By Ronald Berman
Either F. Scott Fitzgerald and Ernest Hemingway got here into their very own within the 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 heritage. As Berman indicates, the idea of Fitzgerald and Hemingway went significantly prior 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, in particular the contradictions and clashes of principles and ideologies. either writers, for instance, have been greatly interested in the matter of untenable trust - and likewise with the necessity to think. during this mild, Berman bargains clean readings of such works as Fitzgerald's "The nice Gatsby", "Bernice Bobs Her Hair" and "The Diamond as significant because the Ritz", and Hemingway's "The Killers", "A Farewell to Arms" and "The solar 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 means of a centred line of inquiry into Fitzgerald's and Hemingway's issues with dogma either non secular and secular, with new and previous principles of selfhood, and, quite relating to Hemingway, with the way in which we comprehend, clarify and transmit adventure.
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Extra resources for Fitzgerald, Hemingway, and the Twenties
The matter is not simply existential: The good life was inherently the life of action based upon re®ection; that was what made it social. One of the most disappointing things about our discovery of the North, along with Sally Carrol, is that it does not value the individual will; therefore, it has no authentic social existence. The body is frozen and so is the body politic. Roger Patton, who like Guy Pollock in Main Street is a voice of re®ective experience, has already said, “I used to have a theory about these people.
It argues the primacy of the Ego. It warns us against ¤nding reality in texts; here reality is the work of unconscious veri¤cation. Marjorie, the preacher against vanity, is herself vain. The sequence of thought and feeling moves quickly from Marjorie to Warren, where it belongs. Freud cites with approval his predecessor Hildebrandt: Dreams at “their most sublime as well as their most ridiculous . . ”13 There is the symbolism of ¤nding a red dress within a Freudian trunk. )14 Fitzgerald’s story had its ¤rst run in the Saturday Evening Post but might have served as a case history in psychiatry.
The two ideas are connected. We are in the West, in furthest Montana, because it is an idea as well as a place, the wrecked frontier. ”17 Here, in Brooks, the American enterprise has ended in ruin and silence; whereas in Fitzgerald the ending has been anticipated by the beginning. ”18 It continues into the ¤rst decades of the twentieth century, 46 “ THE DIAMOND” AND THE DECLINING WEST propelled by the energies of Mencken, Brooks, and those others who had pondered the lives of malefactors of great wealth.