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After a long and painful birth, their son is stillborn. Catherine begins to hemorrhage and soon dies, leaving Frederic to return to their hotel in the rain. Background and publication history[ edit ] The novel was based on Hemingway's own experiences serving in the Italian campaigns during the First World War.
The inspiration for Catherine Barkley was Agnes von Kurowsky , a nurse who cared for Hemingway in a hospital in Milan after he had been wounded. He had planned to marry her but she spurned his love when he returned to America. The unnamed priest was based on Don Giuseppe Bianchi, the priest of the 69th and 70th regiments of the Brigata Ancona.
Although the sources for Rinaldi are unknown, the character had already appeared in In Our Time. Much of the plot was written in correspondence with Frederic J. Agate, Hemingway's friend, had a collection of letters to his wife from his time in Italy, which were later used as inspiration.
Spear's guest ranch in Wyoming's Bighorns. The book was published in September with a first edition print-run of approximately 31, copies. The newly published edition presents an appendix with the many alternate endings Hemingway wrote for the novel in addition to pieces from early draft manuscripts.
One view sees him as the great white hunter, wise and courageous; another reading doubts his credibility. The question this story raises is one fundamental to Hemingway criticism: can or should supposed authorial intention outweigh contrary evidence in a story?
The stereotypes of infallible white hunter and irredeemable bitch-wife exist in other Hemingway stories. Does their presence there mean they exist in this story? Or may this story run counter to the stereotype and portray Wilson as other than infallible and Mrs.
Macomber as other than a villain? In "A Clean, Well-Lighted Place" two waiters discuss an old, deaf customer and offer their divided opinions about his life, his attempted suicide, and the meaning of life. This quiet story demands intense concentration, especially regarding dialogue: who is speaking when, and what does he mean? On a less technical, more thematic note, the story's essential theme seems to invoke the yearning for faith. Does the story, in portraying a man who longs to find but cannot find anything to believe in "nada" means "nothing" in Spanish , finally say that there are no grounds for faith, or does it suggest that, however modestly, there is something to believe in--relationships, the individual, consciousness, art?
The essential question of the story portrays the open-ended but volatile demand for action--will she give in and have the abortion or will she choose to have the baby?
The setting and symbols of the story and their relationship to the conflict of the story is a rich area for exploration.
The cafe sits at a railroad junction with views alternately barren and fecund. The curtain into the bar may symbolize barriers or a rosary. Another profitable way to approach the story is to discuss the couple's characters and language. Do the man and woman really speak the same language? Do they understand each other? The woman's comment about the hills shows her creativity.
One critic suggests that the term "white elephants" metaphorically represents the inner conflict, for it not only means an annoyingly useless gift; it may also be a possession of great value, a rarity in nature to be considered sacred and precious, revered and protected.
Hemingway's stories often portray a desperate, tenacious love of life, though many seem preoccupied, as Hemingway was himself, with death. Edited by Carlos Baker. New York: Scribners, About Ernest Hemingway Baker, Carlos. Durham, NC: Duke Univ. Press, Flora, Joseph M. Boston: G. Smith, Paul. What "American characters"—in both the individual and the cultural senses— do you find in Hemingway's short stories?
Appraise your preconceptions of Hemingway. To what degree do you think your notions of the man colored your views of the fiction? As you turned or returned to the short stories and tried to divorce past judgements or prejudices from present reading, what did you discover?
If you leave out important things or events that you know about, the story is strengthened. If you leave out or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff is that you, not your editors, omit.
It would be impossible for me to ask the Ambassador of my country to read a speech in which a writer said all of the things which are in his heart. Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten.
Writing, at its best, is a lonely life. Organizations for writers palliate the writer's loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day. For a true writer each book should be a new beginning where he tries again for something that is beyond attainment.
He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed. How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.
I have spoken too long for a writer. A writer should write what he has to say and not speak it. Again I thank you. Frank Scafella. Oxford: Oxford University Press, Benson, Jackson J. Harold Bloom.
New York: Chelsea House Publishers, Davidson, Arnold E. Linda Wagner-Martin. New York: Cambridge University Press, Doody, Terrence. Elliott, Ira.
Farrell, James T. John K. Ramsey, Paul. Richard E. Langford and William E. Florida: Everett Edwords Press, Rovit, Earl. Rudat, Wolfgang E. Spilka, Mark. Carlos Baker. Stephens, Robert O. Vance, William L.
Hatten, Charles. Lewis, Robert W. New York: Twayne Publishers, Monteiro, George, Ed. New York: G. Hall, Oldsey, Bernard. Phelan, James. Reynolds, Michael S. Robinson, Forrest D. Philadelphia: Chelsea House Publishers, Brenner, Gerry. DeFalco, Joseph. The Hero in Hemingway's Short Stories. Pittsburgh: University of Pittsburgh Press, Flora, Joseph M.
Boston: Twayne Publishers, Boston: G. Hemingway's Nick Adams. McSweeney, Kerry. Strychacz, Thomas. Scott Donaldson. Young, Philip.
Robert Weeks. Concealments in Hemingway's Works. Columbus: Ohio State University Press, Fiedler, Leslie. Love and Death in the American Novel. New York: Criterion Books, Gurko, Leo.
Ernest Hemingway and the Pursuit of Heroism. New York: Thomas Y. Crowell Company, Ernest Hemingway. New York: Twayne Publishers, Inc. Waldhorn, Arthur. A Reader's Guide to Ernest Hemingway. New York: Farrar, Straus, and Giroux, Wylder, Delbert E. Hemingway's Heroes. New York: Rinehart, Ernest Hemingway: A Reconsideration.
Bridgman, Richard. The Colloquial Style in America. New York: Oxford University Press, Goodman, Paul. Linda Welshimer Wagner.
Michigan: Michigan State University Press, Levin, Harry. New York: Hill and Wang, Inc. Nahan, Chaman Lal. Voss, Arthur. Norman: University of Oklahoma Press, Hemingway's Library: A Composite Record. New York: Garland, Hemingway's Reading An Inventory. Princeton: Princeton University Press, Biographies Baker, Carlos. Ernest Hemingway: A Life Story. Burgess, Anthony. Ernest Hemingway and His World. Griffin, Peter. Less Than a Treason: Hemingway in Paris. Lynn, Kenneth S. Mellow, James R.
Hemingway: A Life Without Consequences. Boston: Houghton Mifflin Company, Meyers, Jeffrey. Hemingway: A Biography. New York: Harper and Row, The Young Hemingway.
Oxford: Basil Blackwell, Hemingway: The Paris Years. Hemingway: The American Homecoming. Cambridge, MA: Blackwell, Hemingway: The 's. New York: W. Norton and Company, Hemingway: The Final Years. Memoirs Callaghan, Morley. New York: Coward-McCann, Hemingway, Gregory H. Papa: A Personal Memoir. Hemingway, Jack. Dallas: Taylor Publishing Company, Hemingway, Leicester. My Brother, Ernest Hemingway. Cleveland: World Publishing Company, Hemingway, Mary Welsh. How It Was.
New York: Alfred A.