Final Project

During the course of the semester, we focused our energy on the life of Hemingway and others of the Lost Generation in Paris. By reading Hemingway, and other’s accounts of his life in Paris, we gained extensive knowledge of his emotional status. To open up this calmative blog post, we start with a response to the first chapter of A Moveable Feast.   

“A Good Cafe. . ."  Hemingway happens upon cafes filled with filth, wreaking of booze and fumes. Walking the withered and slanted streets of Paris is no different from his quest or documentation of finding such cafe. The streets of Paris are unique, but different in a way that London and New York City fail to resemble. Each street has a culture, an economy, and natives. Rue de Saint Denis is no different from the cesspool of rue Mouffetard mentioned by Hemingway. Fortunately for the piétons of Paris wearing white shoes, when it rains, as Hemingway has mentioned, the sadness of the city flocks indoors and the windows and doors of homes shut when the rain begins to fall. In this early introduction to Hemingway, his account of Paris left a strong impression and opened us to this foreign world in which Hemingway had just escaped to. 

In the early days of Hemingway's life in Paris, he lived with little money and an address of 74 rue Cardinal Lemoine, which instantly classified his existence in Paris as a poor one. In search of books to borrow, Hemingway nervously entered the popular library and bookstore known as Shakespeare and Company. His nerves came from the lack of money he had for a library subscription, but to his surprise, the owner, Sylvia Beach was generous, kind and most importantly, trusting. 

Hemingway recorded his first interaction with Sylvia and wrote about it immensely in A Moveable Feast. Hemingway’s first few moments in Paris really highlighted what it meant to be an expatriate and how it felt to lose, or forcefully remove your home. As Hemingway was looking for a cafe to drink and a bookstore to find books written in English, he was undoubtedly searching for something that resonated with home. 

Even in the writings of others, in regards to Hemingway, the act of searching for his American ideal existed. For example, from Hemingway's brief profile of Sylvia, an image of a bright, youthful woman with "pretty legs" and a warm heart, effortlessly defines my impression of this woman. However, in her memoirs, more specifically around the time of Nazi occupation in Paris, her actions with Hemingway begin to make sense. Before the occupation, the United States strongly urged all Americans living in Paris to return. Sylvia strongly opposed the idea, and "settled down to share life in Nazi-occupied Paris with (her) friends." Forced to comply with many of the restrictions that her Jewish friends were given, her love for Paris and culture of the French became apparent. 

It seemed that Hemingway’s admiration for Sylvia lied not only in her overwhelming trust and affection for himself, but also her strong character and opposition to returning to the States. 

To understand Hemingway’s reasoning behind leaving the United States and choosing to live a economically poor life, we must understand the generalized term given to all expatriates whom left the Sates. 

Une Génération Perdue or The Lost Generation originates from an encounter that Gertrude Stein had with her local mechanic. In A Moveable Feast by Ernst Hemingway, Hemingway recounts his conversation with Stein, where she demands that he yield to her opinion on the idea of a lost generation of people. 

The history behind the 'lost' generation stems from the generation of men and women who returned from the war (World War I). In an A&E biography of The Lost Generation, it is said from the lips of Hemingway's friend that once Hemingway returned from his tour in Europe, he felt out of place and eventually his family forced him from their home. It was mentioned that many of the men and women who served felt that no one in their homeland understood the traumas that they were faced with, leading to a complete disconnect with society. This generation of returning men and women were among the now infamous group of expat artists who are now regarded as the most influential figures in the art world of the 20th century. 

This generation of Americans who were viciously sculpted by the war, were able to escape the ignorance of their families and friends by fleeing to a place such as Paris, to reconnect with people who understood their struggles. After the conclusion of The Great War, Western Countries, specifically The United States, experienced a period of growth that could only be tamed by the complete collapse of the financial industry. 

The new methods of manufacturing relied almost entirely on the mechanization of factories and this switch from manual labor to machines is reflected in the new wave of art of this time, which was spearheaded by The Lost Generation of writers and artists living and working in Paris. Stein, Hemingway, Dos Pasos, Picasso, and others were able to coexist and cohesively create new forms of artwork due to the scars and trauma that each individual shared. For example, in the A&E biography mentioned previously, Dos Pasos is said to have come from a well-off family, but instead of relying on his families assets, he had a desire to experience what it was to create. 

Hemingway’s style of writing was undoubtedly influenced by this trauma mentioned above. Having experienced such vivid and saturated events in war, it seems that his style was a response to this. Throughout A Moveable Feast and The Sun Also Rises lie dense passages of text, where description trumps narrative. However, these descriptions lack color. When eating a meal, where many courses are involved it is customary to have a palate cleanser. This is important as to ensue that the last dish does not interfere with the next. This culinary action lends itself well when using it to describe the methods behind Hemingway. 

To conclude this post, which mainly focused on the actions of Hemingway and an attempt explain his writing style, it becomes apparent that his escape from America resulted in the creation of a new home. He was given the chance to create, but not without burdens of home. He may have felt that boarding a ship to Paris would free his creativity, but instead he brought the traumatic experiences with him and in turn was left creating works, which lacked a certain element of Hemingway’s writing style that we never had the ability to discovery. 

The Sun Also Rises #3

The last remaining chapters of the book were where drama had found its home and nestled its way in. This allowed for a unique clear view into the minds of each of the characters. With Mike's meltdown,  Cohn's abuse and revenge, and Jake's utterly hopeless admiration for his true friend, Brett. 

At the start of the article, Confession, Charity, and Community in The Sun Also Rises by Doris A. Helbig, writes that "All of the major characters in Ernest Hemingway's The Sun Also Rises move in and out of various stages of isolation,searching for acceptance and a sense of community." Immediately after reading this, a specific passage in chapter 16 came to mind. 

"We walked out across the wet grass. . . I spread the newspaper on the stone and Brett sat down. Don't feel bad, I said. I feel like hell, Brett said." 

Brett was distraught over what she had previously done to Cohn and now is confiding in Jake. As most men have experienced, including myself, it is always the worst thing when the woman you love attempts to speak of other men and doubly confusing when they ask you to pronounce your feelings. The mysteries of women are endless and it appears that Jake has found his way into one of these whirlpools, which leads straight to the bottom of disappointment. 

Jake admits his love for Brett and a large portion of that love is most likely friendship. In the beginning of chapter 14 Jake brings up his relationship to Brett. “Women made such swell friends. Awfully swell. In the first place, you had to be in love with a woman to have a basis of friendship." (page 119) These two sentences, particularly the latter gives insight into Jake's thoughts for Brett. Translated into more contextual terms, Jake has shown how he views Brett. She is a dear friend to him, however his friendship required love to be initiated. His love for her came first and he makes it clear by stating that it is love that is the basis for all that they have. Whether or not "I (Jake) had not been thinking about her side of it." (page 119)

As the book progressed it became more and more difficult to avoid the unmanning Jake faced. Two struggles also emerged, which were intertwined. The constant battle between Jake and Brett, whom have the most intimate of relationships, but also the boy's club. Jake's relationship to Brett has been explained, but there are also troubles between the men. While in Spain, the troubles blossomed, fertilized by Brett's careless nature. While Brett is being consoled by Jake, she mentions how she is unable to stop. This of course pertains to her new found love disease where the cure lies within the tight, shoe horn requiring pants that our young bull fighter wears. Mike's antisemitism flared, Cohn flexed his muscles, and Jake stooped to the level of friends. What is remarkable is the infrequent balance of the men's relationships created by Hemingway. The friendships between the men seem artificial. In the same way that Jake mentions a relationship between a woman and himself must start with love, a relationship between men usually crumbles once love has been added. 

The Sun Also Rises #2

Throughout the beginning of the second book of The Sun Also Rises, similar themes of the Lost Generation remain in the text. 

Cafés and Food: Allusions to the Great War in "The Sun Also Rises" by William Adair shines light on many of novel's partially hidden secrets. These secrets or allusions are of course the undeniable ties to the First World War that the short essay by Adair expertly points out. 

Topics recently brought up in the post entitled The Sun Also Rises #1 touched on the notion of Hemingway's influence on his characters. Previously stated, it is unlikely and most probably impossible to withhold ones experiences while writing. The article by Adair and further reading of The Sun Also Rises has solidified this argument. Hemingway's escape to Paris mimics that of his characters in his novel while his trauma of war seeps into their daily routines. 

Throughout Adair's article, examples of such seeping are explained. 

"The novel's first cafe scene, with Jake, Cohn, and Frances, comes in the brief opening chapter (pp. 14-15).4 This quarrelsome scene at the Cafe Versailles alludes to Versaillles, 1919." (page 128)

And later on "In Chapter 3, at Lavigne's restaurant, Jake, for some unstated reason, assumes that the prostitute whom he has picked up is from Liege." 

Adair continues to point out the connections between restaurants and war time events, and while it is explained more deeply, a new theory seems to emerge. It is common knowledge that one of the many reasons the Lost Generation left America was to leave behind the brutal memories of the War. However, it appears that Hemingway was unable to do so and instead instilled his memories into the actions of his characters. Adair's article has allowed for deeper insight into Hemingway at the time of writing this novel, which was previously impossible while reading his memoirs. 

To conclude, the final sentence from Adair's essay, has helped to solidify the base for argument of Hemingway's intrusion into the minds of his characters.

 "This complex, prose-poem novel is more a book of memory than has been recognized,"   

The Sun Also Rises #1

Although I am not a novelist nor a writer, it is my understanding 

that it is common practice for authors to place themselves in their

writing. Whether this is in the abstract form of subtle hints in poetry or direct carbon copies of ones self into the characters of a novel. 

Upon beginning to read The Itinerary by John Atherton, Hemingway's Jake is immediately exposed as a man who has done it all, seen it all, and rightfully acts in such manner. By starting off this class reading Hemingway's memoirs, it allowed me an obtuse angle of insight into the man behind The Sun Also Rises. While unconsciously wielding that information, this short essay by Atherton has made something quite clear. 

There is no doubt that Hemingway has placed his own ideals into Jake. Jake, the seasoned, well roasted and prepared man that has answers that others don't. Hemingway ran from the States to escape a world that he no longer related to. He chose live a life of lush poverty and write stories, which captivated others while solidifying his prestige. 

Having been his first novel, Hemingway undoubtedly felt that he must break out from the pack, and as any self centered person might, he came to the conclusion that it was his own character traits, which would make Jake the most prominent of all.

To dive more intimately into the text, there is a specific event I would like to capitalize on. On page 203 of The Itinerary, Atherton quotes from the book. 

In the one extended scene in Jake's apartment( chapter 7), the count's presence tends to "deintimatize" the setting; he transforms Jake's private space into a public bistro by orderingh is chauffeur to bring on the champagne.

The character of the Count appears to be one of mystery and I find it pressing to understand his relationship with Brett. She mentions to Jake the Count's admiration of her and asks if Jake thinks he should be sent away. It appears and is confirmed that the Count is rather fond of Brett, but does he feel like a father figure? He leaves the two alone as he goes to fetch champagne. To any man courting a women, this can be seen as an egregious mistake. Placing my bets on the Count's intelligence, his actions must only be explained by assuming that he feels like a fatherly figure. Or, he sees Jake as merely a dear friend, incapable of altering Brett's desires. If this is so, then what might be the motivation behind this comment? 

"You are very nice people, he said. . . " "Why don't you get married, you two?" p50

In attempting to conclude my hypothesis of the Count, I feel as though I am unable to do so. I am torn between the two roads. Left, he is merely acting as a father figure, or right, he feels as though Jake is inferior. 

"Equal" in Paris

While heading into these readings with knowledge I have newly obtain in class, it lends itself well to picking apart these essays and building an understanding of the James Baldwin's 'perspective' on expatriates. 

In James Baldwin in Paris: Exile Multiculturalism and the Public Intellectual by Lloyd Kramer, Kramer begins the essay with an introduction to the parallel movement of creatives from Europe to America and America to Europe. Much spoken about in our class discussions, The Lost Generation of Paris had a tremendous impact on the art world. So much so that they even have classes today that only cover their works. However, The Lost Generation represented only a fraction of a fraction of the American population, with individuals who were primarily male and white. 

Unbeknownst to myself, there was another so called Lost Generation of expats who lefts the states in order to flee persecution. Kramer states that during the times of the Cold War, many African American's left for Paris,approximately 500, which greatly outnumbers the previous generation of lost individuals. 

Later on this essay, Kramer writes of the "hybridity" of America as opposed to the "melting pot," which many Americans, including myself view our Country. By using the logic behind the term hybridity, it explains how American's and Britons are able to claim such creatives for themselves. Hemingway, Fitzgerald, and John Dos Passos are in no way, to the general American public considered to be French writers. We claim them for ourselves, yet much of their creative years were spent as expatriates of The United States, trying to flee the troubles of a post Great War era. 

Moving on to the writings by James Baldwin, Equal in Paris starts with a wonderful scene in a cafe where Baldwin is sitting down, successfully avoiding the atmosphere of his hotel. While he is sitting, a man from back home recognizes him. Entirely understandable, they quickly act as though they are great friends, as Baldwin mentions, happening upon an acquaintance in a far away land makes for fast friends. In the first moments of their conversation, the traveler describes his horrible hotel, the untrustworthy owner and the whore of a wife. Baldwin comments on the absurdity of his claims and fails to even consider the possibility that his claims lay true. It is in this first interaction between the two that I am able to see Baldwin's perspective on the French as well as his idea of the American. 

Baldwin moved from Harlem to Paris in order to escape the impossible choice between battling racism in the States or ending up like his Stepfather, who slowly, or quickly, fell into a mental and physical state of disrepair. However, as Baldwin struggled to cram his way into French society, the struggles seem to be endless and as most problems, revolve around money. It appears that was stuck between two classes of people, which greatly limited those he could call acquaintances. 

In the last and final short essay of this week, Langston Hughes writes about his first day in Paris. Immediately Hughes is overjoyed and overwhelmed by his surroundings. He ends up in Louvre and after a visit, he is hungry and tired. He also feels lonely. As a newly crowned expat, it interesting, but unsurprising that the first people he seeks help from are American's, but also black. Unbeknownst to me, I can surmise that Hughes reasons for departing the States are similar to Baldwins. If that is the case, then it seems quite ironic that Hughes may fall back into his ways instead of starting Fresh in Paris. I know from my own experiences in Paris that when I see someone or a group of people that are Americans, and for purposes of this article, also white, I tend to shy away from them. I came to France for a different experience and although I am a frustrated creative fleeing from the confines of the American institution, I still find myself unable to understand the difficulties that such creatives as Hughes and Baldwin faced.  ((DRAFT))

Fitzgerald - The Ultimate Expat

After solely focusing on Hemingway and writers alike it was quite interesting to read Fitzgerald. I have read very little of his work in the past and I was surprised when I read the except Babylon Revisited.

I could not help myself, but compare Hemingway to Fitzgerald. This was quite easy of course. I had grown accustom to Hemingway's blasé narratives that required little attention to comprehend. 

The except is filled with emotion and I enjoyed the brevity of the writing. I was able to enter into the narrative of Charlie without much trouble and in less than 10 pages I felt engrossed. 

Something else worth noting is the difference in descriptive words used when speaking about Paris. As Charlie walks along the quay he takes note of the light and the observation feels organic. The though process behind Charlie feels more relatable than Hemingway. 

Taking a quick break from the comparisons of authors, the expat in Paris appears again in writing. The topic of Americans in Paris surfaces briefly in the story and sheds light on what it is to be an expat in Paris. It seemed from short snippets of dialog that the expats in this except were troubled when in the presence of other Americans and felt at piece when they were among the French. It must be a curious world to live between two societies. After living in Paris for 4 months, I continue to feel like an outsider, which is primarily due to the language barrier. However, I hear stories of partially fluent Americans who speak in French, but are answered in English. As an expat, one must feel alone, which of course explains their desire to mingle with their own kind. 

Lastly, there was a key difference between the writings of Hemingway and Fitzgerald. In Babylon Revisited the topic of expatriates was far less highlighted. It felt more like an undertone in the story rather than the topic. 

Ford Madox Ford

While reading the short piece entitled A Paris Letter by Ford Madox Ford, his infamous use of the unreliable narrator adds a level of complexity to the story, yet simplifies it. 

While making observations of Paris or the Parisians which reside in the city,  it can become quite easy, and almost natural to fall into the style of an unreliable narrator. It is highly unlikely that you posses the proper credibility to make judgments about the city, its inhabitants, or visitors, yet we do so anyways. It is an extremely natural way in which to observe your surroundings, and allows you to connect with your environment. 

In the context of this piece, the style of writing leads to the polarization of its readers. It is hard not to take notice of his labeling, such as "The musicians begin to be a little noisy. . .," "Next come, bracketed equal, the architects and sculptors. . ."and "The painters are never silent, individually or in groups."

 
As a student studying in Paris for less than half a year, it requires little effort to relate to short descriptive passages within the story. As mentioned above, the labeling in Ford's word is frequent and this method of comprehending your surroundings is likened to my method. However, the conclusions I swiftly draw such as Ford's narrator are replaced by deeper thoughts that yield different results. 

For example, there are specific cafes in Paris that cater to the start-up culture, which has exploded in the last decade or so. Specifically a cafe named Numa, which is located not far from the abhorrent Rue Saint Denis. After spending fewer than 10 minutes inside the cafe, I took note of the overly confident customer, who was indeed partaking in his own start-up venture. If I were to start my own version of A Paris Letter, it would undoubtedly go like this:

And now we lift the weighted top of the beehive off and peer into its belly. The start-up bees with honey flowing from their mouths destroy their weaker kin and look down upon anyone who fails to yield such high intelligence.  They know no rights and no wrongs.

However, if I were to reconsider my thoughts and ponder on such ideas, I would understand that such rigid definitions of culture rarely exist except in worlds that revolve around the quick and minuscule decisions that we as humans make on our first observation of humanity. 

Proudly placing myself in the group of brief Parisians who find the historical romanticism of the city to be false, I find that I am able to better discern where such fallacies stem from. It appears to me that the use of the unreliable narrator finds no better home than in the description of Paris.