2. ^ Hemingway may have used the term equally an early championship for the novel, according to biographer James Mellow. The term originated from a remark in French made to Gertrude Stein by the owner of a garage, speaking of those who went to war: "C'est une génération perdue" (literally, "they are a lost generation"). See Mellow (1992), 309
3. ^ Hemingway wrote a fragment of an unpublished sequel in which he has Jake and Brett meeting in the Dingo Bar in Paris. With Brett is Mike Campbell. See Daiker (2009), 85
4. ^ "Utilise brusk sentences. Utilize short first paragraphs. Use vigorous English language. Be positive, not negative."

Citations [edit]

1. ^ ^{a b c} Leff (1999), 51
2. ^ Meyers (1985), 192
3. ^ Wagner-Martin (1990), 1
4. ^ ^{a b} Bakery (1972), 82
5. ^ Meyers (1985), 98–99
6. ^ Meyers (1985), 117–119
7. ^ ^{a b} Balassi (1990), 128
8. ^ ^{a b} Nagel (1996), 89
9. ^ Chapter 9 references the Ledoux-Kid fight which took identify 9 June 1925. Link Chapter xv references Sunday the sixth of July which must be 1924 which easily can exist verified by an online agenda or by Linux users with the command cal -y 1924.
10. ^ Meyers (1985), 189
11. ^ Balassi (1990), 132, 142, 146
12. ^ Reynolds (1989), half-dozen–vii
13. ^ Meyers (1985), 172
14. ^ Baker (1972), 44
15. ^ Mellow (1992), 338–340
16. ^ Mellow (1992), 317–321
17. ^ Bakery (1972), 76, xxx–34
18. ^ Oliver (1999), 318
19. ^ qtd. in Leff (1999), 51
20. ^ ^{a b c} Mellow (1992), 334–336
21. ^ Leff (1999), 75
22. ^ White (1969), four
23. ^ Reynolds (1999), 154
24. ^ McDowell, Edwin, "Hemingway's Condition Revives Amongst Scholars and Readers". The New York Times (July 26, 1983). Retrieved 27 February 2011
25. ^ "Books at Random House" Archived 2010-05-16 at the Wayback Machine. Random Firm. Retrieved 31 May 2011.
26. ^ "Hemingway books coming out in audio editions" MSNBC.com (February 15, 2006). Retrieved 27 Feb 2011.
27. ^ Hunker, Ian, Hemingway'south Hidden Metafictions. The New Yorker (7 August 2014).
28. ^ Hemingway, Ernest (2014). The Sun Likewise Rises. ISBN978-1-4767-3995-three.
29. ^ Reynolds (1990), 48–49
30. ^ Oliver (1999), 316–318
31. ^ Meyers (1985), 191
32. ^ Ecclesiastes 1:3–5, Rex James Version.
33. ^ ^{a b c d e f g h} Wagner-Martin (1990), 6–9
34. ^ Reynolds (1990), 62–63
35. ^ Reynolds (1990), 45–50
36. ^ Reynolds (1990), 60–63
37. ^ Reynolds (1990), 58–59
38. ^ ^{a b} Nagel (1996), 94–96
39. ^ Daiker (2009), 74
40. ^ Nagel (1996), 99–103
41. ^ Meyers (1985), 190
42. ^ Fore (2007), lxxx
43. ^ ^{a b c} Fiedler (1975), 345–365
44. ^ Baym (1990), 112
45. ^ qtd. in Reynolds (1990), 60
46. ^ Daiker (2009), 80
47. ^ Donaldson (2002), 82
48. ^ Daiker (2009), 83
49. ^ ^{a b} Balassi (1990), 144–146
50. ^ Reynolds (1989), 323–324
51. ^ ^{a b} qtd. in Balassi (1990), 127
52. ^ Müller (2010), 31–32
53. ^ ^{a b} Kinnamon (2002), 128
54. ^ Josephs (1987), 158
55. ^ ^{a b} Stoltzfus (2005), 215–218
56. ^ Reynolds (1989), 320
57. ^ Josephs (1987), 163
58. ^ Blossom (2007), 31
59. ^ Djos (1995), 65–68
60. ^ Balassi (1990), 145
61. ^ Reynolds (1990), 56–57
62. ^ Elliot (1995), 80–82
63. ^ Elliot (1995), 86–88
64. ^ Elliot (1995), 87
65. ^ Mellow (1992), 312
66. ^ Davidson (1990), 97
67. ^ Fore (2007), 75
68. ^ Hemingway (2006 ed), 214
69. ^ ^{a b} Oliver (1999), 270
70. ^ Gross, Barry (December 1985). ""Yours Sincerely, Sinclair Levy"". Commentary, The monthly magazine of opinion. Archived from the original on xix March 2022. Retrieved xix March 2022.
71. ^ Beegel (1996), 288
72. ^ Knopf (1987), 68–69
73. ^ Reynolds (1989), 297
74. ^ ^{a b} Wagner-Martin (1990), 2–4
75. ^ Meyers (1985), 70–74
76. ^ Hallengren, Anders. "A Case of Identity: Ernest Hemingway", Nobelprize.org. Retrieved xv April 2011.
77. ^ Wagner-Martin (2002), 7
78. ^ Wagner-Martin (1990), xi–12
79. ^ Hemingway (2006 ed), 221
80. ^ qtd. in Balassi (1990), 138
81. ^ Balassi (1990), 138
82. ^ Bakery (1987), 11
83. ^ Mellow (1992), 303
84. ^ Svoboda (1983), 9
85. ^ Benson (1989), 351
86. ^ Oliver (1999), 321–322
87. ^ qtd. in Oliver (1999), 322
88. ^ Balassi (1990), 136
89. ^ Balassi (1990), 125, 136, 139–141
90. ^ Balassi (1990), 150; Svoboda (1983), 44
91. ^ "Star style and rules for writing" Archived 2014-04-08 at the Wayback Machine. The Kansas Urban center Star. KansasCity.com. Retrieved 15 April 2011.
92. ^ Aldridge (1990), 126
93. ^ Berman (2011), 59
94. ^ Flower (1987), seven–8
95. ^ Trodd (2007), viii
96. ^ Mellow (1992), 311
97. ^ Berman (2011), 52
98. ^ ^{a b} Berman (2011), 55
99. ^ Wagner-Martin (1990), one, 15; Reynolds (1990), 46
100. ^ Mellow (1992), 302
101. ^ Wagner-Martin (2002), 4–v
102. ^ "The Lord's day As well Rises". (Oct 31, 1926) The New York Times. Retrieved thirteen March 2011.
103. ^ ^{a b} Wagner-Martin (2002), 1–ii
104. ^ qtd. in Wagner-Martin (1990), ane
105. ^ qtd. in Reynolds (1998), 53
106. ^ Leff (1999), 63
107. ^ Reynolds (1990), 43
108. ^ Reynolds (1990), 53–55
109. ^ Bloom (2007), 28; Beegel (1996), 282
110. ^ Beegel (1996), 281
111. ^ Aldridge (1990), 122–123
112. ^ Bloom (1987), 5–6
113. ^ Nagel (1996), 87
114. ^ Leff (1999), 64
115. ^ Leff (1999), 156
116. ^ Reynolds (1999), 293
117. ^ Palin, Michael. "Lifelong Aficionado" and "San Fermín Festival". in Michael Palin's Hemingway Adventure. PBS.org. Retrieved 23 May 2011.

Sources [edit]

• Aldridge, John Westward. (1990). "Reconsideration on the Twenties and The Sun Likewise Rises". in Wagner-Martin, Linda (ed). New Essays on Dominicus Also Rises. New York: Cambridge UP. ISBN 978-0-521-30204-3
• Baker, Carlos (1972). Hemingway: The Writer as Artist. Princeton: Princeton Upwards. ISBN 978-0-691-01305-3
• Bakery, Carlos (1987). "The Wastelanders". in Bloom, Harold (ed). Modern Disquisitional Interpretations: Ernest Hemingway'southward "The Sun Also Rises". New York: Chelsea Business firm. ISBN 978-1-55546-053-2
• Balassi, William (1990). "Hemingway's Greatest Iceberg: The Composition of The Sunday Also Rises". in Barbour, James and Quirk, Tom (eds). Writing the American Classics. Chapel Hill: North Carolina UP. ISBN 978-0-8078-1896-1
• Baym, Nina (1990). "Actually I Felt Sorry for the King of beasts". in Benson, Jackson J. (ed). New Critical Approaches to the Short Stories of Ernest Hemingway. Durham: Knuckles UP. ISBN 978-0-8223-1067-9
• Beegel, Susan (1996). "Conclusion: The Critical Reputation". in Donaldson, Scott (ed). The Cambridge Companion to Ernest Hemingway. New York: Cambridge UP. ISBN 978-0-521-45574-9
• Benson, Jackson (1989). "Ernest Hemingway: The Life as Fiction and the Fiction every bit Life". American Literature. 61 (three): 354–358
• Berman, Ronald (2011). Translating Modernism: Fitzgerald and Hemingway. Tuscaloosa: Alabama Up. ISBN 978-0-8173-5665-1
• Bloom, Harold (1987). "Introduction". in Bloom, Harold (ed). Modern Disquisitional Interpretations: Ernest Hemingway's "The Sun Also Rises". New York: Chelsea House. ISBN 978-1-55546-053-ii
• Bloom, Harold (2007). "Introduction". in Bloom, Harold (ed). Ernest Hemingway'south "The Sun Also Rises". New York: Infobase Publishing. ISBN 978-0-7910-9359-vii
• Daiker, Donald (2009). "Lady Ashley, Pedro Romero and the Madrid Sequence of The Sunday Too Rises". The Hemingway Review. 29 (1): 73–86
• Davidson, Cathy and Arnold (1990). "Decoding the Hemingway Hero in The Sun As well Rises". in Wagner-Martin, Linda (ed). New Essays on Sun Likewise Rises. New York: Cambridge UP. ISBN 978-0-521-30204-3
• Djos, Matt (1995). "Alcoholism in Ernest Hemingway'south The Sun Also Rises". The Hemingway Review. 14 (2): 64–78
• Donaldson, Scott (2002). "Hemingway's Morality of Compensation". in Wagner-Martin, Linda (ed). Ernest Hemingway's The Lord's day Also Rises: A Casebook. New York: Oxford Up. ISBN 978-0-19-514573-ane
• Elliot, Ira (1995). "Performance Art: Jake Barnes and Masculine Signification in The Sun Also Rises". American Literature. 63 (1): 77–94
• Fiedler, Leslie (1975). Dearest and Death in the American Novel. New York: Stein and Day. ISBN 978-0-8128-1799-vii
• Fore, Dana (2007). "Life Unworthy of Life? Masculinity, Inability, and Guilt in The Sun As well Rises. The Hemingway Review. 16 (1): 75–88
• Hays, Peter L., ed. (2007). "Teaching Hemingway's The Lord's day Also Rises." Kent, OH: The Kent Land University Printing.
• Hemingway, Ernest (1926). The Sun Also Rises. New York: Scribner. 2006 edition. ISBN 978-0-7432-9733-2
• Josephs, Allen (1987). "Torero: The Moral Axis of The Sun Also Rises". in Bloom, Harold (ed). Mod Critical Interpretations: Ernest Hemingway'south "The Dominicus Also Rises". New York: Chelsea Firm. ISBN 978-i-55546-053-two
• Kinnamon, Keneth (2002). "Hemingway, the Corrida, and Kingdom of spain". in Wagner-Martin, Linda (ed). Ernest Hemingway'due south The Sun Also Rises: A Casebook. New York: Oxford UP. ISBN 978-0-19-514573-i
• Knopf, Josephine (1987). "Meyer Wolfsheim and Robert Cohn: A Study of a Jew Type and Sterotype". in Flower, Harold (ed). Modern Critical Interpretations: Ernest Hemingway'southward The Sunday Besides Rises". New York: Chelsea Business firm. ISBN 978-one-55546-053-two
• Leff, Leonard (1999). Hemingway and His Conspirators: Hollywood, Scribner's and the making of American Glory Culture. Lanham: Rowman & Littlefield. ISBN 978-0-8476-8545-5
• Mellow, James (1992). Hemingway: A Life Without Consequences. Boston: Houghton Mifflin. ISBN 978-0-395-37777-ii
• Meyers, Jeffrey (1985). Hemingway: A Biography. New York: Macmillan. ISBN 978-0-333-42126-0
• Müller, Timo (2010). "The Uses of Authenticity: Hemingway and the Literary Field, 1926–1936". Journal of Modern Literature. 33 (ane): 28–42
• Nagel, James (1996). "Brett and the Other Women in The Sun As well Rises". in Donaldson, Scott (ed). The Cambridge Companion to Ernest Hemingway. New York: Cambridge Upwards. ISBN 978-0-521-45574-nine
• Oliver, Charles (1999). Ernest Hemingway A to Z: The Essential Reference to the Life and Piece of work. New York: Checkmark Publishing. ISBN 978-0-8160-3467-3
• Reynolds, Michael (1990). "Recovering the Historical Context". in Wagner-Martin, Linda (ed). New Essays on Dominicus Also Rises. New York: Cambridge UP. ISBN 978-0-521-30204-3
• Reynolds, Michael (1999). Hemingway: The Final Years. New York: Norton. ISBN 978-0-393-32047-iii
• Reynolds, Michael (1989). Hemingway: The Paris Years. New York: Norton. ISBN 978-0-393-31879-1
• Reynolds, Michael (1998). The Immature Hemingway. New York: Norton. ISBN 978-0-393-31776-3
• Stoltzfus, Ben (2005). "Sartre, "Zippo," and Hemingway's African Stories". Comparative Literature Studies. 42 (3): 228–250
• Stoneback, H.R. (2007). "Reading Hemingway'due south The Sun Also Rises: Glossary and Commentary." Kent, OH: The Kent State UP.
• Svoboda, Frederic (1983). Hemingway & The Sun Also Rises: The Crafting of a Way. Lawrence: Kansas UP. ISBN 978-0-7006-0228-v
• Trodd, Zoe (2007). "Hemingway's Photographic camera Eye: The Issues of Language and an Interwar Politics of Form". The Hemingway Review. 26 (2): seven–21
• Wagner-Martin, Linda (2002). "Introduction". in Wagner-Martin, Linda (ed). Ernest Hemingway's The Sun Too Rises: A Casebook. New York: Oxford UP. ISBN 978-0-nineteen-514573-1
• Wagner-Martin, Linda (1990). "Introduction". in Wagner-Martin, Linda (ed). New Essays on Sun Besides Rises. New York: Cambridge UP. ISBN 978-0-521-30204-iii
• White, William (1969). The Merrill Studies in The Sun As well Rises. Columbus: C. East. Merrill.
• Young, Philip (1973). Ernest Hemingway. St. Paul: Minnesota Up. ISBN 978-0-8166-0191-2

External links [edit]

rohdeferamplon.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Sun_Also_Rises

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