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Twentieth-Century Literature (2001) 47 (1): 72–91.
Published: 01 March 2001
...). The following suggests that Hemingway’s The Sun Also Rises is much more narrator Jake Barnes’s memory o f war than has been recognized, in terms of landscape, imagery, allusions, and a recurring story of wounding. In this complex, poetic novel, war and wounding constitute a major pattern...
Twentieth-Century Literature (2006) 52 (1): 61–91.
Published: 01 March 2006
... and tender masculine intimacies, repeated transgressions of this cojonic image. Narrator Jake Barnes is impotent due to a war wound, and he faces intense humiliations at the hands of the sexually peripatetic “new woman,” Lady Brett Ashley. He even takes a beating over her at the hands of the novel’s...
Twentieth-Century Literature (2017) 63 (1): 75–93.
Published: 01 March 2017
..., regardless of their sexuality. 11 See Campbell 1991 , 89. 10 Hemingway and Baldwin both signal the importance of love triangles using place-name hints, as Joshua Parker points out: “As Jake unknowingly prepares to make his entrance on a scene where he, Brett, and her soon-to-be lover first...
Twentieth-Century Literature (2000) 46 (2): 193–213.
Published: 01 June 2000
... will be domesticated: Otto and Jake, for example. They are continually outside of the domestic, with no wives or children of their own, temporary inhabitants of other people’s houses. Wick Cutter, through his seduction and rape of his hired girls, is a threat to every home as he turns housekeeping...
Twentieth-Century Literature (2012) 58 (4): 663–687.
Published: 01 December 2012
..., “Maybe I just haven’t any moral sense . . . but I couldn’t feel any kind of wrongness. I did what I had to do” (152). The characters in Viña Delmar’s Bad Girl (1928), Josephine Herbst’s The Executioner Waits (1934), and Ruth McKenney’s Jake Home (1943), stress women’s right to make their own...
Twentieth-Century Literature (2016) 62 (2): 197–222.
Published: 01 June 2016
...), Jake Barnes in The Sun Also Rises (1926), and Frederic Henry in A Farewell to Arms (1929). Drawing from both these strands of scholarship, this article proposes a return to Catherine Barkley, the controversial female protagonist of Hemingway’s A Farewell to Arms , 6 whose scholarly...
Twentieth-Century Literature (2011) 57 (2): vii–xi.
Published: 01 June 2011
... Reading,” I want to return to The Sun Also Rises, a novel I haven’t taught in twenty years. Will The Sun Also Rises change, now that I know about Hemingway’s arch pleasure in playing with his own femininity? What will emerge in thinking about Jake as a wannabe femme or reexamining...
Twentieth-Century Literature (2003) 49 (1): 82–102.
Published: 01 March 2003
... Hemingway or, more accurately, two novels about Hem ingway, since Wad appears in Murder in Montparnasse both as the Hem ingway who is working on his “Spanish novel” and as the Hemingway [Jake Barnes] who is drinking his way through the bars and cafés of“the Quarter.” Moreover, Hemingway not only...
Twentieth-Century Literature (2018) 64 (3): 295–316.
Published: 01 September 2018
.... Sometimes she had to have sherry before she went to bed after a hard romp with me. She invented a game for us to play in our hotel room. It was known as “Jake.” She would take rouge and paint her face all over a most startling red. Then I must take eye-shadow and paint myself blue. Blue Jake and Red Jake...
Twentieth-Century Literature (2012) 58 (2): 349–354.
Published: 01 June 2012
... Time (1925) and in The Sun Also Rises (1926), the novel that marked Hemingway’s first commercial success and that many readers believe to be his supreme achievement. In one of the most touching scenes in that novel, Jake Barnes says to Lady Ashley, simply and truly, “Oh, Brett, I love you so...
Twentieth-Century Literature (2009) 55 (3): 357–377.
Published: 01 September 2009
... through a single protagonist (though Ray does figure in Jake’s experiences in Home to Harlem) and recount a period of major change in the main character’s life. 10. In Home to Harlem Ray reflects on contemporary events in Haiti while serving as a waiter on a train in the US, though he first tells...
Twentieth-Century Literature (2010) 56 (4): 559–566.
Published: 01 December 2010
... to Jake Barnes, “We’re going trout- fishing. We’re going trout-fishing in the Irati River, and we’re going to get tight now at lunch on the wine of the country, and then take a swell bus ride” (SAR 102). Not only Hemingway aficionados but students of American fiction and the short story can now...
Twentieth-Century Literature (2012) 58 (2): 341–348.
Published: 01 June 2012
..., symbolized most obvi- ously in Jake Barnes’s literal castration, and as an expression of “beneficently feminine” artisanal creativity for which Hemingway, as a writer, yearns. Yet Forter argues that The Sun ultimately associates bullfighting with “death without telos or redemptive significance...
Twentieth-Century Literature (2013) 59 (3): 465–493.
Published: 01 September 2013
... Antonapoulos, reads the lips of English speakers, and writes grammatical English notes—as being without language. “Mick Kelly, Doctor Benedict Copeland, and Jake Blount each construct a Self-Other relationship,” Charles Bradshaw writes, “with someone incapable of language—the deaf-mute, John Singer...
Twentieth-Century Literature (2008) 54 (3): 307–338.
Published: 01 September 2008
... for human behavior, appreciation for precision, and even repeated problems with impotence recall Hemingway’s Jake Barnes), do not pack the same emotional punch. Not only does Todd’s disillusionment not entail a loss of political idealism (of his motives for going to war,Todd writes only...