Through short stories he published throughout his career, Hemingway uses the relationship between the semi-autobiographical Nick Adams and his father Henry to examine various typical masculine behaviors. While a casual viewing of Hemingway’s subject matter might lead some to believe that he was endorsing hypermasculine behavior through his work, a more thorough reading endorses exactly the opposite view. By closely reading and critically examining Nick and Henry Adams’ interactions, I will explore various ways in which Hemingway condemns hypermasculine behavior and illustrates the internal conflict of men defining their masculinity in the modern world.
When we first encounter Nick Adams he is too young to be viewed as a strong masculine character. In the early story “Indian Camp” Nick is no more than a child tagging along with his father to assist in a medical procedure. Along with being chronologically practical, a starting point of weakness for Nick’s character brings up an important aspect of Hemingway’s views on masculine behavior; masculine behavior is not an internal, instinctive set of characteristics but rather is learned from observing authoritative male figures. Nick seeks out these role models from a young age, both directly and indirectly, in an attempt to gain an understanding of his own budding masculinity.
Henry Adams, Nick’s father, becomes the first strong masculine character in the stories, and as a result is the first source of examples for Nick’s understanding of masculine performance. Henry is also the most positive masculine role model in the stories, although our first impression of him is far from positive. At first, Henry seems to be a character caught up in his own hubris, totally unable to recognize ...
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... our acceptance of Hemingway’s work as progressive at all. However, the simultaneous rejection of some hyper-masculine behaviors coupled with a reluctance to abandon other traditional masculine behaviors is not wholly problematic or hypocritical but rather is endemic of a societal conception of masculinity in flux. Considering the variety of examples and views expressed by Hemingway even in his earliest published work, Hemingway’s conception of masculinity cannot be accurately categorized as either wholly progressive or ultimately problematic. Rather, Hemingway’s varying portrayals of masculine behavior reveal a complexity in a generation of men’s struggles establishing their masculinity and defining appropriate masculine performance.
Works Cited:
Hemingway, Ernest. The Short Stories: The First Forty-Nine Stories. New York: Scribner,
2003. Print.
In Ernest Hemingway's short stories "Indian Camp" and "Soldier's Home," young women are treated as objects whose purpose is either reproduction or pleasure. They do not and cannot participate to a significant degree in the masculine sphere of experience, and when they have served their purpose, they are set aside. They do not have a voice in the narrative, and they represent complications in life that must be overcome in one way or another. While this portrayal of young women is hardly unique to Hemingway, the author uses it as a device to probe the male psyche more deeply.
From the beginning, Robert Cohn’s name defines himself－he is essentially a conehead in a society where concealing insecurities and projecting masculinity is paramount. Although he tries in vain to act stereotypically male, Cohn’s submissive attitude and romantic beliefs ultimately do little to cover up the pitiful truth; he is nothing more than a degenerate shadow of masculinity, doomed for isolation by society. In the incriminating eyes of people around him, Cohn is a picture-perfect representation of a failure as a man. Through Cohn, Hemingway delineates not only the complications of attaining virility, but also the reveal of another “lost” generation within the Lost Generation: those living without masculinity and the consequences they thus face.
We notice, right from the beginning of his life, that Ernest Hemingway was confronted to two opposite ways of thinking, the Manly way, and the Woman way. This will be an important point in his writing and in his personal life, he will show a great interest in this opposition of thinking. In this short story, Hemingway uses simple words, which turn out to become a complex analysis of the male and female minds. With this style of writing, he will show us how different the two sexes’ minds work, by confronting them to each other in a way that we can easily capture their different ways of working. The scene in which the characters are set in is simple, and by the use of the simplicity of the words and of the setting, he is able to put us in-front of this dilemma, he will put us in front of a situation, and we will see it in both sexes point of view, which will lead us to the fundamental question, why are our minds so different?
One observation that can be made on Hemingway’s narrative technique as shown in his short stories is his clipped, spare style, which aims to produce a sense of objectivity through highly selected details. Hemingway refuses to romanticize his characters. Being “tough” people, such as boxers, bullfighters, gangsters, and soldiers, they are depicted as leading a life more or less without thought. The world is full of s...
Among the first indicators of Nick’s unreliability as a narrator is shown through his extreme misunderstanding of his father’s advice. When Nick’s father told him that “Whenever you feel like criticizing any one, just remember that all the people in this world haven’t had the advantages you’ve had” (1) he most likely meant not all people have the same opportunities in life. However, Nick perverted his father’s meaning and understood it as “a sense of the fundamental decencies us parceled out unequally at birth” (2). Nick’s interpretation of his father’s advice provides insight into his conceited, somewhat supercilious attitude, as he believes that not all people are born with the same sense of manners and morality.
In his short story, “Big Two-Hearted River”, Ernest Hemingway focuses on the mental and emotional state of Nick, the protagonist, who “le[aves] everything behind” during a wilderness fishing trip. Traumatic thoughts and memories haunt Nick, but the cause of his inner turmoil is not disclosed in the story. Other short stories by Hemingway, however, reveal that Nick Adams is a wounded veteran who served in the First World War. To distract himself from these painful memories, Nick concentrates on the physical details of his journey such as making camp and preparing food. In addition to self-distraction, he attempts to inhibit his ability to think through hunger and physical exhaustion. By examining how Nick uses these techniques of mental control in “Big Two-Hearted River”, one can gain a deeper understanding into his behaviour and fragile psyche. Thus, through analysis of his methods of rehabilitation, this examination will illustrate the central conflict between Nick’s subconscious thoughts and his conscious effort to repress them.
The maturation of Nick begins with his description of his time leading to his arrival in West Egg, “I graduated from New Haven in 1915, just a quarter of a century after my father, and a little later I participated in that delayed Teutonic migration known as the Great War” (Fitzgerald, 3). The protagonist comes into the story having not lived much of his life in the normal world that he desires to successfully conquer. He goes directly from schooling into the war, where he found heroic satisfaction. Yet, somehow, Nick is able to keep part of himself innocent and pure despite being in the horrors of war. It is not long after attending his first party at Gatsby’s that Nick confesses that “Every one suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known’ (Fitzgerald, 59). The level of Nick’s idealism and virtuousness begins at such an innocent pl...
Juniper Ellis’ “Gendering Melville” argues that not enough attention has been paid to masculinity in relation to other major features in nineteenth century America, including femininity, race, and class....
In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1208-1209. Hemingway, Ernest. A.
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
The novel, The Sun Also Rises, by Ernest Hemingway is an example of how an entire generation redefined gender roles after being affected by the war. The Lost Generation of the 1920’s underwent a great significance of change that not only affected their behaviors and appearances but also how they perceived gender identity. Lady Brett Ashley and Jake Barnes are two of the many characters in the novel that experience shattered gender roles because of the post war era. The characters in the novel live a lifestyle in which drugs and alcohol are used to shadow emotions and ideals of romanticism. Brett’s lack of emotional connection to her various lovers oppose Jake’s true love for her which reveals role reversal in gender and the redefinition of masculinity and femininity. The man is usually the one that is more emotionally detached but in this case Lady Brett Ashley has a masculine quality where as Jake has a feminine quality. Both men and female characters in the novel do not necessarily fit their gender roles in society due to the post war time period and their constant partying and drinking. By analyzing Brett, Jake, and the affects the war had on gender the reader obtains a more axiomatic understanding of how gender functions in the story by examining gender role reversal and homosexuality.
Eby, Carl P. "Hemingway's Fetishism: Psychoanalysis and the Mirror of Manhood. Albany: State University of New York Press. As Rpt. in Bauer, Margaret D. "Forget the Legend and Read the Work: Teaching Two Stories by Ernest Hemingway. College Literature, 30 (3) (Summer 2003): 124-37. EBSCOhost.
Hemingway's novel by harnessing the listener and reader to understand that a man can be
Throughout the Nick Adams and other stories featuring dominant male figures, Ernest Hemingway teases the reader by drawing biographical parallels to his own life. That is, he uses characters such as Nick Adams throughout many of his literary works in order to play off of his own strengths as well as weaknesses: Nick, like Hemingway, is perceptive and bright but also insecure. Nick Adams as well as other significant male characters, such as Frederick Henry in A Farewell to Arms and Jake Barnes in The Sun Also Rises personifies Hemingway in a sequential manner. Initially, the Hemingway character appears to be impressionable, but he evolves into an isolated individual. Hemingway, due to an unusual childhood and possible post traumatic injuries received from battle invariably caused a necessary evolution in his writing shown through his characterization. The author once said, “Don’t look at me. Look at my words” (154).
Since Nick had just moved to New York, he did not know anyone, but his second cousin Daisy and her husband Tom. Nick saw Tom as an arrogant man with a lot of money and power in his hands. Tom was a Yale graduate and a football player that many people feared. He was self- centered like his wife, Daisy. He was a man who thought he was better than any other man in the world as he even said it to Nick, ‘"Now, don't think my opinion on these matters is final," he seemed to say, "just because I'm stronger and more of a man than you are"’ (Fitzgerald). Because Nick reserved his judgments, he tried to understand other people’s situations rather than holding them up to his own standards. On the other hand, he sometimes did not know how to respond to other people’s situations such as Tom’s affair with Myrtle. He wanted to flee from the scene since he did not want to be a part of it, ‘"Hold on," I said, "I have to leave you here"’ (Fitzgerald). ...