A Clean, Regenerate Poem

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She says: "You know it makes one feel rather good deciding not to be a bitch It's sort of what we have instead of God. World War I was a watershed for Hemingway and his generation. As an ambulance driver in the Italian infantry, Hemingway had been severely wounded. The war experience affected him profoundly, as he told Malcolm Cowley. According to Max Westbrook they "awake to a world gone to hell. World War I has destroyed belief in the goodness of national governments. The depression has isolated man from his natural brotherhood.

Institutions, concepts, and insidious groups of friends and ways of life are, when accurately seen, a tyranny, a sentimental or propagandistic rationalization. They were dominated by an atmosphere of Gothic ruin, boredom, sterility and decay," John Aldridge wrote. Omnipresent violence is a fact of existence, according to Hemingway. Even in works such as The Sun Also Rises in which violence plays a minimal role, it is always present subliminally—"woven into the structure of life itself," William Barrett remarked.

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In other works violence is more obtrusive: the wars in A Farewell to Arms and For Whom the Bell Tolls, the hostility of nature which is particularly evident in the short stories, and the violent sports such as bullfighting and big game hunting that are portrayed in numerous works. His overriding theme is honour, personal honour: by what shall a man live, by what shall a man die, in a world the essential condition of whose being is violence?

However, Leo Gurko remarked that "the motive behind Hemingway's heroic figures is not glory, or fortune, or the righting of injustice, or the thirst for experience.

They are inspired neither by vanity nor ambition nor a desire to better the world. They have no thoughts of reaching a state of higher grace or virtue. Instead, their behavior is a reaction to the moral emptiness of the universe, an emptiness that they feel compelled to fill by their own special efforts. As William Barrett asserted: "It is always played, even in nature, perhaps above all in nature, according to some form. The violence erupts within the patterns of war or the patterns of the bullring. Santiago in The Old Man and the Sea cannot understand why he must kill the great fish he has come to love, Burhans noted.

Hemingway described Santiago's confusion: "I do not understand these things, he thought. But it is good we do not try to kill the sun or the moon or the stars. It is enough to live on the sea and kill our brothers. In its lucid spaces, a vision of archetypal unity reigns. Opposite forces obey a common destiny; enemies discover their deeper identity; the hunter and the hunted merge. The matador plunges his sword, and for an instant in eternity, man and beast are the same.

This is the moment of truth, and it serves Hemingway as symbol of the unity which underlies both love and death. His fatalism, his tolerance of bloodshed, his stoical reserve before the malice of creation, betray a sacramental attitude that transcends any personal fate. What he truly fears is nada the Spanish word for nothing -existence in a state of nonbeing. Hemingway's characters are alone. He is not concerned with human relationships as much as with portraying man's individual struggle against an alien, chaotic universe.

His characters exist in the "island condition," Stephen L. Tanner has noted. He compared them to the islands of an archipelago "consistently isolated [and] alone in the stream of society. While it is ostensibly a political novel about a cause that Hemingway believed in fervently, critics such as Alvah C. Bessie were disappointed that Hemingway was still concerned exclusively with the personal. For the author is less concerned with the fate of the Spanish people, whom I am certain he loves, than he is with the fate of his hero and heroine, who are himself For all his groping the author of the Bell has yet to integrate his individual sensitivity to life with the sensitivity of every living human being read the Spanish people ; he has yet to expand his personality as a novelist to embrace the truths of other people, everywhere; he has yet to dive deep into the lives of others, and there to find his own.

Indeed, the individual vanishes in the political whole, but vanishes precisely to defend his dignity, his freedom, his virtue. In spite of the ominous premium which the title seems to place on individuality, the real theme of the book is the relative unimportance of individuality and the superb importance of the political whole. Leslie A. Fiedler has noted that he is only really comfortable dealing with men without women. His women characters often seem to be abstractions rather than portraits of real women.

Often reviewers have divided them into two types: the bitches such as Brett and Margot Macomber who emasculate the men in their lives, and the wish-projections, the sweet, submissive women such as Catherine and Maria in For Whom the Bell Tolls. All of the characterizations lack subtlety and shading. The love affair between Catherine and Frederic in A Farewell to Arms is only an "abstraction of lyric emotion," Edmund Wilson commented.

Fiedler complained that "in his earlier fiction, Hemingway's descriptions of the sexual encounter are intentionally brutal, in his later ones, unintentionally comic; for in no case, can he quite succeed in making his females human If in For Whom the Bell Tolls Hemingway has written the most absurd love scene in the history of the American novel, this is not because he lost momentarily his skill and authority; it is a give-away—a moment which illuminates the whole erotic content of his fiction.

A Clean, Regenerate Poem

Cummings , and John Dos Passos. These expatriates and the whole generation which came of age in the period between the two world wars came to be known as the "lost generation. In A Moveable Feast he wrote that being lost is part of the human condition—that all generations are lost generations.

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Hemingway also believed in the cyclicality of the world. As inscriptions to his novel The Sun Also Rises, he used two quotations: first, Gertrude Stein's comment, "You are all a lost generation"; then a verse from Ecclesiastes which begins, "One generation passeth away, and another generation cometh; but the earth abideth forever The belief in immortality is comforting, of course, and Hemingway evidently found comfort in permanence and endurance.

According to Steven R. Phillips, Hemingway discovered permanence in "the sense of immortality that he gains from the otherwise impermanent art of the bullfight, in the fact that the 'earth abideth forever,' in the eternal flow of the gulf stream and in the permanence of his own works of art. He is dying as the year is dying. He is fishing in September, the fall of the year, the time that corresponds in the natural cycle to the phase of sunset and sudden death Yet the death of the old man will not bring an end to the cycle; as part of the sea he will continue to exist.

But due to his great recuperative powers he was able to rebound from these hardships. He made a literary comeback with the publication of The Old Man and the Sea, which is considered to be among his finest works, and won the Pulitzer Prize for Fiction in In he was awarded the Nobel Prize for Literature.

But the last few years of his life were marked by great physical and emotional suffering. He was no longer able to write—to do the thing he loved the most.

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Finally Hemingway could endure no longer and, in , he took his own life. Written in while Hemingway was in Spain on commission for Life magazine, The Dangerous Summer describes the intense and bloody competition between two prominent bullfighters. The Garden of Eden, a novel about newlyweds who experience marital conflict while traveling through Spain on their honeymoon, was begun by Hemingway in the s and finished fifteen years later. While interest in these works was high, critics judged neither book to rival the thematic and stylistic achievements of his earlier works, which have made Hemingway a major figure in modern American literature.

The fifth of Hemingway's posthumous publications, a self-termed fictional memoir titled True at First Light , was released on July 21, to coincide with the th anniversary of his birth. The book, edited by Hemingway's middle son, Patrick, and pared down to half the length of the original manuscript, recounts a Kenyan safari excursion that Hemingway took with his fourth wife, Mary, in Kenneth S.

Lynn, writing for the National Review , pointed out that "Ernest Hemingway's name is on the cover, but the publication of True at First Light is an important event in celebrity culture, not in literary culture. For the grim fact is that this 'fictional memoir'. New York Times critic Michiko Kakutani commented, "As in so much of Hemingway's later work, all this spinning of his own legend is reflected in the deterioration of his prose. What was special—and at the time, galvanic—about his early writing was its precision and concision: Hemingway not only knew what to leave out, but he also succeeded in turning that austerity into a moral outlook, a way of looking at a world shattered and remade by World War I.

His early work had a clean, hard objectivity: it did not engage in meaningless abstractions; it tried to show, not tell. While Hemingway's physical and mental deterioration, toward the end of his life, rendered his final wishes for unpublished works unclear, many critics have objected to the posthumous "franchise" of his deepest failures, novels that he, himself, abandoned.

James Wood offered the observation that True at First Light 's lack of substance may serve "as a warning to let Hemingway be, both as a literary estate and as a literary influence. As Tom Jenks pointed out in a review for Harper's , "Hemingway's own belief was that in a writer's lifetime his reputation depended on the quantity and median of his work, but that after his death he would be remembered only for his best.

The collection contains 3, photographs, 9, books, and 3, letters, and will be available on microfilm at the John F. Kennedy Library in Boston, Massachusetts. Efforts to gain access to the collection were led by Jenny Phillips, the granddaughter of Maxwell Perkins, Hemingway's long-time editor. Prose Home Harriet Blog.

enter site Visit Home Events Exhibitions Library. Newsletter Subscribe Give. Poetry Foundation. Back to Previous. Ernest M. Poems by Ernest M. Related Content. Collections World War I Poets. Articles From Paris, with Love and Terror. More About this Poet. Poems by This Poet Related Bibliography. The Age Demanded. Along with Youth. Chapter Heading. Appeared in Poetry Magazine. Neo-Thomist Poem. Oily Weather. Riparto d'Assalto. Show More. World War I Poets. From Apollinaire to Rilke, and from Brooke to Sassoon: a sampling of war poets. Read More. From Paris, with Love and Terror.

By Nathan Scott McNamara. Cape, , reprinted, Scribner, Cape, Schweitzer, Scribner, The Old Man and the Sea, Scribner Islands in the Stream, Scribner, The Garden of Eden, Scribner, Men Without Women, Scribner, Winner Take Nothing, Scribner, Cape, also see below. Howell, Scribner, Death in the Afternoon nonfiction , Scribner, Savage Cleveland, Ohio , The Spanish War monograph , Fact, Voyage to Victory, Crowell-Collier, Two Christmas Tales, Hart Press, A Moveable Feast reminiscences , Scribner, Collected Poems, Haskell, Are all memories worth to be.

Regeneration by Pat Barker The war in 'Regeneration' is explored 'back home'. Rather than portraying the war in terms of fighting on the frontline in the battlefields of France, Barker demonstrates the effects on the soldiers 'back home', both physically and mentally. The soldiers are those who have been injured, shell-shocked, or had a breakdown and are being treated with the intention of sending those who are able, back to France or at least resuming some kind of war duties.

The war. The two books that I am analyzing is Pat Barker 's Regeneration, which is focused on a mental institution and how soldiers deal with shell shock and many other internal struggles.

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You would wish long and long to be with him, you would wish to sit by him in the boat that you and he might touch each other. All were originally from Sweden and part of a set that included a foot Orpheus playing music in the center. You can read the complete poem here. See section 3.

The second poem features a grandfather too, but this granddad is the proud forefather of a female. Link here for a version easier to read than my photograph. The creepiness of the picture below was not intentional. I was aware it might seem creepy to photograph strangers getting their hair cut, so I left the poem where I would not be noticed which happened to be under the gaze of this creepy fellow:. Because there is nothing creepy and everything beautiful about a grandfather seeing his baby granddaughter for the first time.

He thinks forward to the years ahead, imagines her growing up and growing apart from him. He leaves her two gifts, this poem and his love which, in the great tradition of poems and in the sacred nature of love, live on forever. Oh my heart! Is there anything more comforting than that? To be looked upon and loved while you sleep? I think of my father checking on us in our beds nearly every night. I think of how many fathers have done, do now, and will do.

June 3, by poemelf.

Examine and compare the ways in which Pat Barker in Regeneration and

Young love is sweet to behold, sweeter and sweeter as I grow older. Back to the Poem-Elfing, which took place at a family wedding last weekend in Washington, D. I gave poems to the bride and groom as they got ready. All three poems have been posted here before but they suited this occasion so well I make no apology for the recycling.

I happened upon the groom in the parking lot, pre-tux.


I handed him a favorite little love poem and gave him a rushed explanation of why I wanted to take his picture with it. May 16, by poemelf. Still, I love this poem, the whimsy, the humor.