(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com:]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally.)The CCLaP 100: In which I read a hundred so-called "classics" for the first time, then write reports on whether or not they deserve the labelBook #17: A Farewell to Arms, by Ernest Hemingway (1929)The story in a nutshell:Published in the late 1920s, right when Modernism was first starting to become a commercially successful form of the arts, A Farewell to Arms is Ernest Hemingway's wry and cynical look at World War I, the event that most defined not only his generation but also the beginning of the Modernist movement. Semi-autobiographical in nature, the book tells the story of Frederic Henry, known to most as "Tenente" (Italian slang for "Lieutenant"), a young and gung-ho American who couldn't get accepted by the American military during the war, so volunteered to be an ambulance driver for the Italian army instead. One of the first of Hemingway's tales to define the stoic "man's man" he would eventually become known for, the novel basically follows Tenente through a series of thrilling escapades, made even more interesting because of the main character not seeing them as thrilling at all -- nearly having his leg torn off while at the front, saving a man's life, escaping execution by diving off a bridge, a rowboat ride to Switzerland in the middle of the night while fleeing a group of pursuers, and a whole lot more.Like I said, though, Hemingway's point here is not to glamorize war, but rather to highlight the mundane aspects of it all; the endless red tape, the weasely things people do to get out of actual work, the BS conversations that are always taking place among soldiers, all of them arguing over how the war is going but none of them actually possessing any factual information. At the same time, though, A Farewell to Arms is about the monstrous developments of World War I in particular, the very first large war to be fought during the Industrial Age, and therefore capable of inflicting so much more carnage than anyone thought possible. (For example, the brand-new European railway system is heavily featured throughout the book, and especially the fact that in a half-day's ride, you could go literally from the battlefront to a five-star luxury hotel, something that had never been possible before WWI.) Oh, and if all this wasn't enough, Hemingway throws in a love story too, a complicated one featuring a complicated woman, one that has been a source of heated interpretation since the book first came out 79 years ago.The argument for it being a classic:There seems to be two main arguments for this being a classic, one based on the author and one on the book itself. Because the fact is that Hemingway is considered by many to be one of the most important novelists in the history of that format, a fabled "High Priest of Modernism" who taught all of us to think in a punchier, shorter way, and with this mostly being for the better for the arts in general. Because let's not forget, a mere twenty or thirty years before this book was first published, it was actually the flowery and overwritten Victorian style of literature that dominated the publishing industry; and as we've all learned throughout the course of this "CCLaP 100" essay series, although Victorian literature certainly has its charms and inherent strengths, it's also a whole lot of talking to say not much at all, a situation that was starting to drive artists crazy by the time the 20th century got into swing. Hemingway, fans claim, was the first Modernist to really bring all the details together in a profoundly great way -- the first to combine the exciting rat-a-tat style of pulp-fiction writers with the weighty subjects of the academic community, producing work that owes as much to Raymond Chandler as it does to Virginia Woolf but is ultimately much better than simply reading those two authors back-to-back. And by making its subject World War I, fans say, Hemingway here turns in yet another great document of those times that the early Modernists were known for -- from The Great Gatsby to All Quiet Among the Western Front, it's hard for us to even think of the artists from the "Jazz Age" or "Lost Generation" or whatever you want to call it, without thinking of this globe-changing event that was so in the middle of it. There's a good reason, after all, that many consider A Farewell to Arms one of the greatest war novels of all time.The argument against:Of course, there are others who can't even hear the words "Ernest Hemingway" without automatically shuddering, again for a variety of reasons that even most of his fans admit hold at least some weight -- because he is overrated by the academic community, because his personal style is a hackneyed, easily parodied one, because his "man's man" shtick got real old real fast, because it's now inspired three generations of a--holes (and counting) to want to be bull-fleeing, cigar-smoking woman-haters too. At its heart, its critics say, A Farewell to Arms is an interesting-enough little ditty, mostly because Hemingway himself had some interesting little experiences during the war that he basically cribbed wholesale for the book; but then this story is covered with layer after layer of bad prose, macho posturing, and aimless meanderings that get you about as far away from a traditional three-act novel as you can possibly get. With Hemingway and his critics, it's never a case of "it's a good enough book but shouldn't be labeled a classic;" those who dislike him really dislike him, and wish to see his work removed from academic reading lists altogether. "classic" label or not.My verdict:So let me embarrassingly admit that this is actually the very first book by Hemingway I've ever read, and that I was hesitant going into it because of just the overwhelming amount of bad stuff that's been said about him over the decades; to be truthful, I was half-expecting a parody of Hemingway at this point, all little words and nonsensical sentences and dudes treating girls kinda like crap most of the time. And yes, the book does for sure contain a certain amount of all this; but I was surprised, to tell you the truth, by how how tight, illuminating, fascinating and just plain funny A Farewell to Arms turned out to actually be. Wait, funny, you say? Sure; I dare you not to laugh, for example, during the scene when a huge argument breaks out between two Swiss border guards over which of their two hometowns boasts better winter sports. ("Ah, you see? He does not even know what a luge is!") This is what makes it such an intriguing novel about war, after all, because Hemingway expertly shows just how many surreal moments there are during times of war as well, that "war" doesn't just mean the two lines of soldiers facing each other at the front but also an entire region, an entire industry, an entire population. Hemingway's World War I is not just seen from the smeared windshield of a battlefront ambulance, but from bored soldiers getting drunk in a quiet bunker, from weary villagers hoping there will be at least something left of their homes after the war is over, from armchair pundits recovering in crumbling veteran hospitals, arguing over which complicated international treaty sunk them all and which is going to save them. It's an expansive, multi-facted, sometimes highly unique look at a wartime environment, one that at least here in his early career (he published this when he was 30) belies all the complaints that have ever been made about his hackneyed personal style.And as far as that love story in the middle of it all, and the repeated complaints about Hemingway's characters all being misogynists...well, maybe it was just me, but I found his Catherine Barkley to be the very model of a modern independent woman (or at least modern and independent in 1920s terms), a fiercely intelligent and cynical creature who expects the same from her lovers, even while realizing that such a man is destined to either die in the environment they're currently in, or survive just to become a bitter, angry a--hole later in life. The way I see it, Catherine is simply trying to make the best of a bad situation; she needs love and intimacy in her life as much as anyone else, and especially in her role as a risk-taking, thick-skinned nurse just a few miles from the battle's front, but also understands that Tenente is destined to befall one of the two fates just mentioned, thus explaining the curious push/pull emotions she has towards him and the way she treats him throughout the novel. It's a surprisingly sophisticated relationship at work, the same thing that can be said of the novel in general; I don't know about the rest of Hemingway's work (yet, anyway), but at least A Farewell to Arms turned out to be a surprisingly cracking read, not only a definite classic but just an all-around amazing book in general. It comes highly recommended today.Is it a classic? Yes
I feel like awarding the great Hemingway only two stars has officially consigned me to the seventh circle of literary hell. But I must be honest. By this website's criteria two stars indicates that a book is "okay" - and to me that describes this work perfectly.Hemingway himself is undeniably gifted. I love his succinct style (though at times it degenerates to downright caveman-speak), his honest diction and his wonderful sense of humor. That being said, he gets away with utterly ignoring most rules of writing - which I admire at times, but let's face it, some of those rules are there for a REASON. This book is overflowing with extreme run-on sentences, constant use of qualifiers (I think "very" might actually be his VERY favorite word), adjectives (even NOUNS!) used four or five times in the same paragraph, and long stretches of dialogue involving more than two speakers with absolutely no indication of who is saying what (if I hadn't been reading a library book, I would have color-coded the darn thing!) And besides style, the story itself just didn't grab me. I didn't give two farts about the self-absorbed, unthinking, unfeeling protagonist or his codependent, psychologically damaged doormat of a girlfriend. This is NOT a love story. In fact, I feel sorry for anyone who thinks it is. Men who hate women are incapable of writing love stories. And for the life of me, I can't derive a theme - or even a general POINT - to this book... unless mayhap it is "stupid, senseless tragedy happens sometimes to people you don't care about." I did feel like crying several times while reading, though... but only because of the mention of alcohol on almost every page of text... I could literally HEAR Hemingway drinking himself to death. It broke my heart.CRAP WE LET HIM GET AWAY WITH BECAUSE HE'S HEMINGWAY:"We walked to the door and I saw her go in and down the hall. I liked to watch her move. She went on down the hall. I went on home. It was a hot night and there was a good deal going on up in the mountains. I watched the flashes on San Gabriele. I stopped in front of the Villa Rossa. The shutters were up but it was still going on inside. Somebody was singing. I went on home." (FOR THE LOVE WILL SOMEBODY HELP THIS GUY GET HOME????)"I came up onto a road. Ahead I saw some troops coming down the road. I limped along the side of the road and they passed me and paid no attention to me. They were a machine-gun detachment going up toward the river. I went on down the road." (FOR THE LOVE WILL SOMEBODY HELP THIS GUY GO ON DOWN THE ROAD???)And now that I've slammed him so hard, here is a glimpse at the genius that allows him to get away with it all.FAVORITE QUOTES:"If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.""They were beaten to start with. They were beaten when they took them from their farms and put them in the army. That is why the peasant has wisdom, because he is defeated from the start. Put him in power and see how wise he is.""The coward dies a thousand deaths, the brave but one... Who said it?... He was probably a coward. He knew a great deal about cowards but nothing about the brave. The brave dies perhaps two thousand deaths if he's intelligent. He simply doesn't mention them.""Life isn't hard to manage when you've nothing to lose.""I was blown up while we were eating cheese."AND MY FAVORITE SCENE: (His friend Rinaldi begins the dialogue)"Loan me fifty lire."I dried my hands and took out my pocket-book from the inside of my tunic hanging on the wall. Rinaldi took the note, folded it without rising from the bed and slid it in his breeches pocket. He smiled, "I must make on Miss Barkley the impression of a man of sufficient wealth. You are my great and good friend and financial protector.""Go to hell," I said.
What do You think about A Farewell To Arms (2015)?
(Spoilers ahead.)THE DOUBLE DATEDramatis Personae:Henry, protagonist of A Farewell to Arms, ex-soldier.Catherine, wife of Henry, an ex-nurse for wounded soldiers.Michael, book "reviewer," handsome and devilish rogue.Joy, Michael's wife. She'll cut a bitch.The Waiter, self-explanatory.Distressed Customer #1, Only has one line.Dying Man, just proposed to his girlfriend.Dying Man's Fiance, happy, but frightened her dude will croak before they tie the knot.Harold Bloom, asshole.SCENE 1: The DateCatherine: Oh, Henry, I do so love you, and I hope you don't tire of me. I'm going to do my best to be a good wife for you. I am doing well, aren't I?Henry: You couldn't be doing better, my love. I can't imagine what I'd do without you. Joy: Pardon me while I puke under the table. Michael: Try not to get any on my shoes.Waiter: Could I interest you in any appetizers?Michael: Sure. What kind of animals are in your sausage?Waiter: Ummm . . . I'm not sure, but I can check. Joy: No, don't worry about it; we'll have the queso dip. Catherine: Order for me, Henry, I want whatever we choose to please you. Henry: Okay. We'll have two more bourbons and the chicken fingers.Joy: *looking at Catherine, makes whipping noise, and does the accompanying arm gesture.* Catherine: What does that mean? That thing you just did?Joy: Thing I just did? Whatever do you mean? Catherine: You went. . . *makes whipping noise, does the accompanying arm gesture*Joy: I most certainly did not, and I don't know what something like that would mean.Catherine: Well, I'm confident I saw you do it.Joy: I had a thing on my arm. I was shaking it off. Maybe I sneezed at the same time, I can't remember.Henry: It was good of you to invite us on this double date. I've just returned from the war, and I'm glad to be out with friends again.Michael: Don't mention it, Henry, it's my pleasure. I always like having dinner with fictional characters. How is the war going?Henry: Not so well. It's over, actually, and Italy lost. The two of us are living in Switzerland now, getting ready for the baby. Michael: How long will it be? Joy: That's what she said.Michael: *punches Joy in the arm*Joy: *Slaps the side of Michael's head*Henry: Another two weeks. We can't wait. Catherine: We're simply dying for the baby to be born. Joy: *Whispering* Well, that was tasteless.Catherine: What did you say?Joy: Oh, nothing.Catherine: *glaring at Joy* I get the feeling you truly don't like me, Joy. What on earth did I do to you?Joy: You're just so fucking submissive, Catherine! How do you ever expect to be happy if Henry never gets to know the real you?Catherine: What do you mean, the real me? He knows I was a nurse during the war, and that I love him . . . what else is there to know? Michael: But don't you have any hobbies? I mean, do you like French movies? Do you like gardening?Henry: Wait a minute. Why would you require a greater depth of character from my wife than you get from me? I'm not an especially complex person, either.Michael: Well, not especially, but we know you have a fetish for sports, and you dig fishing and stuff. So, that lends a greater realism to your personality than Catherine has.Catherine: *blushing* This is hardly polite conversation.Joy: Sorry, Catherine, but you asked.*The waiter delivers appetizers. They begin eating.*Michael: This is good queso. Good choice, babe.Joy: As usual.Michael: So, you two read any good books lately?Henry: *ignores Michael's question* I object to the way you're talking about my wife. She might not be the most complex person, but she's still admirable: like my own sacrifice--fighting in the war--Catherine is going to make a great sacrifice when. . . well, you know.Catherine: What?Henry: Nothing, dear. Joy: AAAH, so YOU make a sacrifice by voluntarily going off to war. She makes a sacrifice by getting knocked up and dying during childbirth. You defend the country and come home safely, while she dies trying to poop out a baby. Catherine: What? I die during childbirth?Henry: I thought we weren't going to talk about that. Michael: Well, it IS kinda the elephant at the dinner table. Henry: We both show equal courage in the face of hopeless adversity, and neither one of us have a false sense of optimism!Harold Bloom, from the next table over: I'm sorry, but NOBODY would say that. That's just bad dialogue.Michael: Fuck off, Harold. Go find some Dickens to stroke off to.Harold: Well, I never. . .Joy: Yeah. Go pick your wick. And, in response to your unrealistic dialogue, Henry, here's what I think: she might be brave, but she only does three things, really: take care of wounded men, love a man, and have a baby. You and half the lit crits in the world can try to convince yourself that she's a 'feminist' character in some context, but it's like when Intelligent Design people try to re-explain scientific findings so they'll agree with a predetermined worldview.Michael: THAT'S realistic dialogue. Henry: Oh, god, do we have to talk about politics?Catherine: Why not? We've already talked about how I'm going to f______ die!Michael: It's the year 2010 now. You don't need to censor your swearing anymore.Henry: Good. You two are cocksuckers.Michael: Do you wanna walk out of here or get carried out, soldier boy?Henry: Try me. Just try me.Distressed customer #1, from across the restuarant : Help! Help! Is there a cynic in the house?*All four characters raise their hands.*Michael: I've been waiting my whole life for that to happen.*Henry rushes toward the distressed patrons, but Joy trips him and pushes him down. The other three rush over to find a customer hyperventilating on the floor.*Dying Customer's Fiance: He just proposed to me, and when I said yes, he started hyperventillating! I think he's on the verge of dying from sheer happiness!Michael: What is this world coming to?Catherine: Don't be so happy. You'll inevitably give away your youth, vigor and passion as a sacrifice for the generation coming after you. And YOU *pointing at the fiance* just be careful about using birth control. Joy: *crouches over the dying man* And, anyway, women are genetically designed to seek out other potential mates once they've found a man to take care of their children, so she'll probably cheat on you with every bad boy she meets.Michael: Not to mention, even if things somehow work out, what do you have left? Fifty, sixty years? And that's counting all those shitty years, where one of you will be living in a nursing home and dragging around a colostomy bag, wondering why the hell your grandkids aren't visiting. And that's the LUCKY one of you who doesn't die first. Honestly, buddy, you're probably gonna die in your mid-seventies, then SHE'LL head off to the nursing home, and maybe meet some hot old guy who she had an affair with twenty years ago, get remarried, and that old fucker will inherit all your money. Dying Man: *stops hyperventillating, starts crying*Dying Man's Fiance: Thank you so much! You saved him! Dying Man: I'm not sure this marriage is a good idea.SCENE 2: AwakeningMichael: *Wakes up with a start* Wow. That was a weird dream. Even weirder than the one where I was obsessed with buying Hot Wheels cars.Joy: *Wakes up with a groan* Shut up or leave the bedroom.Michael: *Rolling over.* If you were nice all the time, I don't think I could handle it. Joy: Don't worry; I won't be. Michael: Goodnight.Joy: 'Night.*Michael and Joy fall back asleep.*
—Michael
"The coward dies a thousand deaths, the brave but one?""Who said it? (...) He was probably a coward. He knew a great deal about cowards but nothing about being brave. The brave does perhaps two thousand deaths if he's intelligent. He simply doesn't mention them."I made the singularly bad mistake of reading this book immediately after I read All Quiet on the Western Front, and if I hadn't this 3.5 stars rating might be higher.I was so excited to read a Hemingway novel for the first time, I jumped right into "A Farewell to Arms" expecting to love it. I didn't. It is undoubtedly written in a remarkable prose, raw yet lyrical, but despite being set in Italy during World War I it had little to describe about the inner and outer destruction the war left on the people and the country.But the true let down was the love story. The back of the Vintage Classics edition promised that "In it Hemingway has also created a love story of immense drama and uncompromising passion."I'm sorry, maybe I just didn't understand it all too well, but to me it felt like Ms. Barkley is a desperate clingy woman who tries to obliterate any trait of individuality she has in order to please her "husband". She forbids herself to think or do anything she feels will bore or annoy him. I mean, people compromise in relationships, I get that, but I draw the line at "I wish I had gonorrhoea so I could feel your pain". It gets much better in the last third of the book after the army rebels against the officers and Mr. Henry is forced to flee from the xenophobes. The ending was very powerful and more tragic than any glimpse we get of the Italian-Austrian front. I am looking forward to reading more of Hemingway's work, hopefully Fiesta: The Sun also Rises or For Whom the Bells Toll will bring out the wonderful prose in a more interesting context.
—João Fernandes
Many people (most of them from U.S.A.) don't like this analisis about loss and the pain that war brings. They don't like the unhappy and sudden ending that make you hate Ernest Hemingway's book. His way of writing is not a Fitzerald style (elegant, fancy and with an educated way of expression); but simplier. With honesty. As Hemingway himself said: "There's nothing tp writing... you just sit there and bleed". I have my personal arguments. I'm just 16 years old and perhaps you have more expirience than me. Nevertheless I've already finished highscool and I'm studying literature and finishing my first book.
—Rebecca
