Category: Ernest Hemingway

Introduction

A & P by John Updike and Soldiers Home by Ernest Hemingway are stories of two young men facing different situations in their lives. Krebs Harold had gone to war at a young age and had a rough experience all through. When he returned to his home community, his motherland did not appreciate his values and he found it very hard to cope with life.

He was living a life without joy. He was not able to love or appreciate the values of his community. This made him not to be appreciated since his age mates were already settling with good jobs and getting married. He lived an alienated life. On the other hand in A & P, Sammy has a life that was filled with sarcasm and humor. He was always sarcastic and interested in girls.

Setting and Character Development

In A & P, a nineteen year old boy Sammy had just completed his secondary education. He started working in a supermarket. His views about life were shaped in this place. His daily activities in the supermarket brought him across many girls. His encounter with them revealed his thoughts. The writer gave a vivid description of the girls:

In walks these three girls in nothing but bathing suits&She was a chunky kid, with a good tan and a sweet broad soft looking can with those two crescents of white just under it, where the sun never seems to hit, at the top of the backs of her legs. (Updike 1)

Sammys life was filled with humor. The writer used the first person and this gives the reader a direct message from the protagonist. Sammy was a young man whose transition from childhood to adulthood was posing challenges that made him wonder what life was all about. Initially, he had aspirations that he would become a greater person in the supermarket. The most striking thing while working was the presence of these girls who came in bathing suites.

The presence of the girls at the supermarket confused Sammy and at one time this confusion led him to make a second call to a customer that he had already called. The author used imagery to describe the situation at every given moment. He described the dressing of the girls as They didnt even have shoes on&the lips bunched together under here no se&With black hair that hadnt quite frizzed right (Updike, 1).

Sammy is seen to be a very complicated person as everything mattered to him. He was very hard working and looked forward to a great future in his career. He even aspired to hold a higher position in this job. However, after some time Sammy was seen getting bored with the job and he found it to be quite boring. Although Sammys parents en courage him to work harder, it was clear he had lost hope of progressing on that job.

Krebs in the story Soldiers Home is depicted as a person who had gone through hard times. As a young soldier he experienced brutality in the war. He had a wish in his heart which he wanted to express when he went home:

He wished to tell the truth behind the engagements he fought in, while they bask in the glory their fictional tales of war and detailed accounts of German women found chained to machine guns in the Argonne forest. (DocShare 1)

It is shown that the home community did not provide him a conducive environment to express himself. The community provided a harsh environment that did not give him the freedom of expression. He therefore did not have an audience to share with. This made him to start telling lies so as to get peoples attention (Hemingway 1). This behavior that he adapted is seen to have changed his way of life especially in regard to the way he viewed people.

Krebs did not have a quick way of expressing himself and thus kept on feeling alienated alone. His father was not mostly involved with his issues. Krebs thought about girls he had encountered. He did not like the German and the French girls and seemingly he did not like girls at all; he claimed that a person just requires girls on when thinking about them. He viewed girls as being complicated and therefore thought that he it was only fair if people or rather men kept away from them (Hemingway 1).

Most of the things that Krebs did were in contrast to what he wanted. For example, he was forced to tell lies so as to get approval by those around him. Other things which occurred against his wish include the young man who came home: He did not want to come home. Still, he had come home (Hemingway 1). In a different setting, Krebs is seen not able to approach girls which he admired.

The story was set in a family setting where the character of the parents is revealed by the content. Krebs mother was very concerned about the son; she took breakfast to his bedroom. Krebs did not believe that his father cared for him; this was clearly shown when his father allowed him to use his car in the evenings and Krebs in turn was convinced that it was his mother who had convinced his father to allow the car to be used by Krebs.

Religious background is deeply rooted in the community. Krebs mum was deeply committed to the issues of the kingdom and this led to a conflict between her and Krebs when she reprimanded him in regard to his idleness: There can be no idle hands In His Kingdom (Hemingway 1).

In reply, Krebs informed his mother that he did not belong to that kingdom. She told him that she prayed for him all day long. One day his mother prayed for him while they were in the dining room as they were taking their breakfast. After this, Krebs felt uncomfortable being around home and consequently left to find a good place elsewhere (Hemingway 1).

The two stories expose two characters of people. In the first, Sammy did not have the wealth to enjoy. He appreciated the girls in every way and gave a detailed description. He lived in an environment that did not ignore him. This made him to have self confidence to live his life and did not pretend or deny his feelings. Krebs case was however different.

His parents approach to solve his problem only made the situation worse. He felt inadequate and unable to hold and cope with the pressure that his parents brought along. The two stories have a different place of setting and different time. A & P was told as Sammy worked in a supermarket while in Soldiers home Harold Krebs is raised in Oklahoma in 1917.

Both protagonists, Sammy and Krebs became dissatisfied with their environment. The relationship with girls is not clear as both do not have the courage to approach girls (Hemingway 1). Sammy was emotional while Harold was not.

Conclusion

The two stories are a good representation of two young men in different societies. They were in their time of transition from childhood to adulthood. They are seen to have chosen jobs without caution and not quite sure of what they wanted to do with their lives. As time took its course, they realized there was a need for them to take responsibility in order for them to enjoy the freedom that they needed. They moved out of their status quo to go and discover what life could offer them without the influence of the family.

Works Cited

DocShare. Ernest Hemingways Soldiers Home. Doc Share, 2011. Web.

Hemingway. Strong Brain, Ernest Hemingway: soldiers home. Strong Brain, 2010. Web.

Updike. A & P. Tiger Town, n.d. Web.

Introduction

It is no secret that events that threaten a persons well-being, health, and very life have a high possibility of changing their behavior and worldview. It is a well-known fact discussed multiple times in historical, biographical, and fiction literature. However, I can say that an event of any nature and scale can change an individuals character entirely in a new or opposite direction. A Farewell to Arms by Hemingway showed me that a significant shift in my worldview in a more skeptical and pessimistic way was due not to my growing up but rather to the COVID-19 crisis.

Frederick Henry and Me

Frederick Henry undergoes a radical internal philosophical transformation in A Farewell to Arms. At first, he sees war as a new element in his daily life; he considers it a natural phenomenon. Henry perceives flashes from the artillery and summer lightning as harmless events of similar nature that just happen (Hemingway, 2014, p. 3). His perspective radically changes when he faces near death after being accused of desertion by the Italian military police after the defeat at Caporetto (Hemingway, 2014). After that, he fears war and wants to escape to a place without fighting, such as Switzerland. I had a similarly drastic change in perspective regarding the future. When the pandemic, mass hysteria, and lockdowns came, I realized that the world had not become a safer space and that it would repeat some of the horrors of past centuries. Constant anxiety for relatives and friends and new uncomfortable life rules made me more skeptical and pessimistic. However, it taught me to appreciate every moment with loved ones and cherish every good day.

Conclusion

A Farewell to Arms is not only about the horrors that young people experienced during the Great War and how Hemingway got through the second-largest global military conflict. This book also very realistically depicts and profoundly analyzes the causality of life-threatening events and personality changes and the process of ones inner transformation. This work by Hemingway has helped me to introspect myself, and I think the relevance of this book will only grow considering the recent world crises.

Reference

Hemingway, E. (2014). A farewell to arms. (S. Hemingway, Ed.). Scribner.

Ernest Hemingways literature is often compared to an onion, with numerous layers of depth and complexity that require careful peeling back to appreciate fully. His stories are full of emotions and often provoke the reader to express them. Moreover, his texts reveal humanitys dark side through literature. One can trace this particular feature of the authors style to the example of his novels and the characteristic features of the heroes.

Symbolism is one of the distinctive features of Hemingways literature, revealing the multi-layeredness concept. For example, in The Old Man and the Sea, the sea is a physical setting and a metaphor for the vastness of life and the struggles one can face (Shahwan 91). Similarly, the bullfighting in The Sun Also Rises is not just a spectacle but also a symbol of the deeper issues of masculinity and power that pervade the novel (Yanar 164). Symbols are often used in literature, but Hemingway brought this artistic tool to perfection, making it a hallmark of his works.

Hemingways characters are also multilayered, often revealing their true nature only gradually throughout the story. In A Farewell to Arms, the protagonist, Frederic Henry, is initially presented as a typical Hemingway hero  tough, stoic, and emotionally distant (Li 350). However, as the novel progresses, we begin to see the cracks in Henrys facade, and his personalitys vulnerable side is slowly revealed. Hemingways exploration of the darker side of humanity is perhaps the most strikingly complex aspect of his work. In The Short Happy Life of Francis Macomber, the protagonists journey from cowardice to bravery is accompanied by a sense of brutality and violence that underscores the complexity of his character (Abrams 7). These novels delve deeply into the psychological effects of violence and the toll it takes on the human spirit.

Ultimately, Hemingways literature is like an onion in that it requires a willingness to delve beneath the surface and confront the darker aspects of the human experience. By peeling back the layers of his stories, readers can gain a deeper understanding of the complexities of the human psyche and how we are all shaped by the forces of history, culture, and society.

Works Cited

Abrams, Abigail. Ernest Hemingways bonds through narrative styles., 2022. Web.

Li, Lihong. Reading Henry of A Farewell to Arms., 2019. Web.

Shahwan, Saed J. A lacanian study of Hemingways The Old Man and the Sea. Mediterranean Journal of Social Sciences, vol. 10, no. 1, 2019, pp. 87-91. Web.

Yanar, Muhsin. Inertia and identity confusion in Ernest Hemingways the sun also rises. Journal of International Social Research, vol. 13, no. 71, 2020, pp. 162-168. Web.

In Ernest Hemingways A Farewell to Arms, Fredrick Henry, the storys character, is an American ambulance driver who served in the Italian army during the First World War. He takes a different perspective on the war due to the unprecedented struggles that ensued then. A Farewell to Arms by Ernest Hemingway narrates how Henry grows up and changes internally based on acquired experience and knowledge about the war as something that carries a powerfully destructive force.

Henrys change of attitude toward the war was caused by the harsh reality he experienced. For instance, Henry felt that his military paramedic duties were not valued. In addition, he was almost executed after the military police said he spoke Italian with an American accent, which meant he might be an unforeseen traitor (Uddin and Karmakar 49). The other specific traumatic events in A Farewell to Arms are closely related to the terrible scenes during the war and the job threatening the protagonists life. In particular, Henry described shellings and a series of explosions, horrific moments in which soldiers were torn apart by bombs, and many deaths of fellow soldiers, on which others stepped like garbage bags. Indeed, these events radically changed his personality due to the violence and cruelty he saw on the battlefield.

I had a similar experience with Fredrick Henry while in high school. I worked hard to ensure that the school administration listened to students concerns every time. As a student leader, I devoted myself to serving my fellow learners in the perfect body. Nevertheless, the night before the elections in the school, I faced an experience that risked my health. Someone sprayed my bed with a significantly poisonous chemical, and I lost the elections. That experience benefited me because I noted that people do not reciprocate moral good with the same.

In conclusion, Ernest Hemingways message about the war is that participation in a modern war and death for the fatherland is not so glorious because a person dies like a dog for nothing. Even if an individual survives, memories of the horrors will remain. Frederick Henrys change of attitude toward the war was brought about by a lack of recognition for his efforts in the army and the mental and physical challenges he met while working. Furthermore, I can understand the feelings and emotions of the protagonist since I had a similar experience while being a leader in the school.

Work Cited

Uddin, Md Azim, and Kamol Karmakar. War-love Dichotomy in A Farewell to Arms and Arms and the Man: A Comparative Study. Journal of Noakhali Science and Technology University (JNSTU), vol. 4, no. 1&2, 2020, pp. 49-57, Web.

Harrys wound had festered to an extent that it had graduated to gangrene. As usual, for a man who had gone through immense physical and emotional suffering, Harry had lost his ability to think. As a result, Harry had resigned to the fact that he would die in a remote jungle far away from home. Helen urges him not to give up as help could be on the way but he is too tired to care what will happen to him.

His mental and physical condition is affecting her negatively, especially after he declares that he has never loved her. Harry actually blames Helen for his predicament claiming that it is her money that brought all his current suffering upon him. This hurts Helen so much that she cries bitterly. In a monologue Harry wonders a lot about his present predicament. He blames Helen for destroying his writing career, since it is her money that brought him closer to her, the same money that was now threatening to take him far away from his writing. But he still thinks that he is still too strong a man to be destroyed by women and concludes that he brought all his present tribulations upon himself by the choices he made.

Upon his return from the hunting trip Helen notices that Harrys condition had improved, much to her relief. She even promises him a delicious supper from the Tommy she had shot. Helen further begs Harry not to hurt her again since she had previously been destroyed by men in her life. He promises to stop the habit and make amends with her in bed, much to her appreciation. In her mood of appreciation, Helen promises Harry that the help they need would arrive the following day in the form of an Aeroplane. But Harry has suffered too much to care for help. They opt to while-away the evening drinking whiskey, which they order from one of the boys.

After a while, it occurred to him that death was imminent. His wound now smelled too much, a smell that was symbolic of death. After taking a bath, she wants to serve him supper which he refuses, claiming that there was no need to eat since he would die that night. Out of her abundant care for him, she urges him to take a little food to give him strength to write. After all the emotional suffering he had taken her through, Harry is touched by the fact that she manages to remain loving and friendly.

He acknowledges this and assures her that she is a fine woman. He refuses to eat more and slowly falls into a deep slumber that he would never wake from. After he is fallen asleep she asks the boys to take him into the tent. The next morning the plane arrives but it is already too late. Harry is already dead. Helen takes awhile to notice and after she does she is too shaken.

In this narrative, Hemingway presents himself as both melodramatic and emotional, while still remaining uncaring to Helens plight. His adventurous spirit brings him to Africa, along with Helen, a woman he loves but does not wish to admit this fact. He fails to acknowledge that Helen had abandoned her life to be with him. He goes on to hurt her emotions and blame her for his present condition. Suffice to say that in his own words, Harry agrees that his drinking and love for women were the reasons for his death; he had brought it all this upon himself.

Introduction

Ernest Miller Hemingway believed that the mind was deceptive; consequently, he depended on his senses to express himself. This perspective was always evident in his work, and that was why people thought it was pure and fresh. The uniqueness of his writing may be attributed to his detailed creative regimen.

The creative process in Hemingways work

Some of the notable pieces that this author has written include The Sun Also Rises and The Old Man and the Sea. The latter piece won him a Nobel Prize for Literature. Hemingway explained that when writing these two literary texts, he wanted to let readers identify the elements that he had deliberately omitted. He said that he pruned words and only wrote what was absolutely necessary.

Hemingway affirmed that when a writer omitted something out of the lack of knowledge of the thing, then he/she was unskillful. However, if a writer knew something and left it out deliberately, then the person was a genius. Hemingway asserted that it took a lot of prowess to leave out an element of a story and still create the illusion, to readers, that the thing happened.

Omission was a strong indication of ones writing quality (Plimpton 29). Such an assertion indicates that this author carefully thought his literary pieces. He first made up what he needed to say in his mind; thereafter, he would cull irrelevant words or ideas that would reveal too much.

He wanted to make his writing three dimensional by giving readers instructions that they needed to follow in order to figure out the whole story. Therefore, this author had to exercise a considerable amount of restraint in his writing. He knew that less is more, and the best literature always causes readers to think.

Hemingway often guarded his creative process. He believed that writing a book was a lonely activity that would only be distracted if other people got in the way. This was the reason why he liked to work in his bedroom or inside a workroom set aside for this very purpose.

Ernest preferred his bedroom to the special workroom, which happened to be in a special tower on a corner in his house, because his bedroom probably inspired him to come up with new ideas. In this regard, one can learn that creativity sometimes requires isolation (Muller 33).

Since his bedroom was his favorite place to work, it is only fitting to find out the qualities in his bedroom that caused his creative juices to flow. Hemingway had a lot of sentimental goods in his bedroom. Some of them included carnivore teeth, a toy U.S. airplane, a toy guitar, a toy lion, a toy zebra, and many others. These items had great sentimental value to the writer.

He asserted that the collection cheered him up. From this process, one can deduce that the author needed external items to keep him focused on his writing. Although he was a neat man, one can assume that he had difficulties in letting go of old things. This sentimentally probably pushed him to do more than he would have if the memorabilia did not exist.

The authors creative process was jealously guarded. He often explained that when one overly scrutinized the writing process, then one would neutralize its value. He claimed that writing was solid and fragile at the same time. When one talked about the fragile part too much, then one would lose out on it completely. This individual felt that it was imperative to stick to the solid aspects alone.

Therefore, if one intends on making commentaries about Hemingways artistic process, one must interpret them from his actions. The author thought of writing as an occupation that could not integrate witnesses during production. People were only relevant after ones work was complete. Creativity was a sacred process to this writer, so he probably refrained from talking about it because of this (Trodd 21).

One thing that emanates from most of Hemingways interviews is his strong dedication to his work. One may assume that a creative process ought to be spontaneous and unplanned; however, this was not Ernests approach. He was immensely disciplined when he wrote. First, he chose to stand rather than sit when working. It is not clear why he chose to do this, but one may deduce that he was probably excited about his work.

When he got the inspiration, he would get energized like a young boy. He would often find himself perspiring because of this. It only comes naturally to stand when one is excited about something. Usually, he would stay in this state of stimulation until midday when the artistic touch wore off. At that time, the author would give himself a treat. Besides this, Ernest always wrote in the morning.

He believed that this was the best time to write because ones mind was clear. It was also unlikely for people to disrupt him at that time in the morning. Clearly, this was someone who took his writing very seriously. If he dedicated the most productive part of his day towards it, then it must have been something precious.

Nonetheless, one should not assume that the high level of discipline indicated that he did not enjoy writing. Ernest told many interviewers that the hours he dedicated to writing were his most pleasurable moments.

Creativity, to Hemingway, involved a considerable level of control. In certain instances, he had a lot to write about after midday, however, he would stop when it was time. This was done in order to keep the juices flowing. When there was still something left in him from the previous day, Ernest found that it was easier to continue with his narration the next day.

He often realized that it was quite hard to wait and hold back until the next day; this was his toughest moment. Hemingway explained that it look a lot of energy and will power to put aside the stories that he was working on when he was away from his typewriter. However, he mastered the art of controlling those thoughts after some time (Smith 9).

This author also believed that any creative process could always be reworked. In fact, when he woke up in the morning to work on a certain piece, he would read through the previous days writings and consider rewording them. Sometimes, reworking the piece would take much longer than expected, especially if something important was at stake.

For example, when working on endings, Hemingway often reedited his narratives so many times. In one instance, he wrote the ending 39 times before completing it. Hemingway explained that when he reread his pieces, more creative juices would flow because he would be inspired to complete what he had started. This process put him at a place where he knew that he had to keep going.

Hemingway, like many other writers, sometimes experienced dry spells. In these instances, he would feel no inspiration. However, he explained that in order to prevent that from happening, he would always stop when he still knew what was going to unfold in the narrative.

This always gave him a reason to keep going even when he was not sure about where he would take the characters. It took the author a very long period of time to figure out this formula, and it worked well for him.

Even though this author was quite fond of working in his house, he was still quite capable of working in different environments. For example, he wrote many masterpieces in Havana at a hotel called Ambos Mundos. The writers inspiration was not confined to his house. He asserted that there were several places that he worked in. Ernest did not mind working in different circumstances.

He only had a problem with visitors or other interruptions like telephone calls. Therefore one can say that this author functioned well in quiet environments. It was at this point when he could be left alone with his thoughts, and ideas would flow. To Hemingway, the telephone and visitors ruined great work.

Therefore, if he had to write in a place that had many people, he had to be ruthless about his private time in order to get anything done (Robinson 90).

After looking at the physical environment that Ernest enjoyed working in, it is necessary to understand the psychological or emotional conditions that inspired this authors imagination. Hemingway explained that one of the best emotional states to write in was when one was in love.

He explained that when a person was in love, he/she could experience a felling of inhibition that no other emotion could create. However, the author also adds that one can write at any time; love just had a way of making that writing better.

Hemingway also asserted that one can also write well when one is not worried about ones obligations. Poor health and financial challenges can block ones creativity tremendously. In fact, during Hemingways last years, he started worrying a lot about paying taxes and meeting other financial obligations.

As a result, he accomplished very little in his field. In his hey-days, the author affirmed that worrying has the capacity to destroy writing. He explained that ones subconscious needed to be unoccupied by other issues when one was engaging in ones art. He believed that the subconscious held ones artistic reserves, and when it was occupied with other things, then it could not operate properly.

He further added that any kind of worry was bad for creativity. If one worries about ones health, then that would also take a toll on ones subconscious mind and ones ability to write. Despite pointing out all these psychological factors that can destroy good artistic work, the author affirmed that when one found pleasure in writing, one could do it even in the worst circumstances.

Creativity came at all times to him because he was doing something he loved (Merion 14). He believed that it was only death that would stop him from engaging in his art. In essence, Hemingway was saying that certain emotional and psychological conditions cause writers to write more creatively, however, writing was a full time occupation that could continue even if ones emotional and psychological well being were not ideal.

In many interviews, the author also believed that certain things could be done to enhance ones creative juices outside the writing room. For instance, he cited reading as one of them. Hemingway felt that competent writers had the ability to balance their responsibilities as knowledgeable people. Even though many writers spent a small portion of their time writing, they still engaged in the profession by acquiring new knowledge.

In Hemingways mind, creativity could be likened to a well; it needed to be filled with good water. The process of filling it with good water was synonymous to acquiring new knowledge. In essence, he wanted to prove that creativity came from within, but it was inspired by external knowledge.

Hemingway also held that sometimes one could engage in certain actions that could destroy ones creativity. He said that this could happen even when one believed that one was still a writer. An example he cited was the case of the journalist.

To Hemingway, journalism was only valuable to young writers who wanted to jumpstart their careers. However, if one reaches a certain point in ones career as a journalist, one may start to destroy ones creativity. To this writer, not all types of writing require creativity, and some of them actually wipe out creativity.

Hemingway also felt that sometimes creativity could be learnt from other people. He often cited a number of painters, sculptors, poets and writers who taught him how to express his ideas. Nonetheless, in the creative process, one must learn how to articulate ones point of view. Other artists can only inspire someone; they cannot be the sole basis for writing something (Gurko 34).

Lastly, this author believed that when one was making a literary piece, one should not think too much about the works meaning. He believed that analysts and literary critics existed for a reason. Authors had a hard time merely writing their books; therefore, asking them to interpret was unfair. He explained that when he was writing, he was never bothered too much about what his audience would interpret from the work.

He felt that his imagination would be bogged down if he did this. To Hemingway, readers completed the creative process by discussing and analyzing his writings. Ernest also added that one was not obligated to expound on ones writing; this was someone elses task.

Conclusion

Hemingway asserted that the creative process was special, and should not be analyzed. However, in most instances, he believed that inspiration came when one was isolated and undistracted, he also believed in letting ones juices flow; focusing too much on others interpretations hampers this process.

Ernest asserted that writing could be done at all times but the best work came when a writer was in a strong emotional and psychological state.

Works Cited

Gurko, Leo. Ernest Hemingway and the pursuit of heroism. NY: Crowell Company, 1996. Print.

Merion, Jeff. Channeling the Canon: An interview with Ernest Hemingway. The by-gone bureau. 3 Mar. 2008. Web.

Muller, T. (2010). The uses of authenticity: Hemingway and the literary field 1926-1936. Journal of modern literature 33.1(2010): 28-42. Print.

Plimpton, George. Ernest Hemingway, The Art of Fiction. Paris Review 18 (1958): 14-56. Print.

Robinson, Daniel. My true occupation is that of a writer: Hemingways passport correspondence. The Hemingway Review 2 (2005): 87-93. Print.

Smith, Paul. A readers guide to the short stories of Ernest Hemingway. Boston: Hall and Company, 1997. Print.

Trodd, Zoe. Hemingways camera eye: the problems of language and an interwar politics of form. The Hemingway review 26.2(2007): 7-22. Print.

Introduction

Both Ernest Hemingway and John Steinbeck are well-known American modernist authors of the twentieth century, whose works represent the urgent social issues of the era in which they lived. Protagonists created by the authors embody general perceptions of the modern man of that period, his or her dreams and aspirations, and internal struggles. Though from their subjective point of view, writers empower their protagonists with virtues that were respected at that time.

In The Chauffeurs of Madrid, Hemingway through Hipolo represents how a man should behave in the face of war, whereas in The Chrysanthemums, Steinbeck portrays the struggle of a modern woman for equality through Elisa. The given essay compares and contrasts the images of Elisa and Hipolito as people of the first half of the twentieth century.

Main body

Both Elisa and Hipolito perform their work skillfully; it is highlighted that they are good at what they are doing. Hemingway depicts Hipolito as a diligent and punctual chauffeur by saying and if you told him to show up at six a.m., he was there ten minutes before the hour (289). Hipolito is calm and accurate, and as solid as the rock he looked to be cut from, which speaks to the quality of his character rather than the constitution (Hemingway 289).

Elisa, in turn, is an awesome gardener, which is reflected in her strong chrysanthemum crop. She approaches her gardening with exceptional energy, which indicates that she loves what she does. A particular appreciation of her gardening skills is expressed in her husbands words youve got a strong new crop coming and youve got a gift with things (Steinbeck 2). Therefore, it may be assumed that both authors perceive a modern man to be good at his or her job.

However, Hemingway goes beyond the professional qualities of Hipolito and praises his bravery and courage by saying that when men like Hipolito fight they always win due to their resilience, fortitude, and perseverance (289). This is a turning point in the story, as Hipolito is no longer represented as a civilian chauffeur, but as a specimen of courage, valor, and persistence. Hemingway portrays him as not romantic and not afraid to die, claiming that people like Hipolito are the best ones of their time (289). Hipolito is the only one out of four chauffeurs who is a positive character with no shortcomings. Even though Hemingway does not overemphasize the virtues of his protagonist, the deeds through which he is portrayed eloquently illustrate that Hipolito is an idealized man.

Contrary to Hemingways protagonist whose feelings and emotions are not described in the story, Steinbeck presents a vivid and detailed picture of Elisas emotions in order to disclose her personality. In The Chrysanthemums, through Elisa, the struggle for gender equality is portrayed. The main theme of Steinbecks story is a capable yet vulnerable woman whose social and personal fulfillment is impossible due to the traditional conception of a womans role in a man dominated society.

In contrast to Hemingway who tells what a modern man should be like and what he should do, Steinbeck shows what a modern woman is, what internal struggle she has, and from what she suffers. Contrary to Hipolito, Elisa is an ordinary woman facing typical problems just like other females of that time. The fact that she wears a gardening costume making her figure blocked and heavy does not speak of her being repressed by the role her husband handed to her (Steinbeck 1).

Instead, she feels comfortable with her husband who seems to take care of her. What Elisa is oppressed with is social perceptions of what a woman should be and her own vision of herself. Steinbeck portrays Elisa as an ordinary woman of the first half of the twentieth century who feels frustrated in a masculine world and is unhappy with the traditional female role. When Elisa talks to a tinker, one may notice her deep desire to live in a world of adventure and freedom, especially when the man says that society would not allow that kind of thing.

However, Elisa is feminine, and the fact that she starts crying as she sees her flowers lying abandoned on the road speaks to her vulnerable nature. Though being strong and gifted, Elisa is a woman who does not want to be like a man. Rather, she wants to try doing what men do in order to discover new dimensions of herself and become more satisfied with her life. Contrary to Hipolito who is represented as a holistic person and whose deeds may be unambiguously interpreted, Elisa appears to be full of contradictions. Just like the chrysanthemums which have delicate and tender flowers yet strong and long stems, Elisa has both feminine and masculine traits making her feel undecided and oppressed.

It may be stated that Hemingway appraises his protagonist by saying that he would bet on Hipolito rather than Franco, or Mussolini, or Hitler (291). This final phase of The Chauffeurs of Madrid reiterates that Hipolito is what a modern man should be in the face of war, according to Hemingway. The attitude of Steinbeck to Elisa is neutral, as the author neither sympathizes nor criticizes her. One may state that Elisa is an average modern woman who, though desiring to behave like a man, cannot let go of her femininity.

Conclusion

In summary, being indisputable giants of twentieth-century literature, in their works, Hemingway and Steinbeck depict an image of a modern man. In The Chauffeurs of Madrid, through Hipolito, Hemingway represents how a modern man should behave in wartime. In The Chrysanthemums, through Elisa, Steinbeck portrays the internal struggles and contradictions of an ordinary modern woman, as she discovers both feminine and masculine sides.

Works Cited

Hemingway, Ernest. Hemingway on War. Edited by Sean Hemingway, Simon & Schuster, 2012.

Steinbeck, John. The Long Valley. Edited by John H. Timmerman, Penguin Books, 1995.

Introduction

The story Cross Country Snow depicts themes of a male bound and male friendship typical for many Hemingways stories. The main character of the story, Nick, is at a loss about the prospect of his spouses pregnancy. Hemingway depicts many themes and motifs metaphorically giving readers a chance to interpret the meaning and significance of male friendship, love and human relations in general. Thesis The story Cross Country Snow vividly portrays a theme of male friendship and a strong bound confronted with Nicks fear of fatherhood and possible changes in his life.

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The story opens with the description of two friends, Nick and George, ski out. At the beginning of the story, Hemingway describes the icy winter beauty: he writes specifically and beautifully about the world and nature (Meyers 23). The evocative intimacy of place well-remembered marks this, and many other of Hemingways descriptions of that boyhood world.

Nick Adams came up past George, big back and blond head still faintly snowy, then his skis started slipping at the edge and he swooped down, hissing in the crystalline powder snow and seeming to float up and down as he went up and down the billowing khuds (Hemingway 45).

This description creates an atmosphere of solemnity and beauty. Hemingway depicts a rivalry between the characters and their desire to do their best. The hesitancy and repetition of phrases, the parallels of contrast, express and enforce the strong bound between George and Nick. Hemingway underlines that both men enjoy physical activity but do not want to talk much about it.

In contrast to a male bound and friendship, Hemingway depicts relations between Nick and Helen, and Helens pregnancy. Though he is not yet ready to be a father, Nick shows that accepting responsibility for his actions will enable him to move forward. The opposition in the opening paragraph illustrates Nicks conflict (Edenfield 142). It is possible to say that Nick Adams striving rigorously to forget the vocational implications of his spouses pregnancy and instead dwell on skiing, metaphor for writing without such implications, with his friend George, Nicks alter ego or the writers internalized private audience in writing: George and Nick were happy.

They were fond of each other. They knew they had the run back home ahead of them (Hemingway 47). The thought of his social obligation raised by his wifes pregnancy constantly intrudes: in the ski lodge, Nick noticed that [the waitresss] apron covered swellingly her pregnancy (Hemingway 47) Except as fantasy, this surrogate writers ideal scene of writing as pure play remains just that, a fiction of writing fiction free from public determinations.

Nick gives an affirmative answer to Georges question, dont you wish we could just bum together? Take our skis and go on the train to where there was good running&and not give a damn about school or anything? but then cant promise George that they will ever go skiing again together (Hemingway 48). The repetition of key words and phrases and the circularity of issues has a predictability.

As a part of the collection In Our Time, Cross Country Snow can be seen as an in-depth description of male friendship and male activities. This story explores male authority in ways that seriously question its nature and value. Physical activities and function as legitimating agents for mens images of themselves. The moment together over the wine and cake is important in revealing how close Nick and George have been.

The scene sets up what Nick is losing in taking on a family (Edenfield 141). Similar to other stories, Cross Country Snow depicts a difference between male and female relations. The themes of love and friendship inform readers in such subtle ways that they are easily overlooked even though they are the forces which motivate the characters behavior. In the case of George and Nick they form the basis of their relationship. Too often this relationship is laid waste by stereotypical thinking.

The main theme of male relations and friendship reflects inner feelings and the atmosphere of trust. The contract between male and female relations explains the responsibility towards a male friend and friendship. There is a mystery at the heart of such freedom and responsibility as there is a discontinuity between the main characters and the rest of the natural world. This discontinuity is evident in the new possibilities for narrative.

Hemingway writes: They took down their skis from where they leaned against the wall of the inn. George was already started up the road, his skis on his shoulder. Now they would have run home together (Hemingway 52). This scene shows that in spite of all troubles and problems faced by both men, they try to keep their friendship and support each other. Causes must now contend with reasons as the narrative possibilities for the human condition become multiple and diverse. Such an understanding of interpretation vitiates Nicks insight that male friendship is the central instance of the human.

It is possible to say that Nick regards skiing as an escape from the world and its problems. George asks Nick: Will you go back to the States? Nick answers: I guess so. (Hemingway 50), and adds that he does not want to go there. The relationship between Nick and George are based on personal intimacy, especially between vocational peers (Pfeiffer and Konig 97). In spite of the sparse details of plot, the subtle and dramatic dialogue reveals a clear, sensitive portrait of two strong personalities of Nick and George. Hemingway uses few words in dialogues and shows as real men Nick and George speak in direct sentences, effectively translate the world and achieve their goals, and are therefore traditionally masculine. The impersonal tone of this narration is a highly personal glimpse into the narrator.

The language is simple enough, but in the word repetitions, in the pacing of the phrases, the contrast of the long and short sentences, the writer deliberately appeals to the senses, both to what is seen and how it sounds to the ear.

Conclusion

In sum, Cross Country Snow vividly portrays close relations between two men and the role and importance of male friendship. In this story, Hemingway recognizes subjectivity and creative potential of traditional gender-inked patterns, and uses imaginative power to define and shape what has always been defined as objective reality. Make friendship, and a strong bound between Nick and George, is confined with Helens pregnancy and Nicks fears to become a father. The psychological configuration of the story, considered amid an array of contrapuntal image patterns, imparts a symbolic equivalence between the male friendship and the theme of fatherhood. Male friendship allows Nick to escape from problems and underline his ego and masculine wilderness.

Works Cited Page

Edenfield, C. O. Doomed Biologically: Sex and Entrapment in Ernest Hemingways Cross-Country Snow. The Hemingway Review 19 (1999), 141.

Hemingway, E. In Out Time. Scribner, 1996.

Meyers, J. Ernest Hemingway: The Critical Heritage. Routledge, 1997.

Pfeiffer, G., Konig, M. The Bill Always Came: Hemingways Use of the Epiphany in Cross-Country Snow. The Hemingway Review 16 (1996), 97.

Despite different attitudes toward war, people cannot ignore one evident truth this event has a tremendous impact on everything. The changes that Frederick Henry experiences in Ernest Hemingways A Farewell to Arms introduce a good example of how one mans perspectives reveal others harshness. Although I have never seen war with my own eyes, I get a good understanding of how conflicts might change. The controversies in Henrys life may be reflected through the prism of my observations of how devastating biased judgments can be. In A Farewell to Arms, Hemingway shows how Henrys desire for self-improvement breaks his current beliefs about service and makes him a dignified man, becoming a solid contribution to my ability to solve real-world problems.

In the beginning, Henry demonstrates his positive thoughts about war and the possibility of fighting and winning. Despite the horrible destructions and ruins, the character is glad the war continues as it is a good way to develop his skills and achieve satisfaction (Vidor). However, the people Henry meets in his life make him reconsider his opinion about military conflicts. He learns that there is nothing as bad as war, and people realize how bad it is they cannot do anything to stop it (Hemingway 53). With time, Henry comes up with the evaluation that completes his transformation. He understands that the world in war might kill the very good and the very gentle and the very brave (Hemingway 267). Instead of developing strength and courage, people should be smart enough to avoid wars.

In my life, I cannot ignore the presence of minor quarrels that become serious conflicts with time. Hemingways story proves that sometimes it is usually more difficult to avoid the problem than to be ready to participate in a debate. When two of my friends were about to end their relationships because of diverse attitudes toward one real-life event, I did everything possible to minimize their disagreements.

The stories like A Farewell to Arms help to create a world free from conflicts and misunderstandings if people are ready to change and recognize their mistakes. Today, it is hard for people to diminish their ambitions even if they know such decisions enhance peace and stability. Thus, Henrys changes in war perspectives should become a good example of how the attitudes of one person might affect others.

Works Cited

Hemingway, Ernest. A Farewell to Arms. Charles Scribners Sons, 1929.

Vidor, Charles, director. A Farewell to Arms. The Selznick Company, 1957.

The Nick Adams Stories by Ernest Hemingway mainly reflect on the authors personal life and his own experience. What the readers can find in these stories appears very true to life and amazingly realistic. One of the short stories belonging to the book The Nick Adams Stories is Wedding Day. This short story is the embodiment of great literary techniques including autobiography along with involving plot.

The story Wedding Day is a part of the final section from The Nick Adams Stories. Nick is a young man here who is just married and alone with his charming bride they are traveling on their honeymoon. The young couple goes down the river to settle in their cottage for their honeymoon. They are amazed by the beauty of nature in the places surrounding their cottage and those ones they see on their way to the cottage.

The main characters of the story are Nick Adams himself and his bride. Discussing Nick Adams character, it should be stated that he is a reflection of Hemingway himself and is much the embodiment of the authors very personality. In this story, we find Nick at such an important stage of his life as his marriage and honeymoon journey. What is told in this story is a reflection of Hemingways honeymoon when he and his wife enjoyed staying in a beautiful cottage situated on the bank of the picturesque river. Nicks bride can be also described as a reflection of Hemingways first and ever love Hadley Richardson; this charming lady personifies all the dreams by any decent man.

Speaking about literary techniques applied in the story, one of them should be mentioned as a very successful one. In this story, Ernest Hemingway resorts to the use of repetition to emphasize his narration. This stylistic method by Hemingway can be acclaimed as very successful; sometimes it is even mentioned as his carte-de-visite. The readers may see the way the author begins the story paragraphs describing the beauty of the nature surrounding the places the couple visits while their honeymoon, and ends up with similar descriptions; thus, the ideas are repeatedly revisited with slightly different words. This literary technique enables Hemingway to highlight his ideas and gives the storytelling sort of complete and cyclical feeling adding to the self-contained impression it produces.

One more interesting literary technique is autobiography. Nick Adams represents Hemingway himself as has been mentioned above. This literary technique can be seen many times throughout the storytelling. For example, the readers may well remember Hemingways honeymoon with his beloved Hadley Richardson when reading about Nick and his brides honeymoon experience.

In conclusion, Wedding Day short story can be acclaimed as a great piece from the book The Nick Adams Stories by Ernest Hemingway. The readers are invited to see Nick and Hemingway himself as Nicks prototype in a new light of a lover and a young husband. Nicks character strikes with his love for life, ability to value the beauty of nature surrounding him, and to cherish his beloved one. As far as I am concerned, this story can be evaluated as a nice piece of literature encouraging one to have a new outlook on life and the real values in it. This young mans sincerity alone with his charming bride, their love to each other, and to what they are given by life simply amazes.