THE "LOST GENERATION" AND THE GENERATION OF LOSS: ERNEST HEMINGWAY'S MATERIALITY OF ABSENCE AND "THE SUN ALSO RISES"
This article discusses how Hemingway's depiction of the sexually mutilated WWI veteran and his inverted generic analogue, the cowboy hero, grows out of modernism's vexed enthrallment with material things. The Sun Also Rises explores the impotence of the post-war American, a figure whose lo...
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| Published in | Modern fiction studies Vol. 54; no. 4; pp. 744 - 765 |
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| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
Baltimore
The Johns Hopkins University Press for the Department of English, Purdue University
01.12.2008
Johns Hopkins University Press |
| Subjects | |
| Online Access | Get full text |
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| Abstract | This article discusses how Hemingway's depiction of the sexually mutilated WWI veteran and his inverted generic analogue, the cowboy hero, grows out of modernism's vexed enthrallment with material things. The Sun Also Rises explores the impotence of the post-war American, a figure whose lost capacity for generation Hemingway likens to that of the pioneer filled with longing for a frontier he has outlasted. In this novel, Hemingway rewrites the pioneer as a sexually wounded veteran whose desire to transcend loss finds its material correspondent in objects that commemorate losses, not victories, and that embody and perpetuate national myth. |
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| AbstractList | In Hemingway's mind, his literary output ventured beyond the limits of Stein's socalled "accrochable" literary forms just as it eclipsed the work of writers his own age.5 Hemingway rebounded from Stein's lost generation talk first in the form of a novella, The Torrents of Spring (1926), which, in its parodic treatment of Sherwood Anderson's novel Dark Laughter, could not have been more "inaccrochable," at least as far as Stein was concerned.6 Anderson, himself a member of Stein's "apparatus" (28), had been at one time-like Stein-a mentor to Hemingway, and in fact had supplied him with letters of introduction to some of the Paris literary scene's most salient figures (not the least of which, of course, was Stein).7 Hemingway's attack on Dark Laughter signaled an obvious renunciation of his former mentor's tutelage and drew much consternation from Anderson, as well as from Stein (who by this time had likewise become a mentor to Hemingway). Jake's fascination with these statues-which honor, for example, the accomplishments of Joseph Bienaimé Caventou and Pierre-Joseph Pelletier, the pharmacists who invented quinine, and Claude Chappe, the inventor of the modern French semaphore system-register as brief digressions in the text, moments in which the narrator becomes momentarily distracted from the larger narrative. 9 But one monument-that of Marshal Michel Ney, the Bonapartist military hero whom Napoleon famously dubbed "the Bravest of the Brave" in 1812-elicits a more sustained meditation from Hemingway's wounded protagonist (Foster 213) (see Fig. 1).\n The idea of Jake's undamaged penis (that is, the idea of it as a "normal" sexual instrument and consequently of Jake as an able-bodied man) exists as a normative formation within the unconscious register of the novel's characters. This article discusses how Hemingway's depiction of the sexually mutilated WWI veteran and his inverted generic analogue, the cowboy hero, grows out of modernism's vexed enthrallment with material things. The Sun Also Rises explores the impotence of the post-war American, a figure whose lost capacity for generation Hemingway likens to that of the pioneer filled with longing for a frontier he has outlasted. In this novel, Hemingway rewrites the pioneer as a sexually wounded veteran whose desire to transcend loss finds its material correspondent in objects that commemorate losses, not victories, and that embody and perpetuate national myth. |
| Author | Tomkins, David |
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| Copyright | Copyright © 2009 Purdue Research Foundation Copyright © 2008 the Purdue Research Foundation. Copyright Johns Hopkins University Press Winter 2008 |
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| DOI | 10.1353/mfs.0.1578 |
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| Snippet | This article discusses how Hemingway's depiction of the sexually mutilated WWI veteran and his inverted generic analogue, the cowboy hero, grows out of... In Hemingway's mind, his literary output ventured beyond the limits of Stein's socalled "accrochable" literary forms just as it eclipsed the work of writers... |
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| SubjectTerms | American literature Anderson, Sherwood (1876-1941) Creation myths Expatriates French language Hemingway, Ernest (1899-1961) Impotence Laughter Love Modernist art Narratives Neys Novels Penis Statues Stein, Gertrude (1874-1946) |
| Title | THE "LOST GENERATION" AND THE GENERATION OF LOSS: ERNEST HEMINGWAY'S MATERIALITY OF ABSENCE AND "THE SUN ALSO RISES" |
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