Hemingway often used expatriation as a literary device, yet critics have overlooked the fact that Santiago in The Old Man and the Sea is an expatriate. Born in Spain’s Canary Islands, Santiago moved to Cuba as a young man; this circumstance has a significant impact on his social condition. The expatriate protagonist is isolated from his countrymen, ridiculed by his adopted community, and a failure at his chosen profession. To remedy feelings of loss, the old man reminisces about his homeland and adopts Cuban behaviors in language, sport, religion, alcohol consumption, and fishing, among other things. The purpose of his actions is to pass into Cuban society and achieve a new sense of identity. This article uses an

In Paris or Paname: Hemingway's Expatriate Nationalism (Costerus New) Jeffrey Herlihy Alongside a liberating treatment of the English language, Ernest Hemingway achieved some often overlooked innovations in multicultural subject matter. In six of the seven novels published during his lifetime, the protagonist is abroad, bilingual, and bicultural-and these archetypes have significant implications for each character's sense of identity. In Paris or Paname interprets Hemingway's overdetermined use of foreignness as a literary device, characterizing how cultural displacement informs plot dynamics. The investigation historicizes the archetypal protagonist's process of (re)orientation through attention to his intercultural adoptions in language, alcohol consumption, sports, and betrothal rites. Herlihy situates his argument within an apposite research framework from psychological studies on migration, anthropological examinations of cultural ceremony, and literary theory on the poetics of displacement. The analysis offers groundbreaking insights on the distribution of previously overlooked structural patterns (themes, motifs, and symbols) that are present throughout Hemingway's novelistic corpus, and provides a compelling perspective on the aesthetics of the expatriate/immigrant writing process.

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The publication and dissemination of literature (and, tangentially, the study of literature) within boundaries of a national identity invariably focuses public attention on the opinions of a small number of authors, publishers, reviewers, and critics. These sociocultural projections of a uniform (and for that reason illusory) United States national identity, national literature, and associated parallels of cultural collectivity—for a populace of over 300 million—is a circumstance that deserve..

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