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Hardback. Book Condition: New. Main Market Ed.. 158 x 100 mm. Language: English . Brand New Book. Frederic Henry is an American Lieutenant serving in the ambulance corps of the Italian army during the First World War. While stationed in northern Italy, he falls in love with Catherine Barkley, an English nurse. Theirs is an intense, tender and passionate love affair overshadowed by the war. Ernest Hemingway spares nothing in his denunciation of the horrors of combat, yet vividly depicts the courage shown by so many. In writing A Farewell to Arms, Hemingway was inspired by his own wartime experience as an ambulance driver for the Red Cross. First published in 1929, the novel made his name and remains one of his finest works. This stunning edition features an afterword by Ned Halley. Designed to appeal to the book lover, the Macmillan Collector s Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector s Library are books to love and treasure.

Bookseller Inventory # AA79781909621411 UTSA Studies in Transnational Literatures | A Farewell to Arms (1929) UTSA Studies in Transnational Literatures A Farewell to Arms (1929) Sarah Aburumuh on “Been There, Done That: Remembering Hemingway’s Memories” ​It is one thing to experience war and one thing to write about it. Hemingway does both. “In the early days writing in Paris I would invent not only from my own experience but from the experiences and knowledge from my friends…” (A Moveable Feast, 181). Even though he admits the experiences he writes so realistically and movingly about are not all his, they are essential memoirs of his life at war which are best represented in A Farewell to Arms. Main character Frederic Henry signs up for an ambulance driver position on the Italian front and is severely wounded by mortar shell. He then falls into a tragic love with his nurse Catherine. As their love progresses, tensions increase on the front, and the Austrians and Germans pose a greater threat, breaking into Italy’s borders.

The Italian military cracks down on soldiers during the retreat and Frederic finds himself escaping the military. The novel “concludes” with the loss of his wife and son, and the memories of Italy he cannot forget and never fully reveal to readers. One reads A Farewell to Arms and can clearly understand that Frederic Henry is in essence, Ernest Hemingway. Hemingway would like us to believe that there is more to his work, and there is, following his iceberg principle. However Hemingway slips his views of the war quite blatantly: “I believe that all people who stand to profit by a war and who help provoke it should be shot on the first day it starts by accredited representatives of the loyal citizens of their country who will fight it” (A Farewell to Arms, 4). It was easier for an expatriate to express antiwar sentiment outside of their home country, for they would not been seen (in Italy or Paris) as anti-American, but rather other seemingly insulting adjectives by the host country’s native citizens. The expatriate identity is malleable in that wherever they go, their identity can be anything but American. Expatriate works serve as vessels for memory and time.

Each writer writes at their own discretion their memories and experiences, that of others, or none of the above. It is in this ability to control and create experience that these authors offer in their works, even if we deem the text immoral for doing so. Hemingway answers our question of whether it matters to have witnessed an event in order to write about it in his chapter of A Moveable Feast titled: “On Writing in the First Person.” “If the stories are made so real that people believe them, the people reading them nearly think the stories really happened…if you can do this you are beginning to get what you are trying for…to make something that will become a part of the readers experience and a part of his memory” (181). Hemingway brought Paris to us in A Moveable Feast, and in this text, he has brought us the atrocities and drama of war. In an introduction by Sean Hemingway for A Farewell to Arms, he says “Hemingway based his account to his own experience there (in Italy) since his description is so realistic. In fact, Hemingway did not come to Italy until long after the retreat in June 1918” (15).

He did not experience the war in its entirety, yet we believe he did and value this work because it is an embodiment of a time, space, and place that we as Americans may not ever experience or understand. A Farewell to Arms Review Sample Pay only for approved parts A Farewell to Arms Review Sample Posted on January 5, 2015 by EssayShark A Farewell to Arms – Hemingway’s Antiwar Novel Ernest Hemingway wrote A Farewell to Arms in 1929. It was not his first book, but that was the one, which made him famous. It was a little bit more than ten years after the World War I, described by Hemingway in this book. I believe, the novel gained its popularity, because it was a true story about the war, which took millions of human lives away. Still what is the book about? A young American goes to the front in Italy, which declared a war to Austria in 1915. The country was not ready for the war with such a strong adversary as Austria; its army was as weak and incapable to fight, as it had been fifty years before during the war for the reunification of Italy.

That time in 1866 Italy won the war only thanks to the Prussian victories, this time the front was also held mainly owing to the French and British troops and Russian offensives in the West Ukraine. So Frederic Henry, the protagonist of this novel, experienced that war in the Italian Campaign. He was not in the front trenches, he didn’t repel enemy’s attacks, he served in the ambulance corps. Although he was only expected to drive wounded soldiers from the battle field to the hospital, he saw the war horrors just there and was even wounded. Before the warfare Henry had met Catherine Barkly, an Englishwoman, who worked in the hospital. Their occasional meeting transformed itself later into a real love. It was not a true love for Henry in the beginning, but afterwards he realized, he couldn’t be without Catherine, and she really became a part of him. Their love was romantic initially. They managed to negotiate numerous obstacles on their way. Numerous, but not all of them. Catherine failed to give birth to their baby. The baby was stillborn with a cord around his neck, and afterwards Catherine died herself of hemorrhage and the experienced doctor couldn’t save her. So the romantically begun love finished tragically.

Their love didn’t survive, although it was already far from any war menace and very close to the real happiness. A love story, but without any traditional happy end. Ernest Hemingway was a prototype for the main character of the novel. He took part in that war and just in the Italian Campaign. Although he came there only in 1918 he was wounded and operated in the field hospital, so he knew the war not from somebody’s stories, he experienced it himself. And, of course, as an intelligent man he was against it. He didn’t write any antiwar pamphlets, didn’t participate in antiwar manifestations. He only described it, he described the war impartially, as it was in fact, not adding any superfluous details. In his book we shall not find any antiwar plots, demonstrations of pacifism. We find real live people, who try to avoid the war perils, to survive, to get as far from the death as possible. The author expresses his attitude to the war in the remarks of his characters. A soldier with the rupture says: “-I say it is rotten. Jesus Christ. It is rotten”.

He was not wounded, it was an ordinary rupture, but the soldier calls the war rotten, because he was afraid, lest he would be sentenced for slipping the truss on purpose to make the rupture bigger. Before the attack Henry talks with his colleagues and one of them speaks about the decimation. “They lined them up afterward and took every tenth man. Carabinieri shot them”. It was an ancient tradition of the Roman army; the soldiers from the units, which wouldn’t attack or retreated without order, were lined up and every tenth of them was executed. The same happened in the Italian Army during the World War I. After the story about the decimation Henry says: “I believe we should get the war over,” I said. “It wouldn’t finish it, if one side stopped fighting”. When Henry comes back to front from the hospital in Milan in his first conversation with the surgeon Rinaldi, who shared the room with Henry, Rinaldi says: ”This war is terrible”. He had too much to do that summer and fall, when Henry was away. He operated many wounded soldiers, and he knew quite well, what the war meant. But the most abominable scene took place later after the retreatment of the Italian Army.

The Army was not ready for any big warfare, and the Austrians took advantage of it. They started attack, which made Italians retreat in order to save their lives. That retreat was like a huge flood of people, who walked along the road from the front trying to find refuge somewhere as far from the front as possible. Carabinieri arrested the officers, who were not with the soldiers of their units, and shot them after formal questioning. Human life of their compatriots meant nothing, they just did their duty. All this makes readers disgust the war, hate it and realize, that new generation should do all there best to make any war impossible, to eliminate it as a way of resolving problems. In fact Hemingway took part not only in the World War I, he participated in the Spanish War and World War II as well. He got more war experience, and this not only didn’t change his attitude to war, but even made him more intolerant towards any military conflicts. His novel didn’t lose its topicality. So the book was reedited several times. May be, the most precious for us is the edition of 1948 with Ernest Hemingway’s Introduction.

In that short preface he wrote not only the history of the novel, but he expressed his own opinion about any war in such phrases: “…but they (wars) are made, provoked and initiated by straight economic rivalries and by swine that stand to profit from them. I believe that all the people who stand to profit by a war and who help provoke it should be shot on the first day it starts by accreditor representatives of the loyal citizens of their country who will fight it. The author of this book would be very glad to take charge of this shooting, if legally delegated by those who will fight and see that it would be performed as humanely and correctly as possible…” I am sure nobody can show any bigger disgust and more acute hatred to the war than Hemingway, who knew for sure, that the greatest evil is presented not by the people, who kill each other in the trenches, but the people, who initiate the war and send others to such a crime. There were, and there are many different points of view on this novel. Not all of them are benevolent; some literary critics called the book a plain love story, which took place in the war time. There is no use to argue with them.

Every reader may have his own opinion. In this respect I would like to remind Sean Hemingway’s words written by the grandson of the famous writer in his Introduction to the same edition: “In A Farewell to Arms, like in the world of nature, much of significance lies beneath the surface, and yet it is all there if you know what to look for”. Just open the book, start reading it, and you will definitely find its antiwar significance, which is there and not so deep beneath. References A Farewell to Arms A Farewell to Arms or browse other Shmoopers' Questions In A Nutshell A Farewell to Arms was published in 1929 by Ernest Hemingway , a Nobel Prize -winning American author. This novel is semi-autobiographical. Like the protagonist, Hemingway served in the Italian Army as a Red Cross ambulance driver during World War I , got wounded, and spent time in an American Army in Milan , where he met a nurse. But unlike Hemingway, the novel's protagonist starts a love affair with the nurse. Similar to characters in A Farewell to Arms, Hemingway was deeply influenced by his experiences at war.

In fact, Hemingway is considered to be part of the "The Lost Generation." The phrase was coined by Gertrude Stein to refer to Modernist artists who felt "lost" after witnessing the horrors of World War I . Hemingway certainly relied on his own experiences in WWI Italy to write this novel, but he did use other sources as well. Though A Farewell to Arms begins in 1916, Hemingway didn’t get to Italy until the summer of 1918. The Italian retreat from Caporetto , described in such detailed in the novel, began in October 1917. So how did Hemingway describe it so well? The novel is meticulously researched. Hemingway was a journalist and worked for the Kansas City Star newspaper when the retreat was on, read details of it, and was extremely concerned over the war in general. (For a discussion of the importance of newspapers to the novel, see "Symbols, Imagery, and Allegory.") It’s likely that such concern inspired him to enlist with the Red Cross in the first place. A Farewell to Arms caused a lot of fuss when its first installment was published by Scribner’s Magazine.

The Boston superintendent of police kept Scribner’s off newsstands, though not for long. He claimed it was pornography. (Check out "Sex" for more.) Luckily, the ban only boosted sales and gave the novel free publicity. Nowadays, it’s hardly considered pornographic and is instead known for its sensitive depiction of the war. The novel is even taught at U.S. military academies. Love, exciting and new. Come aboard, we've been expecting you! Okay, okay. Love isn't always a pleasure cruise. And boy did Ernest Hemingway know it. This guy knew his love stuff, and he was able to capture the heartbreaking circumstances that can result from even the most sweeping love stories. Sure, a lot of folks might see Papa H. as a Debbie Downer , but we don't. Nope. Instead, we see him as a realist—a guy who recognized that, even in the midst of love, we might also be in the company of pain and sadness. Think about it: can you name one person who met someone, fell in love instantly, and lived happily ever after? (You can? Then please go throw a tomato at them.) Relationships are difficult.

Especially when you have to deal with more than just the other person. There might be distance, jobs, family, or in the case of A Farewell to Arms, this little thing called a World War. And you know what? No matter how intense love might be, sometimes it simply can't conquer all. Maybe you've never shot a guy, deserted an army, and rowed to Switzerland (although, hey, you're still young), but you know what it's like when the whole world seems to be working against you. When all you want to do is run away with your loved one, life can just be so… complicated. Life is like that, though. Hemingway gets that. And, in that way, he gets you, too.

A Farewell to Arms, 1929 - ErnestHemingway.org A Farewell to Arms, 1929 To search in site, type your keyword and hit enter Close Home » Major Works of Ernest Hemingway »A Farewell to Arms, 1929 A Farewell to Arms, 1929 On Share on Facebook Follow on Facebook Add to Google+ Connect on Linked in Subscribe by Email Print This Post A Farewell to Arms is one of Ernest Hemingway’s best selling novels, and it established him as a spectacular, modern day author. This novel is divided into five books, and it’s based on his experience in the Italian campaign of World War I. It was published in 1929 by Scribner, and has 355 pages. And furthermore, this novel is so amazing that it first made its way on stage in 1930 being adapted by Laurence Stallings, and then it was produced in films in 1932 and in a 1957 remake. In 1966, it became a three part miniseries for television.

Even today’s top actors, Sandra Bullock and Chris O’Donnell, had a hand in it by depicting Hemingway’s life as an ambulance driver in the Italian army. And lastly, a stage adaptation of this novel that includes video projection was created and toured in Italy and England in 2014. The Main Character’s Storyline The main character in this book is Frederic Henry, who serves as a Lieutenant in the Italian army in the ambulance corps. This movie is filled with the ups and downs of his journey in love, loss, and all that comes with it during his journey of this time period. The Details of the Novel In this story, Frederick Henry is an American, and he felled in love with Catherine Barkley, a nurse from England, during the first World War. One can imagine that he wasn’t looking for love, especially during the onset of war, but falling in love happened for him anyway. When Frederic was wounded on the Italian front, he was transferred to a Milan’s hospital where Catherine tended to his care. They spent time together throughout the summer in Milan, and they fell in love as Frederic slowly recovered. After the wound in his knee healed, he was diagnosed with jaundice.

Nevertheless, he still was soon transferred out of the hospital, even after being discovered with alcohol, to return to the Italian front for the war. And sometime throughout this time, Catherine discovers that she is three months pregnant. When Frederick returned to his unit, he saw that the morale was significantly reduced. Then shortly afterwards, the Austrians had broken through the Italian lines at the Battle of Caporetto, in which Italians retreated. It was a hectic and slow retreat that lead to Frederic and his unit getting off the trail, and they became lost. Being frustrated, Frederic murdered a sergeant for insubordination, and then was taken by the military police once Frederick and his men caught up to the main retreat. This is where officers were interrogated, and executed due to treachery, which reportedly led to the Italian defeat. After noticing all of the interrogation and execution, Frederic escaped. He heads back to Milan for Catherine, but she was sent to Stresa. Nevertheless, Frederic and Catherine reunited and spent some time together in Stresa. Once finding out that he will be arrested soon, Frederic and Catherine moved away in a rowboat to Switzerland. They lived peacefully in the mountains until she went into labor.

And as a result, their baby boy was stillborn, and Catherine dies from hemorrhaging. Some Background History & Continual Popularity Some parts of this novel were written in Piggott, Arkansas. His wife at that time, Pauline Pfeiffer, lived there. And the other parts of the novel were written in Mission Hills, Kansas, as his wife was waiting to deliver their baby. As a matter of fact, his wife was undergoing a C-section as Hemingway wrote the scene of Catherine’s childbirth. This novel was also first serialized in the Scribner’s Magazine for the issues of May 1929 to October 1929. The book was alsopublished with a first edition in September 1929, and it ran off approximately 31,000 copies. The novel was so successful that it made Hemingway financially independent. It is one of Ernest Hemingway’s best selling novels, in which established him as a spectacular, modern day author. And mass productions of it were used in stage, film, remakes, and adaptations. There are even different recent projects that adapted this work.

For instance, Sandra Bullock and Chris O’Donnell, used this work by depicting Hemingway’s life as an ambulance driver in the Italian army. And lastly, a stage adaptation of this novel which includes video projection was created and toured in Italy and England in 2014. As a matter of fact, the Hemingway Library Edition released its edition in July 2012 in which was practically an exact facsimile of the first edition. With this newly published edition, an appendix is presented with many alternate endings that Hemingway is reported to have written for the novel. Also, these alternate endings are added with certain pieces from Hemingway’s earlier draft manuscripts. SparkNotes: A Farewell to Arms Home → SparkNotes → Literature Study Guides → A Farewell to Arms A Farewell to Arms by BubblyBaby5832 , August 04, 2012 The ending was good, but depressing. by doctordepp , October 14, 2013 I personally thought it was okay. It only got interesting for me towards the end.

Boring in the beginning, considerable and touching in the second part by MrsMojito1 , November 06, 2014 I personally found the first half of the book a bit monotonous, and Hemingways distanced writing almost glacial. The second half of the book, particularly after the beginning of the Italian retreat, was far more involving with interesting reflections on war, life and death. The last part made me shed a few tears, it was impetuous and expressed Henry´s desperation, and eventually human desperation, perfectly. I´m quite ambivalent about the book, but the last chapters are definitely worth reading! The Hemingway Influence The Hemingway Influence Bookmark this page Manage My Reading List The Hemingway Character Ernest Hemingway has been called the twentieth century's most influential writer. With the publication of A Farewell to Arms in 1929, he achieved widespread fame, and despite a steady decline in the quality of his work thereafter, his fame continued to grow until his suicide in 1961 and beyond.

Striking evidence of this is the 1958 movie of The Old Man and the Sea; it's hard to imagine a book less suited to the big screen, and yet Hemingway's celebrity at the time of its publication was so massive that Hollywood had virtually no choice but to film the novella. The publication of recovered fragments from the writer's unpublished oeuvre has never failed to make headlines worldwide, from A Moveable Feast in 1964 to the so-called "fictional memoir" True at First Light, in 1999. Like those of Shakespeare and Einstein, Hemingway's face is recognized by millions who have never read a word he wrote. Hemingway achieved more than celebrity, however. If imitation is the sincerest form of flattery, then he was a great writer indeed. Especially after reading A Farewell to Arms, Hemingway's influence is easy to discern in an enormous number of the writers who have followed him. This influence has taken three forms: thematic, stylistic, and the "Papa" Hemingway lifestyle.

As the literary critic Leslie Fiedler argues in his study Love and Death in the American Novel, the classic American literary hero is a soldier, sailor, or cowboy who is brave, laconic, and (ultimately) alone. From Hawkeye in James Fenimore Cooper's Last of the Mohicans through Moby-Dick's Ishmael and Mark Twain's Huckleberry Finn, these characters "light out for the territories" because they don't quite fit in polite society, and they quickly learn self-sufficiency in the wilderness, at sea, or in combat. Hemingway, who identified Adventures of Huckleberry Finn as the source of all American literature, recognized this archetype, then updated and refined it. The overriding theme of his stories and books was "grace under pressure" — specifically, the ability of "men without women" (the title of an early story collection) to remain calm and competent in the face of life-threatening violence. Thus, Hemingway heroes like Frederic Henry stoically accept not only war wounds, but the pain of losing whom they love, as well.

(Think of Henry walking into the rain after the agonizing death of his lover and child at the conclusion of A Farewell to Arms.) Whether handling firearms, betting on horses, or ordering wine, they are almost scarily adept at what they do, and when the universe conspires to defeat them, they never complain. The influence of the Hemingway hero can therefore be seen in many of the literary soldiers who followed in Henry's footsteps: for instance, the protagonist of James Salter's The Hunters, an account of the exploits of a Korean War jet pilot squadron. It is even more evident in the archetypal tough-talking detectives of Raymond Chandler (The Big Sleep) and James Ellroy (L.A. Confidential). (Note: Like Frederic Henry, Chandler's protagonist Philip Marlowe is a veteran of World War I, as evinced by his trademark trenchcoat — the coat worn by Allied officers in the trenches of France and Italy. Nearly every character Humphrey Bogart ever played onscreen was influenced by the Hemingway hero.) The cowboys in Cormac McCarthy's Border Trilogy are essentially Hemingway characters, too.

The Hemingway Style Hemingway's influence has been even more pronounced in the realm of prose style. In his first collection of stories and thereafter, he combined elements from Gertrude Stein, James Joyce, and journalism to create a radically modern approach to the writing of sentences and paragraphs distinguished by the following hallmarks: An emphasis on nouns and verbs rather than adjectives and adverbs. This is closely related to Hemingway's preference for the actual versus the abstract. "I was always embarrassed by the words sacred, glorious, and sacrifice and the expression in vain," Frederic Henry tells us in A Farewell to Arms. "Abstract words such as glory, honor, courage or hallow were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and the dates." A limited word-palette. Hemingway was fluent in three romance languages: French, Spanish, and Italian. Each has a much smaller vocabulary than English, and yet each manages to be richly expressive. Hemingway may have been inspired by this phenomenon. Frequent repetition of the same words and phrases — a technique learned from Gertrude Stein.

(The best known sentences she ever wrote were "A rose is a rose is a rose" and "When you get there, there's no there there.") Short sentences ("The next year there were many victories.") or long sentences consisting of short phrases and clauses connected by conjunctions: "The mountain that was beyond the valley and the hillside where the chestnut forest grew was captured and there were victories beyond the plain on the plateau to the south and we crossed the river in August and lived in a house in Gorizia that had a fountain and many thick shady trees in a walled garden and a wistaria vine purple on the side of the house." (A Farewell to Arms, Chapter II) A lack of clarity in the relationship between one sentence and the next. Instead of writing "I drank much wine because it was good," Hemingway writes "The wine was good. I drank much of it," merely implying the relationship. He thus forces us to be active readers, connecting the dots and filling in the blanks. Many storytellers (Salter, Chandler, McCarthy, and others) have attempted to recapitulate Hemingway's themes while mimicking his prose style.

During the 1970s and 1980s, however, a group of American writers known as the Minimalists adopted the Hemingway style but rejected "grace under pressure" and so forth as distasteful and perhaps permanently outdated. In her earliest stories, Ann Beattie wrote in the Hemingway style about well-off Baby Boomers paralyzed by the challenges of adulthood. (Like Chandler and so many others, Beattie has specifically mentioned Hemingway as an inspiration, specifically the inter-chapter vignettes from In Our Time.) Raymond Carver's down-and-out drunks could hardly be less heroic, and yet the use of diction and syntax in his masterly short stories is profoundly indebted to Hemingway. Frederick Barthelme continues to craft stories and novels in an intentionally flat, unadorned voice about largely ineffectual men (and sexy, aggressive women) living in the so-called New South. All these writers jettisoned the sometimes embarrassing excesses associated with Hemingway's value system while retaining the lessons he taught them as a writer of prose.

The Hemingway Lifestyle Finally, in many ways Ernest Hemingway exemplified for the Twentieth Century what it means to live like a writer. The most visible example of his influence in this area has been Norman Mailer. Though Mailer's often baroque style could hardly be more different from Hemingway's (an exception is the laconic "non-fiction novel" The Executioner's Song, which many critics consider Mailer's best book), he seems to have modeled his life after Hemingway's, seeking fistfights, serial wives (Hemingway had four, Mailer six), and "Papa"-like celebrity in general. And the career of the George Plimpton has been a kind of parody of Hemingway's: Plimpton lived in Paris as a young man, but founded a magazine rather than writing stories and novels. Since then he has engaged in a number of stunts that seem actually to mock Hemingway's vigorous lifestyle while attempting to pay it tribute: briefly fighting a champion boxer and playing professional football, for instance, then writing books about the experiences. Prior to the publication of A Farewell to Arms, the Romantic poets probably served as our primary model for the writing life.

A writer was a tortured soul recollecting his or her experiences in tranquility, a la Wordsworth, Shelley, and Keats. Hemingway changed all that. Proust composed Remembrance of Things Past in bed; Hemingway wrote standing up. Then he went big-game hunting or deep-sea fishing, or to the bullfights. Today, Hemingway's thematic influence is a victim of its own success. The tough-talking private investigator is such a pervasive figure in our culture that is seems always to have existed. As his death recedes further into the past, the "Papa" lifestyle becomes harder to recall — and therefore tougher to emulate than when Hemingway's exploits were a fixture in newsreels and the pages of Life magazine. Regarding the influence of his prose itself, however, the Nobel Prize committee was correct when it rewarded Ernest Hemingway "for his powerful, style-forming mastery of the art of narration." He changed the way we write and read literature, and he changed it forever.

A Farewell to Arms Essay - A Farewell to Arms, Ernest Hemingway - eNotes.com A Farewell to Arms, Ernest Hemingway A Farewell to Arms Ernest Hemingway The following entry presents criticism on Hemingway's A Farewell to Arms (1929). See also, Ernest Hemingway Criticism. A giant in the field of American literary modernism, Ernest Hemingway has long been called an important spokesman for the “lost generation” of disillusioned, war-wounded young Americans after the First World War. His 1929 novel A Farewell to Arms, a tragic love story about an American ambulance lieutenant and an English nurse, was based on Hemingway's own experiences on the Italian front. In the novel, Hemingway uses his characteristic unadorned prose, clipped dialogue, and understatement to convey an essentially cynical view of the world. Critics were at first skittish about Hemingway's linguistic and sexual frankness but soon began to regard him as a pioneer in establishing a writing style that came to dominate realistic writing for many decades.

Although feminist critics have denigrated Hemingway's alleged male bias, and others have found the love story unsatisfying, A Farewell to Arms remains a powerful statement about the effects of the horrors of war on ordinary people. Plot and Major Characters A Farewell to Arms is autobiographical in that Hemingway himself was with the Red Cross ambulance corps in Italy and also had a romance with a nurse after he was wounded by shrapnel. His protagonist, Frederic Henry, is a young American who joins the Italian ambulance corps, only to be wounded and sent to a hospital in Milan. He soon falls in love with his English nurse, Catherine Barkley, who then spends a happy summer with him in the country while he recuperates. In the fall, Catherine reveals that she is pregnant but refuses to marry Frederic, fearing that she will be sent back to England and asserting that the two are “married” in all but a legal way. A depressing scene ensues, with Frederic back at the front commiserating with his despondent comrade Rinaldi. With him he shares the further disappointment of the retreat from Caporetto.

Discouraged and disillusioned, Frederic deserts, finding his way back to Stresa, to which Catherine has been transferred. Although in civilian clothes, Frederic fears detection, and he and Catherine flee to Lausanne to await the birth of their child. After a traumatic childbirth scene, both Catherine and the child die. Frederic walks away alone in the rain, chastened by his experiences and feeling alone in the universe. Major Themes An overarching theme in A Farewell to Arms is the hopelessness of war and the futility of searching for meaning in a wartime setting. Further, Hemingway suggests that the only true values people can cling to are in individual human relationships, not in abstract ideas of patriotism or service. A Farewell to Arms is above all a story of the development of Frederic Henry, who begins as a rather rootless character who does not really know why he joined the war effort. His own wound, however, teaches him to value life and prepares him to enter into a love relationship with Catherine. When Frederic makes his “separate peace” by deserting, he begins to take responsibility for his own actions.

By the end of the novel, with love and hope seemingly dead, he has come to an understanding that one must be engaged in life, despite the vicissitudes of an indifferent universe. Critical Reception Early critics of the novel emphasized its realistic picture of war and disagreed over the effectiveness of Hemingway's laconic literary style. A number of critics were squeamish about the frank language and sexual situations Hemingway presented. A Farewell to Arms was in fact banned in Boston in its first serialization in Scribner's Magazine. By the 1940s, however, proponents of the New Criticism had begun to do closer textual studies of A Farewell to Arms, finding it rich in language, symbolism, and irony. Other critics praised Hemingway's narrative structure and explored themes such as the conflict between abstract ideas (like honor and service) and concrete experience with love and death. The 1970s and early 1980s saw a new flurry of Hemingway scholarship after his papers and manuscripts were opened to the public at the John F. Kennedy Library, allowing insight into Hemingway's processes of composition.

In the early 1970s, feminist critics began to lambast Hemingway for his treatment of the character of Catherine, whom they saw as little more than a projection of male needs and desires. Her relative lack of development, compared with Frederic's evolution as a character, was called a weakness in the novel. In answer to feminist critics, others argued that one should not judge the novel from a particular ideological framework. In the 1980s and 1990s, criticism shifted back to close analyses of the text itself and explorations of the ways in which Hemingway's life and the culture in which he lived influenced the novel. Reader-response critics sought to infer what Hemingway expected from readers, psychoanalytic critics delved into the character of Frederic, and deconstructionists noted subtle uses of language, which often masked deep meanings not at first evident. Start Free Trial Start your free trial with eNotes to access more than 30,000 study guides. Get help with any book.

Three Stories & Ten Poems (short stories) 1923 in our time (sketches) 1924 In Our Time (short stories) 1925 The Sun Also Rises (novel) 1926; published in England asFiesta (novel) 1926 Today Is Friday (journalism) 1926 The Torrents of Spring: A Romantic Novel in Honor of the Passing of a Great Race (novel) 1926 Men Without Women (short stories) 1927 A Farewell to Arms (novel) 1929 Death in the Afternoon (nonfiction) 1932 Winner Take Nothing (short stories) 1933 Green Hills of Africa (nonfiction) 1935 To Have and Have Not (novel) 1937 Fifth Column and the First Forty-Nine Stories (short stories and play) 1938 The Short Stories of Ernest Hemingway (short stories) 1938 The Spanish Earth (criticism and broadcasts) 1938 The Fifth Column: A Play in Three Acts (play) 1940

 For Whom the Bell Tolls (novel) 1940 The Portable Hemingway (novels and short stories) 1944 Across the River and Into the Trees (novel) 1950 The Old Man and the Sea (novel) 1952 The Hemingway Reader (novel) 1953 The Snows of Kilimanjaro and Other Stories (short stories) 1961 The Short Happy Life of Francis Macomber and Other Stories (short stories) 1963 A Moveable Feast (memoir) 1964 Hemingway's African Stories: The Stories, Their Sources, Their Critics (short stories) 1969 Collected Poems (poetry) 1970 Islands in the Stream (novel) 1970 The Nick Adams Stories (short stories) 1972 Ernest Hemingway: Eighty-Eight Poems (poetry) 1979 Ernest Hemingway, Selected Letters, 1917-1961 (letters) 1981 Hemingway on Writing (essay) 1984 The Dangerous

 Summer (nonfiction) 1985 Conversations With Ernest Hemingway (interviews) 1986 The Garden of Eden (novel) 1986 The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition (short stories) 1987 The Only Thing That Counts: The Ernest Hemingway/Maxwell Perkins Correspondence (letters) 1996 The Short Stories (short stories) 1997

Question: Who wrote "A Farewell to Arms" in 1929?
Answer: Ernest Hemingway