Hemingway's Barbershop Quintet: "The Garden of Eden" Manuscript

Spilka, Mark

doi:10.2307/1345989

NOVEL: A Forum on Fiction

1987

DOI: 10.2307/1345989

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Hemingway's Barbershop Quintet: "The Garden of Eden" Manuscript

Mark Spilka¹

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1991

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Cited by 6 publications

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“…Hemingway shows in his various fictional characters a kind of fluidity in terms of sexual orientation, sexual activity, and even sexual identity. Over the past few decades, and especially after the posthumous publication of Hemingway's novel, The Garden of Eden (1986), critics have investigated and analyzed Hemingway as androgynous (Spilka, Junkins, Kennedy), as sexually inverted (Moddelmog) and even for his transgressive sexuality (Eby). Richard Fantina contributes to the body of criticism by offering the notion that “male heterosexual masochism represents an alternative form of masculine sexuality” (7).…”

mentioning

confidence: 99%

Having it in Reserve: Secret Love and a Way Out in Willa Cather's “Paul's Case” and Ernest Hemingway's “The Three‐Day Blow”

Vanderlaan¹

2016

J of American Culture

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mentioning

confidence: 99%

Having it in Reserve: Secret Love and a Way Out in Willa Cather's “Paul's Case” and Ernest Hemingway's “The Three‐Day Blow”

Vanderlaan¹

2016

J of American Culture

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Oeditorial Repression: The Case Histories of Hemingway and the Fitzgeralds

Vandenburg¹

2005

Prosp.

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With the persistence of repetition compulsion, Modernists define their movement vis-à-vis the classic Freudian assumption that sexuality is the mainspring of virtually everything, including literary merit. The most libidinous of their aesthetic manifestos is Ezra Pound's characterization of creativity as a “phallus or spermatozoid charging, head-on, the female chaos … driving a new idea into the great passive vulva of London.” Though C. G. Jung is far less enamored of the phallus, he endows masculinity with the “creative and procreative” power of Logos, which, echoing Pound, he calls the “spermatic word.” As if to fend off “scribbling women,” Jung warns that “mental masculinization of the woman has unwelcome results,” most notably frigidity, homosexuality, and “a deadly boring kind of sophistry.” Gertrude Stein's iconoclasm notwithstanding, her paradoxical assertion that her genius is masculine simultaneously reifies and defies this theory that biology determines literary destiny. In the Modernist canon, the pen is a penis, even when a cigar is just a cigar. The most influential of the movement's manifestos, T. S. Eliot's “Tradition and the Individual Talent,” codifies aesthetic essentialism, positing an Oedipal model of canonicity contingent on the authority of literary fathers. Even Virginia Woolf's rejection of gendered canonicity inA Room of One's Ownassumes its tenacity, as if she were protesting too much against the inevitable.Woolf is not alone in protesting too much. Modernism's swaggering canonicity masks a castration anxiety that debilitated F. Scott Fitzgerald and even bedeviled Papa Hemingway inThe Garden of Eden. One of Hemingway's most famous letters to Fitzgerald, written during the tortured composition ofTender Is the Night, provides a paradigmatic example of the Modernist crisis of masculinity:We are all bitched from the start and you especially have to be hurt like hell before you can write seriously. But when you get the damned hurt use it – don't cheat with it…. You see, Bo, you're not a tragic character.

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En‐gendered problems: Characteral conflict in Hemingway'sGarden

Varsava

1991

Lit: Literature Interpretation Theory

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Hemingway's Barbershop Quintet: "The Garden of Eden" Manuscript

Cited by 6 publications

References 0 publications

Having it in Reserve: Secret Love and a Way Out in Willa Cather's “Paul's Case” and Ernest Hemingway's “The Three‐Day Blow”

Having it in Reserve: Secret Love and a Way Out in Willa Cather's “Paul's Case” and Ernest Hemingway's “The Three‐Day Blow”

Oeditorial Repression: The Case Histories of Hemingway and the Fitzgeralds

En‐gendered problems: Characteral conflict in Hemingway'sGarden

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