Introduction
Hemingway’s Heroism is defined by a fixed set of optimistic characteristics. This distinctiveness remains essentially the same throughout all of Hemingway’s literal works. The Hemingway Hero is always courageous, confident, and thoughtful. He does not let his fears get to him. The Hemingway Hero is expressed differently in each of his novels, though. Sometimes he is young, and sometimes old. In Hemingway’s novels “The Nick Adams Stories” and “The Old Man and the Sea”, the Hero is initiated in a different way. In “The Nick Adams Stories”, Nick Adams begins as a adolescent, young boy then becomes the Hero within the view of the reader as his early life and the occurrences that influenced his life most are the entirety of this memoir-style novel. In “The Old Man and the Sea’, though, the old man does not develop into a hero. Santiago begins as an old man who has already achieved the Heroic qualities that he will exhibit intentionally throughout the rest of the story. Nick, the main character in “The Nick Adams Stories”, is in many ways is like Hemingway himself. Setting up camp and fishing and cooking by himself, Nick lifts his spirits by creating his own personal utopian thought. He remains and is static, unchanging example of Hemingway’s optimistic of heroism. In fact, Nick Adams is probably the most autobiographical sketch of Hemingway’s characters. Instead he relied, like Nick Adams, on finding his own escape from reality, making his own “good place”. Like Nick Adams, Hemingway establishes nature to be the best escape for him from his disturbed world.
In fact to a study of Hemingway in general is the concept of the Hemingway’s hero, sometimes more popularly known as the “code hero.” When Hemingway’s novels first began to appear they were eagerly accepted by the American reading community; in fact, they were passionately received. Part of this reception was due to the fact that Hemingway had shaped a new type of fictional character whose basic response to life appealed very strappingly to the people of the 1920s. At first the average reader saw in the Hemingway’s hero a type of person whom he could recognize with in almost a dream sense.
The present study has been made to portray the Hemingway’s heroism in the light of the tradition of hero-quest, to view him in a heroic prospective. Further it aims at portraying the mythological heroes in their search for identity, where they reflect upon the “essential facts of life,” unlike Hemingway’s quest in his hunting saga “ideals single perfect shot” shares a common narrative pattern is of much significance that goes beyond the individual work. The hero is a human being. He embodies human self-esteem. The later aspect is very strong in the so-called romantic hero, whatever may be the other aspects of his personality, is always a person with a deep sense of dignity.
Concept of Code Hero
Closely related to the concept of stoicism is the “Code Hero,” a phrase which is used to describe the main temperament in many of Hemingway’s novels. Some critics regard Santiago in the novel of Old man and the Sea, as the finest, most developed example of these code heroes.In this phrase, “code” means a set of rules or guidelines for conduct. In Hemingway’s code, the principal ideals are honor, courage, and endurance in a life of stress, misfortune, and pain. Often in Hemingway’s stories, the hero’s world is violent and disorderly; moreover, the violence and disorder seem to win.The “code” dictates that the hero act honorably in the midst of what will be a losing battle. In doing so he finds fulfillment: he becomes a man or proves his manhood and his worth. The phrase “grace under pressure” is often used to describe the conduct of the code hero.
Hemingway defined the Code Hero as “a man who lives correctly, following the ideals of honor, courage and endurance in a world that is sometimes chaotic, often stressful, and always painful.” He measures himself by how well he handle the difficult situations that life throws at him. In the end the Code Hero will lose because we are all mortal, but the true measure is how a person faces death. He believes in “Nada,” a Spanish word meaning nothing. Along with this, there is no after life.The Code Hero is typically an individualist and free-willed. He never shows emotions; showing emotions and having a commitment to women shows weakness. Qualities such as bravery, adventuresome and travel also define the Code Hero.
Ironically, the code hero can also be afraid of the dark in that it symbolizes the void, the abyss, the nothingness (nada) that comes with death. However, once he faces death bravely and becomes a man he must continue the struggle and constantly prove himself to retain his manhood.
The code hero or heroine (like Catherine Barkley) must perform his or her work well to create a kind of personal meaning amidst the greater meaninglessness. Still, life is filled with misfortunes, and a code hero is known by how he endures those misfortunes. Ultimately, the code hero will lose in his conflict with life because he will die. But all that matters is how one faces death. In fact, one should court death, in the bull ring, on the battlefield, against big fish, because facing death teaches us how to live. Along with this, the code hero must create and follow certain rituals regarding death because those rituals help us. The bullfighter must have grace and must make his kills clean. He must face noble animals. He must put on his suit a certain way. Similarly, a fisherman shouldn’t go out too far. He should respect the boundaries the fish have established for fishermen. Religion is helpful only in that it provides us with rituals. But religions are wrong when they promise life after death.
If an individual faces death bravely, then he becomes a man, but he must repeat the process, constantly proving himself, until the ultimate defeat. The Hemingway man was a man’s man. He was a man involved in a great deal of drinking. He was a man who moved from one love affair to another, who participated in wild game hunting, who enjoyed bullfights, who was involved in all of the so-called manly activities, which the typical American male did not participate in. Throughout many of Hemingway’s novels the code hero acts in a manner which allowed the critic to formulate a particular code. He does not talk about what he believes in. He is man of action rather than a man of theory.
Behind the formulation of this concept of the hero lies the basic disillusionment brought about by the First World War. The sensitive man came to the realization that the old concepts and the old values embedded in Christianity and other ethical systems of the western world had not served to save mankind from the catastrophe inherent in the World War. A basis for all of the actions of all Hemingway code heroes is the concept of death. The idea of death lies behind all of the character’s actions in Hemingway novels. When you are dead you are dead.There is nothing more. If man cannot accept a life or reward after death, the emphasis must then be on obtaining or doing or performing something in this particular life. If death ends all activity, if death ends all knowledge and consciousness, man must seek his reward here, now, immediately. Consequently, the Hemingway man exists in a large part for the gratification of his sensual desires, he will devote himself to all types of physical happiness because these are the reward of this life.
It is the duty of the Hemingway hero to avoid death at almost all cost. Life must continue. Life is valuable and enjoyable. Life is everything. Death is nothing. With this view in mind it might seem strange then to the casual or superficial reader that the Hemingway code hero will often be placed in an encounter with death, or that the Hemingway hero will often choose to confront death. From this we derive the idea of grace (or courage) under pressure. This concept is one according to which the character must act in a way that is acceptable when he is faced with the fact of death. The Hemingway man must have fear of death, but he must not be afraid to die. By fear we mean that he must have the intellectual realization that death is the end of all things and as such must be constantly avoided in one way or another. A man can never act in a cowardly way. He must not show that he is afraid or trembling or frightened in the presence of death. If man wishes to live, he lives most intensely sometimes when he is in the direct presence of death. The man has not yet been tested; we don’t know whether he will withstand the pressures, whether he will prove to be a true Hemingway man. It is only by testing, by coming into confrontation with something that is dangerous that man lives with this intensity. In the presence of death, then, man can discover his own sense of being, his own potentiality.
Capability of old Hero Santiago
Santiago the Hero Most of Hemingway‘s heroic experiences were embodied and colored his works, it is clearly that the Hemingway‘s heroic style of writing did not come from nothing, but it logically came from his real experiences, as Tony Tanner remarks ¯The dividing line between dream and reality is not so easily drawn (39-40). In Hemingway‘s literary works the line may be undulating, but it undeniably does exist. In most of Hemingway‘s early protagonists, he tried to treat the difficulties and the adversities he faced through his work, which was his life down on paper, he conferred their lives, the problems they faced; danger of being emasculated by their wive money exactly as happened for his father, sexual deviancy, and jealousy act. But, he in no way, thought, do build his later protagonist on these characteristics and move the hero in the distance till he found himself in Santiago, who shared Hemingway‘s personal virtues of endurance, determination, and the big-game‘s passion fishing. Santiago proves to all Hemingway‘s preceding heroes that the inner strength is the only key of success, because the triumph is found inside the person‘s soul which makes him reach his purposes, not in his environment. The Old Man and the Sea recounts an epic battle of wills between an experienced fisherman and a giant marlin; as he said it is the largest catch of his life. From the beginning of the heroic story till the end, we observed a humble life on an aged poor fisherman, who is living alone struggling to win livelihood from Nature and against Nature. Santiago had no fortune in fishing for too many weeks, nonetheless he goes everyday to sail and never feel self pity or gave up, he was an older but living with a youth soul full of hope and will, every day since eighty-four days he tried luck again and again. Santiago was very exact and truthful in his profession. The old man was thin and gaunt with deep wrinkles in the back of his neck. The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deep-creased scars from handling weighty fish on the cords. But none of these scars were fresh. They were as old as erosions in a fishless desert. (Ernest Hemingway the Old Man and the Sea) Santiago, in these few lines is portrayed as a famous figure, despite the hardest situation he was living in, and the cruel nature, he was precise, patient, and persevere, because he had nothing else but fishing to fill his life with. Santiago worked this craft from so early age since the scares of wounds on his skin and body. He was working skillfully struggling for his livelihood, he was a lonely man living in miserable situation, have no friends except of boy named Manolin whose parents forced him to leave Santiago‘s skiff because he is salao, or ¯the worst form of unlucky. The old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled; it looked like the flag of permanent defeat. (Ernest Hemingway the Old Man and the Sea) The hero Santiago had a single-minded determination which instilled in him a mode of self- regard; this quality permits the old man occupation in a hostile, destructive environment. Santiago was a laughing-stock in his small village, all the people around him were making fun of this good man who fights for living despite his old age. The fishermen accustomed seeing old man back empty-handed and his sail was patched with flour sacks and, furled looked as the banner of defeat, but his blue eyes that radiate a desire to challenge has always been waiting for the brightness of day victory, which proves his ability to play the big- game. His confidence was never shaken because the old age is not a convincing reason to give up on his ambition to succeed. Santiago sow the eighty-four barren day was just a short bad stage, which will end by the biggest prize. ¯Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated . Santiago was always isolated from people, but from time to time the boy came to sit with him stealthily, because Manolin cannot abandon his mentor who mastered him this craft since the age of five. They share a close friendship in spite of the age difference between them. The boy Manolin wanted to return to help the old man, but he refused because Santiago wanted the best for the boy in lucrative boat. The boy loves Santiago so much and wants to help him in any way, because during the unsuccessful period, in which the old man could not obtain the simplest food to fill his hunger Manolin‘s parent‘s forced him to leave the job with Santiago‘s skiff, however, he still caring deeply for the old man ¯Can I go out to get sardines for you for tomorrow? ¯No. Go and play baseball. I can still row and Rogelio will throw the net. ¯I would like to go. If cannot fish with you. I would like to serve in some way. ¯You bought me a beer, the old man said. ¯You are already a man. (Ernest Hemingway the Old Man and the Sea ) The boy spent most of his time alongside his mentor, talking about baseball game, their ideal DiMaggio, and Santiago‘s adventures in Africa with lions on the beach. On the eighty-fourth day, while Santiago and Manolin was talking and remembering, the days that had brought them together in fishing, they walked forward Santiago‘s humble shack, which was dominated by shades of melancholy and loneliness was dominated by shades of melancholy and loneliness. “The shack was made of the tough bud shields of the royal palm which are called guano and in it there was a bed, a table, one chair, and a place on the dirt floor to cook with charcoal (ibid 4). While they are chatting Santiago said about DiMaggio -They say his father was a fisherman. Maybe he was as poor as we are and would understand. The old man was huge admirable for this perseverance, he respected a lot DiMaggio endurance while playing, he adored him as a model of strength and commitment. Despite the painful bone spur that might have crippled another player, DiMaggio went on to safe his glorious career, ¯Eighty-five is a lucky number, the old man said. ¯How would you like to see me bring one in that dressed out over a thousand pounds? (ibid 4) By this words Santiago declared that tomorrow will be maybe his lucky day. In the evening, the boy is ready to leave his friend, and Santiago who goes to sleep believes the destiny will help him. Santiago, this hero was bombarded with misfortune after misfortune, but because he had the sense of purpose, his eye on the prize it is easy for him to trounce these internal and external conflicts, tomorrow is the high time to catch his big fish the marlin. Santiago, to be a fisherman is his heritage fate in the novella; he does not opt to be an old man, or opt to be salao, but the only decision is to fish alone, the old man summon his endurance and will in life from his unforgiving society. He ignores the jeers and pity of other fishermen, Santiago never felt himself as unlucky, never judge his old age infidelity, because if he did, he would either give up or stop fishing. The old hero took his distinct decision to go alone far in the sea, looking for the huge fish, since he always believes that the marlin is the only bridge, which can help him to proving himself, it is the basic evidence of Santiago‘s place in his town, and brings about renewal his relation with the people around him. The next morning, before sunrise, the old man goes to Manolin‘s house to wake the boy. The two friends head back to Santiago‘s shack, to bear the old man‘s gear to his boat, and drink coffee from condensed milk cans. Santiago has slept well and is confident about the day‘s diagnosis. They walked down the road to the old man‘s shack and all along the road, in the dark, barefoot men were moving, carrying the masts of their boats. When they reached the old man‘s shack the boy took the rolls of line in the basket and the harpoon and gaff and the old man carried the mast with the furled sail on his shoulder .( Ernest Hemingway the Old Man and the Sea ) The venturesome Santiago sails far away into the vast ocean, fractious the usual boundaries of his daily fishing journeys; it is a signal of his adventurous character and his craving to gain giant prize, the previous unlucky eighty-four days did not destroy his undefeated spirit as his cheerful and undefeated eyes prove. The sun was two hours higher now and it did not hurt his eyes so much to look into the east. There were only three boats in sight now and they showed very low and far inshore. All my life the early sun has hurt my eyes, he thought. Yet they are still good. In the evening I can look straight into it without getting the blackness. It has more force in the evening too. But in the morning it is painful. (ibid 11) Santiago is alone in the deep sea, very far from the other boats, despite he has only an ancient skiff without even a motor, but he reached the unusual boundaries, where he appreciated that the promised day is starting, and sooner he will meet his fatal match, his adversity. Now is the appropriate time of the old man‘s inner power and intelligence to explode.
Capability of Young Hero Nick Adams
Nick Adams is the name that Hemingway gave to the fictional persona, largely autobiographical, whom he often wrote about. Like Hemingway himself, Nick is the son of a doctor (“The Indian Camp”; “The Doctor and the Doctor’s Wife”); he relishes fishing and hunting in the northern peninsula of Michigan (“Big Two-Hearted River”). He romances a young girl named Marjorie, a summer waitress at a summer resort (“The End of Something”; “The Three-Day Blow”). He goes abroad during World War I and serves as an American Red Cross ambulance driver; he also is a courier, carrying chocolates and cigarettes to Italian soldiers on the Austro-Italian battlefront. And, like Hemingway, Nick suffers a knee wound (“In Another Country”). Unlike Hemingway, however, Nick suffered post-traumatic shock; his mind periodically seems to come unhinged (“A Way You’ll Never Be”).In all, Hemingway wrote at least a dozen stories that center around Nick Adams, and in 1972, Scribner’s published a volume entitled The Nick Adams Stories.
In each of the Nick Adams stories, Nick witnesses or is a part of some traumatic event, and Hemingway reveals Nick’s reaction to that event. For example, in “Indian Camp,” Hemingway focuses on Nick’s reaction to a young American Indian man’s slitting his throat from ear to ear after listening to his young wife scream for two days and then scream even more during Dr. Adams’ cesarean that delivers a baby boy. In “The Doctor and the Doctor’s Wife,” Nick’s blind hero-worship of his father is contrasted with our knowledge that Nick’s father has a fraudulent aspect to his character. “The End of Something” and “The Three-Day Blow” revolve around Nick’s breaking off with his girlfriend, Marjorie. Nick is not entirely happy with himself afterward; Nick’s friend Bill prodded him to break up with her, and, finally, Nick secretly rejoices that he need not be as thoroughly against marriage as Bill is: Romance and women can still be tantalizing; they need not be shackles on a man’s future success.
Nick’s stay in Summit, Illinois, in “The Killers” ends when he is forced to witness a former prizefighter calmly awaits certain death by two hired killers. When Nick was a boy, he vowed never to be afraid of death, never to be like the young American Indian husband who “couldn’t stand” life’s demands. Yet here, Nick leaves Summit. He can’t stand to remain in a town where a man lacks the courage to do battle with death even certain death.
“Big Two-Hearted River” follows Nick after he returns to Michigan from the Italian front during World War I. He takes a train to the upper peninsula and hikes to a stream where he will camp and fish and be alone, where he will slowly perform the rote motions of self-sustaining responsibilities, peeling away the trauma and the scars from his ragged, wounded spirit and newly empowering himself with the curing powers of nature’s ceremonies.
An Idealistic Hero
Ernest Hemingway was a hero in his time and he offered us a hero in each of his books. He gave us a character, a protagonist in each book who so resembles every other that we can speak of them in the singular. He himself was a colorful human being and his escapades were covered in detail in the media and through rumors. But maybe neither he nor his work is really understood and we just grasp the surface without digging into the depth of his character and his characters. For sure, I am not saying I will accomplish this, but I will share my admiration for him and his hero and maybe jog your interest a little. Scholars say that the Hemingway hero is the American hero and the American dream. I do not know, but I think it is fair to say that the Hemingway hero is there-though he is indeed not a success hero nor is he a success dream. He is more real life than most of us. In contrast to some who say he’s an anti-hero, I say he is a true hero. Hemingway would have loved their company. He thought of himself that way. We see when we read him that he is acquainted with failures and disappointments. He knows that life goes on and that nothing is what we expect, whether we survive or not. The suns also rise in the morning, with or without us.There is no simple key to the Hemingway hero-and maybe not to the American hero or American dream either. Maybe Hemingway touches the soul of this country by not simplifying life. Maybe Hemingway’s soul is like ours.
The very first short story in his first collection of stories helps us understand and undress the Hemingway myth. The book appeared in 1925 and is called In Our Time. There is an allusion in the title to a well-known phrase from the Church of England’s Book of Common Prayer: “Give peace in our time, O Lord.”At any rate, the most striking thing about the volume is that there is no peace for sale. The next most striking thing is that most of the short stories are devoted to the spotty yet careful development of a crucial, long-ignored character, a boy—later a young man, named Nick Adams. He is Hemingway’s alter ego. We follow a boyhood turning into manhood. Through the mastery of the author, a character develops and a mature consciousness emerges.
That first story, “Indian Camp,” reveals a lot about the author and his childhood. It also reveals why his life was never easy. The story is about a doctor, Nick Adams’ father, who delivers the baby of an Indian woman by Caesarian section with a jackknife. The woman’s invalid husband lies in a bunk above his screaming wife during the treatment. When it is over, the doctor looks in the bunk above and discovers that the husband who has listened to the screaming for two days has cut his head nearly off with a razor. The point for Hemingway is not the shocking events. The point is the effect of these events upon the little boy who witnessed them. As a result, Nick Adams is a badly scarred and somewhat lost young man—part of the lost generation Hemingway would give voice to later in his writing. Too many difficult things happened too soon and too deeply in his life. Listen to the beauty in the writing:
“Why did he kill himself, Daddy?”
“I don’t know, Nick. He couldn’t stand things, I guess.”
“Do many men kill themselves, Daddy?”
“Not very many, Nick.”
They were seated in the boat, Nick in the stern, his father rowing… In the early morning on the lake sitting in the stern of the boat with his father rowing, he felt quite sure that he would never die.
This is Hemingway at his best in his first published book. There’s not one word too many. He captures the moment and the reflection about that moment. He recognizes the difficult moment and through his consciousness of it he helps the reader see reality as it is. It gives us hope in overcoming and surviving this reality. Hemingway’s art lies precisely here. He does not withdraw from the ugly and fearsome reality, but in different and fascinating ways he tries to overcome and survive it. I am not saying he does; I am saying he tries.
In this collection of stories, we cannot describe Nick Adams as a successful hero. We can say he is honest, virile and very, very sensitive. This is humankind according to Hemingway. This very first story is almost too close to reality. Both his father, Dr. Clarence Edmonds Hemingway, the prototype for Dr. Adams in this novel, and Ernest Hemingway himself were destined to destroy themselves like the husband of the woman did. In 1928, Dr. Hemingway committed suicide with a pistol, and, in 1961, Ernest Hemingway blew most of his head off with a favorite shotgun. They couldn’t stand things, I guess.
The Hemingway hero dies a thousand times before he dies. He is in many difficulties before life becomes too difficult. From one point of view, the Hemingway hero challenges life all the time; from another he tries to overcome his fear all the time but does not succeed. Hemingway’s first novel is The Sun Also Rises, with the theme from Ecclesiastes chapter one, “All is vanity. What does man gain by all the toil at which he toils under the sun?” His hero this time is named Jake Barnes, one of the many Americans living in Paris during the twenties. It is a group of expatriates, a dissolute collection of amusing but aimless people. They identify themselves as the lost generation. Jake Barnes was emasculated in the war, wounded where a man is a man and thus hopelessly in love with Brett Ashley. Wounded as he is, there is not much they can do about their love. Nothing leads anywhere in the book, and that is perhaps the real point of it. Jake is a Roman Catholic. Here is a beautiful passage from when Jake enters the Cathedral:
At the end of the street I saw the cathedral and walked up toward it. The first time I ever saw it I thought the facade was ugly but I liked it now. I went inside. It was dim and dark and the pillars went high up, and there were people praying, and it smelt of incense, and there were some wonderful big windows. I knelt and started to pray and prayed for everybody I thought of, Brett and Mike and Bill and Robert Cohn and myself, and all the bull-fighters, separately for the ones I liked, and lumping all the rest, then I prayed for myself again…. [I] regretted that I was such a rotten Catholic…but anyway it was a grand religion…. (pp. 96-97)
The bullfighters are the real heroes in this book. The journalists and writers seem to be on the side of life, but the bullfighters know why they are living. A bullfighter stands before the bull every other day, and this is what counts. Jake Barnes admires the bullfighters and seems to compare his own substance of life with them. He is trapped and left with nothing in the end.
His book A Moveable Feast was written about the time he was writing The Sun Also Rises, but was published later. It is a happy book, written during Hemingway’s first marriage and at a time when he knew that he was an author after all. In A Movable Feast, he writes about sitting in a cafe in Paris every day writing his big novel, and he describes his way of doing it. He starts in the morning asking himself to write one true word, just one true word. Once he does, he is going. He quits writing in the afternoon by ending right in the middle of a sentence in which he knows exactly where he is going. That makes it easier to start the next day. Just one true word and then ending in the middle of where he knows he is going. That is the consciousness of the giant.
The title of For Whom the Bell Tolls comes from a poem by John Donne. The bell referred to is a funeral bell and the poem goes:
“And therefore never send to know for whom the bell tolls;
it tolls for thee.”
The novel is a beautiful love story between Robert Jordan and his Maria. The horizon for this love is war. Robert Jordan is an American volunteer fighting in the Spanish civil war—like Hemingway himself. Jordan falls in love with Maria, the daughter of a Republican mayor who has been murdered, and she herself has been raped. Jordan is wounded and left to die. But he has come to see some wisdom in his love for Maria and his sacrifice in the war, and this book ends without bitterness. Jordan is released in a way Jake Barnes never was. This book is a beautiful saga of love and war.
Against what horizon does our life take place? In my reading, I love the question of horizon. Robert and Maria love one another against the horizon of war, a horizon that says everything to them about substance, courage, character, and love. What is the horizon that articulates about our lives and gives them significance?
The Old Man and the Sea is a very short novel about an old Cuban fisherman earned Hemingway the Nobel Prize. After 84 days without a fish, Santiago ventures far out to sea alone and hook a giant marlin in the Gulf Stream. For two days and two nights the old man holds on while he is towed farther out to sea. Finally he brings the fish alongside, harpoons it, and lashes it to his skiff. Almost at once the sharks begin to take his prize away from him. He kills them until he has only his broken tiller to fight with. The sharks eat all but the skeleton which he tows home. Half-dead with tiredness, he makes his way to bed to sleep and dream of other days. There is reverence for life’s struggle and for humankind in this novel. It seems that in this short masterpiece Hemingway collected what was left in him. He published nothing really significant during the last nine years of his life.
Conclusion
The Hemingway hero is a man whose concepts are characterized by his view of death, that in the face of death a man must perform certain acts and these acts often involve enjoying or taking the most he can from life. He will not talk about his concepts. He is a man of intense loyalty to a small group because he can’t accept abstract things. He does not talk too much. He expresses himself not in words, but in actions. The Hemingway man is not a thinker, he is a man of action. But his actions are based upon a concept of life in a perfect manner.
– Mr. S. Regin Sam M.A., M.Phil.
Assistant Professor, Department of English, St.Jude’s College, Thoothoor.
References
1. Ernest Hemingway: (1925) In Our Time, New York: Boni and Livertight; (1926) The Sun Also
2. Rises New York: Scribner’s; (1940) For Whom the Bell Tolls, New York: Scribner’s; (1952) The Old Man and The Sea, New York: Scribner’s; (1964) A Moveable Feast, New York: Scribner’s.
3. Leicester Hemingway: (1962) My Brother Ernest Hemingway, Cleveland: World.
4. E. Hotchner: (1966) Papa Hemingway. A Personal Memoir, New York: Random House.
5. Philip Young: (1962) Ernest Hemingway, New York: Scribner’s.
6. Bloom Harold. Bloom’s Modern Critical Views Ernest Hemingway: United States of American, Chelsea House Publication, 2005
7. Bloom Harold. Ernest Hemingway’s The Old Man and the Sea: New York, Infobase Publishing, 2008.
8. Boon Alexander. Writers and their Works Ernest Hemingway: the Sun Also Rises and other works: China, Marshall Cavendish Corporation, 2008
9. Shams ishtyaque. The novels of Ernest Hemingway A Critical Study: New Delhi, Atlantic Publication and Distributors, 2002.