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- W2138826280 abstract "I want to begin with a claim so basic it scarcely needs to be made: Hemingway's early stories—those of In Our Time and Men Without Women—are full of sick and injured characters, from the laboring woman of Indian Camp to bullfighter Manuel Garcia Maera, drowning from pneumonia in A Banal Story; from boyish Nick with his shin barked, his eye banged, and his heart broken to war-wounded Nick, propped bleeding against a church wall or working his damaged leg every afternoon at the hospital or lying awake at night in a state that can only be called post-traumatic stress. There are more ill bodies than sexual ones in these stories, more characters in attitudes of suffering than in virtually any other state, of body or soul. There is Ole Andreson stretched on his bed in The Killers and Jack Brennan all busted inside at the end of Fifty Grand; there is William Campbell, concealed by a self-made shroud and talking through his rising nausea in A Pursuit Race, and Joe Butler's father, white and gone by the side of the track in My Old Man. There are boys holding their heads in their hands as though they were sick in one bar after another, and of course there is Nick himself, laid low in war. Treatment of illness also figures importantly in the development of plot and character. Doctoring is one way Nick knows his father. Like hunting—with which it is elided under the sign of the pocket knife and the arrowhead—it signifies power, responsibility, unsentimentality, even a necessary cruelty. Doctoring is the turf, if not terrain, of Nick's parents' conflict—he's a doctor, she's a Christian Scientist—where medicine's claims to power are always vitally at stake." @default.
- W2138826280 created "2016-06-24" @default.
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- W2138826280 date "2004-01-01" @default.
- W2138826280 modified "2023-10-17" @default.
- W2138826280 title "Hemingway's Early Illness Narratives and the Lyric Dimensions of "Now I Lay Me"" @default.
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- W2138826280 doi "https://doi.org/10.1353/nar.2004.0003" @default.
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