Home Literary Studies 12. Ernest Hemingway, The Sun Also Rises (1926)
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12. Ernest Hemingway, The Sun Also Rises (1926)

  • Hans-Peter Rodenberg
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Handbook of the American Novel of the Twentieth and Twenty-First Centuries
This chapter is in the book Handbook of the American Novel of the Twentieth and Twenty-First Centuries

Abstract

Received as a manifesto of modernism and of the ‘lost generation’ after World War I, Hemingway’s first novel The Sun Also Rises takes the reader to 1920s Paris and the carefree life of a group of American and British expatriates who travel to the Fiesta de San Fermín in Pamplona, Spain, to watch the running of the bulls and the bullfights. When the novel was published in 1926, it was an immediate success. In the sparse language and the ennui of its protagonists, young people all over the world saw their mood and concerns reflected. Many critics still see The Sun Also Rises as Hemingway’s best and most important work. Criticized as misogynistic by feminists in the 1970s, it is today seen as an early experiment in the exploration of gender issues and its heroine Brett Ashley as prototypical New Woman.

Abstract

Received as a manifesto of modernism and of the ‘lost generation’ after World War I, Hemingway’s first novel The Sun Also Rises takes the reader to 1920s Paris and the carefree life of a group of American and British expatriates who travel to the Fiesta de San Fermín in Pamplona, Spain, to watch the running of the bulls and the bullfights. When the novel was published in 1926, it was an immediate success. In the sparse language and the ennui of its protagonists, young people all over the world saw their mood and concerns reflected. Many critics still see The Sun Also Rises as Hemingway’s best and most important work. Criticized as misogynistic by feminists in the 1970s, it is today seen as an early experiment in the exploration of gender issues and its heroine Brett Ashley as prototypical New Woman.

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
https://doi.org/10.1515/9783110422429-014

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
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