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• W2598879078 abstract "Silvia Ammary's article is a valuable contribution the critical debate about Hemingway's highly self-reflexive portrait of the as a failure. It aptly grasps the nostalgic tone of much of the author's writing, it takes a commendably corrective stance against earlier readings which give a negative view of the female character or take her portrait as proof of the author's male chauvinism, and it argues convincingly against such earlier readings which have seen the ending of the story in a positive light, regarding it as a triumphant, epiphany-like moment in which the soul of the dying finally reaches a moment of transcendent perfection. In the face of an overwhelming amount of scholarship which looks at the story from a biographical angle, the article represents a laudable attempt refocus our attention in new-critical fashion on the text itself, thus following the principle D. H. Lawrence's famous dictum we should never trust the artist but the tale/7 1 would argue, however, in the present case a radically intrinsic approach is apt unduly limit the perspective on the text.Before coming point, I would like refer parts of the article's argument which I would hesitate agree with. For one thing, this concerns the connection between Frost's poem and Hemingway's story. I agree in both texts the theme of nostalgia is predominant, and it makes sense argue for the lyrical I of Road Not Taken the other path remains simply an illusion, an abstraction (124) because the speaker has indeed no idea whatsoever of the would have lived had taken the road. With the writer-figure in Snows of Kilimanjaro, however, the case is different in so far as has actually lived the life remembers in fragmentary form in the italicized passages of the text. can imagine these passages as imaginative writing exercises which dramatize the dying Harry in his failing attempts activate once more his lost potential of artistic creativity. These writing exercises are indeed marked as pathetically autistic attempts as they are no longer able reach a authence, but rather than talking of scenes of the unlived (131), it would be more adequate talk of an 'unwritten life/ In contrast a character such as, for example, John Marcher in Henry James's Beast in the Jungle who simply forgot live while was continuously expecting some terrible thing happen, the protagonist in Hemingway's story has actually gone through the experiences remembers, but failed make the right use of them, which - according Hemingway's self-proclaimed artistic ideal - should have been to put down what really happened in action (Death in the Afternoon 2).A related point concerns the article's argument about Harry's role as an (130; in fact, Harry is not the narrator of the story but a reflector figure). Here again, one can agree Harry is projecting his frustrations and regrets on his wife (130), but the matter appears be more complex, as Harry is shown as constantly wavering between projection and self-insight. Looking at the dynamics of the interior conflict enacted here, it is also questionable if one can really argue, as the article does, that Harry never really had any talent as a writer (130). Granted Harry is indeed an unreliable reflector figure, his unreliability has its limits, which is the case, for example, when reflects on how he had traded away what remained of his (The Snows of Kilimanjaro 62). The overall image which emerges throughout is indeed of a person whose old had a quality of real and true experience (key concepts in Hemingway's idea of artistic authenticity) which was lost at a certain point of his life. As Tino Muller aptly puts it in a recent study: We gather his career has been marked by an ever-growing discrepancy between his ideal of writing things 'well' and his tendency squander his talent for quick financial success (247). …" @default.
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• W2598879078 date "2010-05-01" @default.
• W2598879078 modified "2023-09-23" @default.
• W2598879078 title "The Change of Hemingway's Literary Style in the 1930s: A Response to Silvia Ammary*" @default.
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