By Ronald Berman
Either F. Scott Fitzgerald and Ernest Hemingway got here into their very own within the Nineteen Twenties and did a few of their most sensible writing in the course of that decade. In a chain of interrelated essays, Ronald Berman considers an array of novels and brief tales by way of either authors in the context of the decade's pop culture, philosophy and highbrow background. As Berman indicates, the concept of Fitzgerald and Hemingway went significantly earlier the boundaries of such labels because the Jazz Age or the misplaced new release. either Fitzgerald and Hemingway have been avid readers, alive to the highbrow currents in their day, specially the contradictions and clashes of principles and ideologies. either writers, for instance, have been greatly fascinated by the matter of untenable trust - and likewise with the necessity to think. during this gentle, Berman bargains clean readings of such works as Fitzgerald's "The nice Gatsby", "Bernice Bobs Her Hair" and "The Diamond as sizeable because the Ritz", and Hemingway's "The Killers", "A Farewell to Arms" and "The sunlight additionally Rises". Berman invokes the taking into account a variety of writers in his issues of those texts, together with William James, Alfred North Whitehead, Walter Lippman and Edmund Wilson. Berman's essays are pushed and attached by way of a concentrated line of inquiry into Fitzgerald's and Hemingway's matters with dogma either non secular and secular, with new and outdated rules of selfhood, and, quite relating to Hemingway, with the best way we comprehend, clarify and transmit event.
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Oh, I’m just beginning! (35) Marjorie, like Mencken, states that any idea in the masculine realm can be engaged. By doing so, she makes it clear that all such ideas have the same gravity. The triplet of “Russia, ping-pong, or the League of Nations” ensures that we get the point: none of these things matters any more than any other. Things in the realm of male opinion are as unserious as this sequence or as those pondering them. Without wasting much anxiety Marjorie appropriates the language of masculinity: if you can follow a clumsy man across a dance ®oor, then “you can follow a baby tank across a barb-wire sky-scraper” (35).
We admire her dangerous spirit and know it to be our American own. D. H. Lawrence was soon to state his preference for the symbolism over the social content: “all the other stuff . . [including] democracy . . ”18 But we might think of it this way: all the other stuff, including democracy, matches up beautifully in a story designed to ¤t or mis¤t the individual squarely into her context. 3 “The Diamond” and the Declining West E arly in 1921, while working at Vanity Fair, Edmund Wilson wrote to Stanley Dell about the idea of America in current essays and ¤ction: “The best book I have read lately, and one of the best of modern American novels, is Sinclair Lewis’s Main Street.
Wraith of loose snow . . mist. . chilling away the comfort. . sleet. . snow on her grave. . great piles of it all winter long. . crust . . drifts . . melting. . ®akes. . cold. . a transparency of white. . ice. . icicled windows. . Ice was a ghost . . pale faces and blurred snow-¤lled hair. . ice cave. . crystal walls. . caves of ice. . glittering. . opalescent, translucent. . icy sides. . white breath. . gray pagan God of Snow. . shimmer. . ice-bound .
