Shall we have another martini?

Earnest Hemingway’s “The Sun Also Rises” is a tragic story narrating the perpetual downward spiral of an entire generation. Hemingway utilizes unusual writing techniques and explores uncomfortable topics. This approach makes Hemingway’s “The Sun Also Rises” a perfect example of the avant garde movement translating into literature. Avant Garde directly translated means “to make it new,” and that is exactly what Hemingway did.

“Sometime on or after December 1910, human character changed.” Virginia wolf spoke these words. She was referring to England entering World War I. Many people were confused about their place in World War I and ultimately felt dissatisfied with the outcome. Those involved in the war came out of it with a depreciated sense of human worth and repressed emotion.

Hemingway illustrates this emotional repression in the scene where Jake, the main character, only allows himself to cry alone in his room. “I was thinking about Brett and my mind stopped jumping around and started to go in sort of smooth waves. Then all of a sudden I started to cry (Hemingway 39).”

Alcohol almost acts as a main character throughout the book. It is involved in almost every scene. It is as if these characters don’t value reality enough to experience it fully.  The war exposed them to enough experiences for a lifetime, so experiences are of little concern. On page 250 Brett plead with Jake to “not get drunk” despite her inability to follow suit. This implies a realization and understanding of the self-destructive behavior, but to the individual it does not matter.

Aside from the war changing outlooks, different theories and beliefs became popular that questioned all prior beliefs. Einstein created his theory of relativity. If all things are subjective and dependent on the viewer, can there be a God? Darwin’s theory of evolution became popular and caused many to question our divinity as humans. If evolution created humans then God did not, so we are no better than any other creature. Sigmund Freud claimed there was a duality within one’s self. This especially affected Hemingway’s ideas because Hemingway felt the need to repress emotions. Hemingway only wanted the interaction of the outer self, while letting his inner self remain private.

With all of these uncertainties looming, society felt a lack of center. This is exemplified by Hemingway’s writing style. The writing is fragmented without explanation. It can be quite difficult to understand exactly who is speaking in a conversation. People will be introduced after they’ve spoken or never at all. This is shown on page 37 when Jake goes to the bar to say good bye to Brett, then all of a sudden the Count is involved in the conversation saying a short farewell.

Similarly to the war, “The Sun Also Rises” ends unresolved. The reader is left wondering if Jake will continue chasing Brett. A growth is seen, but there is no definitive answer. “A Sun Also Rises” ends with Jake’s arm around Brett suggesting a continuing relationship, but there is a better understanding of Brett suggesting slightly different behavior. When Brett begins talking about how great her and Jake could have been together Jake responds with, “Isn’t it pretty to think so?”

In conclusion, Hemingway personified this feeling of loss and confusion after the war. His unique writing style and depressing characters is a reflection of the times. Fortunately, this pessimistic outlook contributed to one of the more interesting movements of the past century, the Avant Garde.

Edith Wharton

Wharton, like many artists, used writing as a cleansing tool, Subsequently; her personal life was reflected in her writing. “Roman Fever” is no exception. Edith Wharton’s “Roman Fever” introduces the reader to “two American ladies of ripe, but well-cared- for middle age (Wharton pars. 1),” Mrs. Ansley and Mrs. Slade. It quickly becomes apparent that these two subdued women are of high society. Mrs. Slade and Mrs. Ansley are enjoying an afternoon in Rome. They make small talk and reminisce. Throughout the story the reader learns that both women are widows and childhood friends. The shocking conclusion reveals a hidden affair and an explanation for the constant tension. Wharton pulled from her own experiences to create these demure women as well as their less than acceptable actions.

Mrs. Ansley, Mrs. Slade, and Wharton were all “Museum specimens of old New York (Wharton Pars. 14).” In the late 1800’s and early 1900’s New York was a hot spot for high society. Wharton spent the majority of her early life in Manhattan (Smithsonian: Wharton’s World pars. 2).

This environment produced very emotionally repressed and superficially extravagant individuals. A perfect representation of these individuals is found in Edith Wharton’s “Age of Innocence.” Not unlike Mrs. Slade who would rather “live across from a speakeasy for a change (Wharton Pars. 14),” Wharton craved some change is society (Smithsonian: Wharton’s World pars. 6). Wharton did not want to live the dull life of a proper lady. Wharton was all too aware of the hypocrisy within this society and revealed these hypocrisies through her writing.

Mrs. Slade and Wharton both endured loveless marriages (Smithsonian: Wharton’s World pars. 7). These forced marriages and expectations of society lead to an affair for both women. Wharton experienced a passionate, but short, love affair with Morton Fullerton (Ehrlich 86). Mrs. Ansley’s short affair is revealed in the final line of “Roman Fever” when she states, “I Had Barbara.”

Europe acted as an escape for all of these women. Mrs. Ansley and Mrs. Slade remember their childhood moments spent in Rome (Wharton Pars. 26). Wharton used Europe as an annual “tonic for her depression (Smithsonian: Wharton’s World pars. 6).” These women were able to escape the politics and traditions of New York high society by escaping the people. Europe held no expectations for these women. Though they acted with civility, they felt they had more freedom in Europe.

Finally, all these women experienced loss of their husbands. While Mrs. Ansley and Mrs. Slade were widows (Wharton Pars. 15) Wharton herself experienced the loss of a marriage. Wharton divorced hr husband in 1913 (Smithsonian: Wharton’s World pars. 6). This behavior was extremely frowned upon in society and undoubtedly left Wharton with some ill feelings.

In conclusion, Wharton used Mrs. Slade as well as Mrs. Ansley to represent different aspects of herself; her youth and her mid life. While Mrs. Slade acted as a fine woman of the current society, Mrs. Ansley was more rebellious. Mrs. Slade valued her husband’s status in society (Wharton pars. 16). Mrs. Slade loved the excitement of society life such as the parties and the travel. Mrs. Ansley let her desires get the better of her . Wharton married Teddy Wharton when she was twenty-three. He was of similar social background and had good standing in society (Smithsonian: Wharton’s World pars. 6). Wharton’s early life resembles Mrs. Slade; longing for change and excitement. Wharton’s later life resembles Mrs. Ansley’s. Wharton eventually took action and ran with the emotions she felt.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

 

 

 

Dwight, Eleanore. “Edith Wharton’s World: Portraits of People and Places”

        Web. 24 September, 2009

        <http://www.npg.si.edu/exh/wharton/whar3.htm>

Ehrlich, Gloria. “The Sexual Education of Edith Wharton”

          Berkeley University of California Press, 1992. Print

Wharton, Edith. Collected Stories, 1911-1937. Library of America, 122.

       New York: Library of America, 2001.

 

 

 

The Scarlet Letter: Girls Rule

Hester Prynne in is publicly humiliated, forced to wear The Scarlet Letter, for physically expressing her love with a man who is not her husband, an act a man in this period would be permitted, if not encouraged, to engage in. Despite this initial antifeminist action, Hawthorne’s The Scarlet Letter proves to be a tale of female empowerment. Nina Baym writes “Revisiting Hawthorne’s Feminism,” arguing for Hawthorne’s feminist sentiments as well as refuting other’s interpretations.

Baym explains that all of her conclusions about Hawthorne’s feminist ideals sprout from the assumption that Hester, not Dimmesdale nor Chillingworth, is the main character (543). Puritan/tradionalist interpretations as well as gay/queer interpretations are masculine centered finding Dimmesdale and Chillingworth the main characters. Puritan/tradionalist interpretations see The Scarlet Letter as a story of Dimmesdale fighting the temptations of Hester, while gay/queer interpretations see it as a love story between Chillingworth and Dimmesdale (544-546).  Many feminists see Hawthorne’s writings as antifeminist all together, claiming Hawthorne felt threatened by  “ emergent feminism… in fact, by any sign of women’s desire to improve their lot,” with his only goal being to silence women completely (545).

Once opposing views have been properly explained, Baym begins her argument. Within the first paragraph she powerfully states, “I grant too that if a feminist position must be manifested by plots wherein women live happily ever after on their own terms, Hawthorne fails (548).” While Hester is not blessed with a conventional happy ending, she does remain a valuable member of society. Hawthorne creates a world where women can live without men, though they might not prefer it (549). Nothing is more feminist than independency. Baym argues that Hester’s flaws only make her a stronger feminist character, expressing that feminism does not imply or require a perfect woman (550). While some feminist see Hester continuing to wear the letter as a sign of submission and weakness, Baym believes her resilience shows her strength, Hester not only wears the A, enduring its shame, but she changes its meaning (550).

Although Hawthorne recognizes and addresses the difference between the sexes, Baym argues that this recognition is necessary for social change; a wisdom that Hawthorne, too, possesses (551). Hester “rescues” Dimmesdale by revealing Chillingworth’s true identity, an extremely masculine act (553).  Within the puritan/tradionalist perspective Hester is Dimmesdale’s unrelenting temptress, forcing him into a life of sin; however, Baym argues that it is Dimmesdale who manipulates Hester into leaving the town (554). After the use of many more specific examples from many of Hawthorne’s works Baym concludes her argument by suggesting the use of Hawthorne’s writing as inspiration to  “reconstruct the social system” to create true equality between the sexes (556).

Baym’s arguments are solid and well articulated. While reading The Scarlet Letter Hester’s strength was constantly being proven; from the beginning when she nobly refuses to speak the father’s name, to when she “rescues” Dimmesdale, to her ability to “bounce back” from the loss of Dimmesdale and continue to be a productive woman in society. If Hawthorne wanted a weak female character, he would have burned Hester at the stake in the second chapter and the rest pf the story would be centered on a male character. Another feminist characteristic of Hawthorne’s piece is that despite Hester’s weaknesses, the men of this story prove to be much weaker. Hester accepts her punishment and improves her situation as best as possible, while in the background Dimmesdale is literally dying of guilt because he is too cowardice to come foreword and Chillingworth is possessed by a desire for revenge.

Hawthorne did create a “man-less” world for Hester. In doing so, he not only had her survive, but she became incredibly successful in her life pursuits (other than love, of course). She transforms her punishment into her blessing, her inspiration. Hawthorne addresses the difference in sex and shows that women are capable of being equals of men, if not surpassing men completely.

It is entirely possible that my gender has affected my thoughts towards this novel, though, generally, being a woman would create an anti-Hawthorne attitude. Bayne did not convince me of these feminist undertones, but she reinforced my beliefs with the equivalent of steel welding support.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WORKS CITED

 

Baym, Nina. “Revisiting Hawthorne’s Feminism” A Norton Critical Edition: The Scarlet Letter and Other Writings. Leland S. Person New York, NY: W.W. Norton & Company, Inc., 2005. 541-57

 

Hawthorne, Nathaniel. A Norton Critical Edition: The Scarlet Letter and Other Writings. Leland S. Person New York, NY: W.W. Norton & Company, Inc., 2005. 541-57