Sun Also Rises: Annotated Bibliography

¶ … Sun Also Rises: Annotated Bibliography

Claire Sprague. "The Sun Also Rises: Its 'Clear Financial Basis.'" American Quarterly, Vol. 21, No. 2, Part 1 (Summer, 1969), pp. 259-266.

This quasi-biographical, quasi-archetypal criticism focuses on the role of money in the novel, and Hemingway's attitude towards money and payment as best as it can be ascertained from his other writings. The role of money in the novel itself is examined from this standpoint, as well as the necessary acknowledgement of the universal symbolism inherent to money and the concept of payment. The narrow focus of this piece of criticism limits its usefulness as a source, but if a topic involving money or the idea of payment/retribution were being examined, this article would be invaluable. Easy to read and full of specific examples from throughout the novel, the level of scholarship is also quite high, making this a more useful resource.

Doris a. Helbig. "Confession, Charity, and Community in the Sun Also Rises." South Atlantic Review, Vol. 58, No. 2 (May, 1993), pp. 85-110.

This formalist-inspired reading of the novel examines the pattern of isolation that each of the main characters of the story goes through, especially as it relates to the concepts of guilt, confession, and some sense -- for some characters -- of redemption. The article also examines the way the text itself contributes to the sense of isolation in the novel. It describes several drafts and changes Hemingway went through, possibly to achieve this effect. Sections of the article are somewhat specious, and the writing is highly technical and dry, but an interesting discussion with broad implications.

William Adair. "The Sun Also Rises: A Memory of War." Twentieth Century Literature, Vol. 47, No. 1 (Spring, 2001), pp. 72-91

This piece of criticism applies an historical lens to the novel, reading it as Jake Barnes' memory of World War I. Adair makes a convincing case for this reading by citing other works and pieces of criticism from and about the period following the "Great War." He cites things in the work itself such as the landscape and a recurring theme of wounds and being wounded that he traces through several characters, most notably Barnes. He refers to the narrator as "thoroughly beaten up," and notes his apparent inability to escape the past. The construction makes this piece pleasurable to read, making it a rare gem in works of criticism. It also provides a broad context for the work that could be useful in many different discussions.

Mary Ann C. Curtis. "The Sun Also Rises: Its Relation to the Song of Roland." American Literature, Vol. 60, No. 2 (May, 1988), pp. 274-280.

In this formalist comparison of the novel to the ancient epic poem the Song of Roland, or La Chanson de Roland. There are many elements that Curtis delves into to make this comparison, including the figure f the chivalrous knight which she claims appears in some from in Hemingway's novel. Most important to her interpretation of the novel is the similarity in plot and structure it bears to the Song of Roland, however, and much of this criticism is devoted to pointing out little clues Curtis believes were left by Hemingway to lead the careful reader to the truth. Some of the assertions made are somewhat far-fetched, and the focus of the piece is incredibly narrow. Its readability does not overcome this article's scholarly flaws.

Gay Wilentz. "(Re)Teaching Hemingway: Anti-Semitism as a Thematic Device in the Sun Also Rises." College English, Vol. 52, No. 2 (Feb., 1990), pp. 186-193.

Wilentz admittedly and explicitly applies a quasi-feminist reading to the novel by examining religion -- specifically, Judaism as represented by the villainous Robert Cohn. This also ties in to how the novel was received in its era, according to Wilentz's argument. She asserts that Hemingway meant to indict the Jewish race through this character, and that it is impossible to come way from the novel disliking Cohn without being slightly anti-Semitic. Much of this wrok, especially the rationale for such a reading, seems unnecessarily paranoid and unwarranted, though the biographical details Wilentz provides about Hemingway do make such a reading more plausible. All in all, however, this source seems rather too far -- fetched.

William Adair. "Cafes and Food: Allusions to the Great War in the Sun Also Rises." Journal of Modern Literature, Vol. 25, No. 1 (Autumn, 2001), pp. 127-133

Adair continues his reading of the novel as an allusion to and possible allegory of the Great War, World War I, in this more symbolic examination. Food and cafe place names, Adair asserts, serve as reminders throughout the novel that the real story is taking place in Barnes' past, during the War. He explicitly counters the notion that the novel was meant by Hemingway to be completely naturalistic, and rather sees of layers of symbolism and allusion throughout the firmly tie the novel to the war that immediately preceded its action and its real-world creation. Adair's style remains both pleasurable and authoritative; all in all this piece makes a brilliant addition to his earlier, broader work on the same general topic.

Ira Elliott. "Performance Art: Jake Barnes and 'Masculine' Signification in the Sun Also Rises." American Literature, Vol. 67, No. 1 (Mar., 1995), pp. 77-94.