The Sun Also Rises: Introduction by Nicholas Gaskill (Everyman's Library, 405) - Hardcover

Hemingway, Ernest

 
9780593321287: The Sun Also Rises: Introduction by Nicholas Gaskill (Everyman's Library, 405)
Hardcover
ISBN 10: 0593321286 ISBN 13: 9780593321287
Verlag: Everyman's Library, 2022

Inhaltsangabe

A Contemporary Classics hardcover edition of Nobel Prize–winner Ernest Hemingway’s landmark first novel—both a tragic love story and a searing group portrait of hapless American expatriates drinking, dancing, and chasing their illusions in post–World War I Europe.

The Sun Also Rises tracks the Lost Generation of the 1920s from the nightclubs of Paris to the bullfighting arenas of Spain. The man at its center, world-weary journalist Jake Barnes, is burdened both by a wound acquired in the war and by his utterly hopeless love for the extravagantly decadent Lady Brett Ashley. When Jake, Brett, and their friends leave Paris behind and converge in Pamplona for the annual festival of the running of the bulls, tensions among the various rivals for Brett’s wayward affections build to a devastating climax.

Ernest Hemingway, who was awarded the Nobel Prize in Literature in 1954, has exerted a lasting influence on fiction in English. His signature prose style, tersely powerful and concealing more than it reveals, arguably reached its apex in this modernist masterpiece.

“His lean, terse style is one of the monumental achievements of twentieth-century prose.... Hemingway modeled a way to build sentences and paragraphs that vibrated with emotion.... In The Sun Also Rises he achieved an imaginative insight into his own illusions and disillusions that goes beyond the surfaces of the Jazz Age to the welter of feelings wrapped up in being lost.” —from the Introduction by Nicholas Gaskill

Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket.

Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.

Über die Autorin bzw. den Autor

ERNEST HEMINGWAY (1899–1961) was born in Illinois and began his career as a reporter before enlisting as an ambulance driver at the Italian front in World War I. Hemingway and his first (of four) wives lived in Paris in the 1920s, as part of the "Lost Generation" expatriate community, before moving to Key West, Florida, and later to Cuba. Known first for short stories, he sealed his literary reputation with his novels, including The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls, and The Old Man and the Sea.

ABOUT THE INTRODUCER: NICHOLAS GASKILL is an associate professor of American literature at Oxford University.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

From the Introduction by Nicholas Gaskill
 
It’s easy to forget, after decades of romantic recollections about the Parisian literary scene in the 1920s, that when Gertrude Stein called Ernest Hemingway and his contemporaries “a lost generation,” she meant it as a reproach. “Lost” really did mean lost: adrift, spent, hopeless. That pejorative meaning, which Stein tied to the lingering effects of the Great War, has now been eclipsed in the popular imagination by a more upbeat picture of expatriate writers passing their days in cafes and their nights drinking wine at cut-rate prices, while all the sops back home had Prohibition. Who can resist the urge to glamorize that almost-impossible-to-believe moment when some of the most lasting and innovative U.S. writers of the twentieth century—not just Hemingway and Stein but also F. Scott Fitzgerald, Ezra Pound, Djuana Barnes, e. e. cummings, and John Dos Passos—all lived in the same city, arguing and gossiping and partying together?

This double valence was packed into the idea of the Lost Generation from the very moment Hemingway transformed Stein’s private comment into a public label by using it as an epigraph for his 1926 novel, The Sun Also Rises. Hemingway’s narrative toes the line between glamorizing its moment—through vivid descriptions of how to be cool in Paris—and condemning it. The action may be one continual party or Fiesta (the novel’s UK title), but the overriding atmosphere is that of a bad night out. The party turns sour; a drunken insult crashes the mood; more drinks arrive, but no one can afford the tab. Even so, for every reviewer who bemoaned the corrupted morals of Hemingway’s white, monied, and decidedly modern characters, there were a dozen twenty-somethings who booked passage to Paris, with The Sun Also Rises as their guide.

Both of these reactions surprised Hemingway. Writing to Maxwell Perkins, his new editor at Scribner’s, he remarked, “It’s funny to write a book that seems as tragic as that and have them take it for a jazz superficial story.” He had not, he believed, written another depiction of the Jazz Age, as Fitzgerald termed the period, but plumbed the emotional fragility that defined the Lost Generation—and he regarded the book as “a damn tragedy.” He announced as much in the epigraphs. Underneath Stein’s barb, which he knew could all too easily slip into a romantic view of the unique hurts suffered by his cohort, he placed the world-weary voice of Ecclesiastes, watching generations come and go like the seasons, with no progress, no novelty, just restless whirling: “The sun also ariseth, and the sun goeth down, and hasteth to the place where he arose.” No room for sentimentalizing the Jazz Age here. Rather, the quotation shows Hemingway one-upping the disillusion that characterized his moment, viewing the postwar generation’s emotional posture of disaffection from the cold remove of King Solomon.

Or at least that’s the impression he wants to give. What the epigraphs don’t indicate is that The Sun Also Rises emerged from Hemingway’s painful experience of feeling out of the loop at his own party, a trip to the San Fermín festival in Pamplona. He drafted the novel quickly in the weeks following the festival, using the real names of the people involved. Initially, the narrator was not Jake but “Hem” or “Ernest.” And so the Olympian detachment of the perspective vies with the red-hot feelings of shame, envy, and disappointment that prompted the novel in the first place. Both the plot and the perspective of The Sun Also Rises circle constantly around questions of who’s in and who’s out, of what it means to be attached to others and how those attachments can go wrong. Even detachment, the novel suggests, is a way of facing the world, a stance that carries its own emotional costs.

The Sun Also Rises made Hemingway a literary star. That proved a mixed blessing. It put him on the road to becoming “Papa,” the public performance of his hyper-manly persona that overwhelmed the more nuanced insights of his fiction. For this reason The Sun Also Rises occupies an essential place in Hemingway’s career, a pre-Papa moment when his writing frankly confronted the mixed allure and danger of striking a stoic stance of disillusion at the expense of human connection. This is also why the novel continues to claim our attention. Few other books have charted so movingly the dangers of walling oneself off from society or tracked so painfully the endless, slippery movements between clear-eyed detachment and hopeful projection. The Hemingway myth, thankfully, has lost its shine. The Sun Also Rises shows that deep down Hemingway knew it was a front from the beginning. The fact that it has been so easy to lose sight of this is, today, what makes the book so tragic.

*

Hemingway was born a long way from Paris, in Oak Park, Illinois, right outside Chicago. He enjoyed a comfortable suburban childhood, with summers in the woods of Northern Michigan, but eventually fell out of step with the strict moralism of his parents and in 1917, at eighteen, he took a job as a cub reporter for the Kansas City Star. In the newsroom he picked up practical writing advice from the paper’s style sheet that he claimed never to forget: “Use short sentences”; “Eliminate every superfluous word”; “Avoid the use of adjectives, especially extravagant ones.” When the U.S. entered the Great War, the young Hemingway rushed to enlist but was turned away because of his poor eyesight. Undeterred, he joined the Red Cross ambulance corps and shipped to the Italian front, where he was hit by shrapnel and machine gun fire while passing out chocolate and cigarettes to Italian troops. He fell in love with his nurse while recovering in Milan and was heartbroken when she eventually left him. (Hemingway later mined these experiences in love and war for A Farewell to Arms.) He returned to Oak Park a decorated but damaged man. At first he enjoyed inflating his wartime adventures for the curious folks at home, but interest waned and soon enough tensions renewed between him and his family. He moved to Chicago, where he reported for the Toronto Star and worked on his fiction, taking advantage of the blossoming literary culture in the city. He also met and married Hadley Richardson. The new couple made plans to move to Italy, but Sherwood Anderson, a pivotal figure in modern US fiction of those years, gave them better advice. If you want to be a writer, he told Hemingway, go to Paris.

So in December 1921, Ernest and Hadley set sail for France. By early January they had found a cheap apartment in the Latin Quarter, and by the spring, armed with letters of introduction from Anderson, they had met the major players in the emerging modernist movement. There was Ezra Pound, the Idaho native turned Imagist poet who in 1921 was the loudest, most plugged-in promoter of forward-thinking writing; also Gertrude Stein, equally opinionated about the direction of the arts and, through the salon she ran from her Left Bank apartment, just as influential in shaping a new generation of writers. Both took an immediate interest in the charming new arrival. So did Sylvia Beach, whose bookshop Shakespeare and Company published James Joyce’s era-making novel Ulysses soon after the Hemingways arrived. (Joyce had moved to Paris a year before.) Hemingway threw himself into the scene: he browsed the little magazines in Beach’s shop, admired the paintings in Stein’s sitting room, published poetry with experimental presses, and edited...

„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.

Verlag
Everyman's Library
Erscheinungsdatum
2022
Sprache
Englisch
ISBN 10 
0593321286
ISBN 13 
9780593321287
Einband
Gebundene Ausgabe
Anzahl der Seiten
231
Kontakt zum Hersteller
Everyman's Library
https://myeverymanslibrary.com

Attn: Andrea T Sheridan 1745 BROADWAY, 14-1
NEW YORK
NY
10019
USA
Verantwortliche Person
preigu
mail@preigu.de

Lengericher Landstr. 19
Osnabrück
49078
Deutschland