Translating Modernism: Fitzgerald and Hemingway

By Ronald Berman

In Translating Modernism Ronald Berman continues his career-long study of the ways that intellectual and philosophical ideas informed and transformed the work of America’s major modernist writers.
Here Berman shows how Fitzgerald and Hemingway wrestled with very specific intellectual, artistic, and psychological influences, influences particular to each writer, particular to the time in which they wrote, and which left distinctive marks on their entire oeuvres. Specifically, Berman addresses the idea of "translating" or "translation"—for Fitzgerald the translation of ideas from Freud, Dewey, and James, among others; and for Hemingway the translation of visual modernism and composition, via Cézanne.
Though each writer had distinct interests and different intellectual problems to wrestle with, as Berman demonstrates, both had to wrestle with transmuting some outside influence and making it their own.

• Language: English
• Publisher: University Alabama Press
• Release date: Jul 26, 2010
• ISBN: 9780817381554

Book preview

Translating Modernism

Fitzgerald and Hemingway

RONALD BERMAN

THE UNIVERSITY OF ALABAMA PRESS

Tuscaloosa

Copyright © 2009

The University of Alabama Press

Tuscaloosa, Alabama 35487-0380

All rights reserved

Manufactured in the United States of America

Typeface: Minion and Goudy Sans

∞

The paper on which this book is printed meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

Library of Congress Cataloging-in-Publication Data

Berman, Ronald.

    Translating modernism : Fitzgerald and Hemingway / Ronald Berman.

            p. cm.

    Includes bibliographical references and index.

    ISBN 978-0-8173-1647-1 (cloth : alk. paper) — ISBN 978-0-8173-8155-4 (electronic)

1. American fiction—20th century—History and criticism. 2. Modernism (Literature)—United States. 3. Fitzgerald, F. Scott (Francis Scott), 1896–1940—Criticism and interpretation. 4. Hemingway, Ernest, 1899–1961—Criticism and interpretation. 5. Literature, Modern—Psychological aspects. 6. Freud, Sigmund, 1856–1939—Influence. 7. Dewey, John, 1859–1952—Influence. 8. Cézanne, Paul, 1839–1906—Influence. 9. Modernism (Art)—Influence. I. Title.

    PS374.M535B4756 2009

    813′.509—dc22

                                     2008024439

Chapter 1 first appeared in The F. Scott Fitzgerald Review 4 (2005).

Chapter 2 first appeared in The F. Scott Fitzgerald Review 6 (2007).

Chapter 5 is reprinted from The Hemingway Review volume 27, number 1 (Fall 2007).

ISBN 978-0-8173-5665-1 (paper : alk. paper)

This book is dedicated to the memory of friends and mentors: Henry A. Murray and John Crowe Ransom.

Contents

Introduction: Landscapes and Ideas

1. Fitzgerald: American Dreams

2. Fitzgerald: American Realities

3. Fitzgerald's Autobiographies

4. Hemingway: Thinking about Cézanne

5. Hemingway's Michigan Landscapes

Notes

Selected Bibliography

Index

Introduction

Landscapes and Ideas

In interviews, letters, book reviews, stories, and novels, F. Scott Fitzgerald referred to other texts. He often evaluated writers and the theories they employed. His own characters live in a world of books and magazines, advertisements and movies. They read and are read to. They hear music from Broadway and sometimes have Hollywood scripts on their minds. If they live in the South, they seem able to raise all of the arguments about civilization in the provinces then appearing in Mencken's The Smart Set and Prejudices. If they live in the North, they are conscious of Walter Lippmann's voluminous criticism of the Idea of Progress. Ideas are worked out in their lives, and their lives are modeled on them. This was a new possibility, and one of Fitzgerald's great themes is the change in self-conception that occurred in America sometime between 1910 and 1920.¹ He observed that change and used new explanations of behavior for it.

Research on Fitzgerald's interest in the mind tends naturally to center on the 1930s, when Zelda began a long course of therapy in Europe and then in the United States.² Scott became knowledgeable enough to follow her treatment, discuss it with her doctors—and even draw some of his own psychiatric conclusions. Some of what he learned appears in Tender Is the Night (1934).³ But Fitzgerald was from the beginning of his career interested in the workings of the mind. The women of Bernice Bobs Her Hair know that men observe them subconsciously, while a rebellious sexual thought refuses to be repressed and surfaces in a dream.⁴ Sally Carol Happer experiences deep terror far greater than any fear of being lost in The Ice Palace (67). Winter Dreams are unconsciously dictated (220) to Dexter Green—some are deeply transgressive, beginning with the sexuality of a girl eleven years old. It is unsurprising that he should run up against the mysterious denials and prohibitions in which life indulges (221). In The Sensible Thing, George O'Kelly defines what ‘nervous’ meant. From being emotionally depressed in that story (290–91) to becoming emotionally bankrupt in the Josephine Perry story of 1931 (546), Fitzgerald's protagonists are judged by contemporary psychological standards. Anson Hunter is depressed (335) also in The Rich Boy, experiencing anxiety as it is described in Winter Dreams. In Jacob's Ladder, after drifting off into a few hours sleep, Jacob Booth creates an image (imago or idealized conception) of the woman he loves. According to psychoanalytic usage, such mental reconstructions repeat the past; and this one is identical with her old self recalled (364). A Short Trip Home may be a ghost story, but it concerns the limits of the narrator's sanity rather than his disbelief (385). In The Bowl, the idea of character is replaced by the newly current idea of personality (401).

There was more than one kind of psychological model. This Side of Paradise (1920) followed the great debate on youth culture. Kirk Curnutt states that readers found it to be authoritative, even diagnostic: "Fitzgerald owed his early success to the fact that adolescent and post-adolescent readers were ripe for fiction that substantiated the newfound confusion and complexity associated with teenage Amory. . . . life's descent into disillusionment and ennui seemed such a confirmation of [current psychology] . . . that the San Francisco Chronicle suggested Paradise could pass for ‘an additional chapter [of] G. Stanley Hall's Adolescence or a psychopathological case record.’"⁵ There were other possibilities. Here is a persistent motif of Fitzgerald's second novel, The Beautiful and Damned (1922):

somnolence drifting about it like a haze (11). . . . They drifted from letters to the curiosities of each other's day (41). . . . a breeze drifting low along the sidewalk (85). . . . she was resting there as a caught, gossamer feather, drifted in out of the dark (86). . . . night would come drifting down (90). . . . he involuntarily drifted into criticism (92). . . . they drifted into an ancient question-and-answer game (93). . . . days like boats drifting along slow-moving rivers (116). . . . drifting from Pasadena to Coronado (159). . . . Men drifted into them by the devious highways of writing and acting (185). . . . his mind drifted off into one of its characteristic daydreams (187). . . . He had been futile in longing to drift and dream; no one drifted except to maelstroms, no one dreamed, without his dreams becoming fantastic nightmares of indecision and regret (234). . . . He dropped his newspaper, yawned, and let his mind drift off at a tangent (261). . . . They turned the corner and moved lackadaisically up a side street, as if following a drifting cable to which they were attached (267). . . . the drifted fragments of the stars became only light (272). . . . You drift apart (337). . . . drifting flotsam (365). . . . He held up a handful of stamps and let them come drifting down about him like leaves (368).⁶

The phrases are contemporary—although they look as if they have been borrowed from lesser Victorian poets. The novel uses the concept of mental inertia provided by public philosophy from William James to Walter Lippmann. In this school of thought, moral character (and even national character) had been construed in psychological terms. James endowed the new century with a seminal distinction between the affirmation of will and the mere spontaneous drift . . . towards repose. The mind, he argued, is naturally evasive and inconsistent. It will never put thought into action without the intervention of a strong and conscious will.⁷ Lippmann's Drift and Mastery (1914) developed that thesis.⁸ Without the guidance of nineteenth-century institutions—without the authority of family, the dogma of citizenship, or a traditional sense of self—Americans could not direct their own lives, much less national affairs. It was now characteristic, Lippmann wrote, to reject all forms of responsibility. The mind becomes inert, refuses to make choices.⁹ That is why Fitzgerald could apply the term drift so pointedly to Tom and Daisy Buchanan as well as to Antony and Gloria Patch. The idea operates in Edmund Wilson as late as 1929: it is, he says, imperative to exert our will against our normal existence of non-thinking, non-feeling, and inertly drifting.¹⁰ Mental life necessarily involved conflict, not repose or—as Fitzgerald memorably put it in The Great Gatsby—retreat into our diminished selves.

By the time Fitzgerald got to Daisy Buchanan he was able to argue more convincingly than any of his contemporaries that the operation of mind was systematic in all its ventures into speech and act—and also in its hesitancies, withdrawals, indirection, inflections, and disguises. Even before that, in Winter Dreams, he brought to bear his own thoughts on Freudian psychology, and I have that story particularly in mind.

Hemingway's characters are troubled by the past, but it does not become part of their dialogue. The opposite is true of Fitzgerald's best stories. Babylon Revisited and Winter Dreams are layered with memories and weave the past into the present. Necessarily, like Winter Dreams, they break into episodes based on units of time. There are two large patterns governing the story, one simple and the other impenetrably complex. The first of these shows Dexter Green's life as it proceeds on a straight line. His success encounters no obstacles, which is rare in actuality but not when life is seen through the Idea of Progress. In 1922, the year this story was published, Walter Lippmann identified some particular American dreams: the country village will become the great metropolis, the modest building a skyscraper, what is small shall be big, what is slow shall be fast, what is poor shall be rich. All things are connected, and, Lippmann adds, individual destinies are understood to accord with . . . progress.¹¹ But his linear model does not explain the Gordian nature of experience—for example, the mysteries and prohibitions of Fitzgerald's story. I don't mean only the hidden personality of Judy Jones or even Dexter's mixed feelings for her, but his consciousness of past and future selves.

Fitzgerald had ready access to contemporary ideas of mentality. Both H. L. Mencken and Edmund Wilson wrote about Freudian psychology before and during the early twenties. Mencken had made his reluctant peace with psychoanalysis before Fitzgerald began serious writing. In 1918, he wrote in The Smart Set that Freud's theory was now clearly the youngest of the arts and sciences. Mencken was convinced that the idea of the subconscious was a new explanation for human behavior, and that it should be applied to literature. He mentioned especially the discovery that past feelings refused to be obliterated—they were never more than temporarily absent from our present thoughts. That led him to other conclusions: the fact that a good many such throttled memories must be sexual in character is so obvious that it scarcely needs statement. Under our Christian civilization, the sexual impulse is constantly under suppression. Our whole culture, in fact, is largely a conspiracy against it. Not only is it opposed outwardly by a host of social taboos, most of them in conflict with nature; it is also opposed inwardly by powerful concepts of morals and decorum.¹²

I am as much concerned with Freud's thoughts about writers as with writers who thought about Freud. As a critic, Freud is best known for his work on Shakespeare and on high culture. However, he also studied popular fiction, what he described as novels, romances, and short stories, that endlessly retold the great motif of success.¹³ The fiction of success in business satisfied the aspirations of its readers; and it revealed something about writers. Freud thought that they had a unique means of rectifying experience: they could in fiction impose dreams upon the actual pattern of their lives. That was why fiction had so many elements of autobiography, and why it could be judged by the principles of psychoanalysis.

What were the common features of such fiction? Not only the rise from poverty to wealth but the expression of resentment. Freud took as his subject a typical figure in the imagination of industrial democracy, a young man with more talent than money. His memory would have many slights to overcome. He would in success stories be led to resolve them through marriage to a rich and beautiful young woman with all the wealth, power, and stability absent from his own life. He needs to marry her not only because she is desirable but because she is symbolic. The story of success is then not only about social mobility. For Freud, it involves a change of self and the quest for an object that can magically resolve the lifelong problem of not having succeeded at all.

Fitzgerald adopted certain ideas but, equally important, he knew when to modify or even to reject them.¹⁴ The circumstances of writing The Great Gatsby are revealing. Fitzgerald knew before it appeared that many reviewers would want his book to represent