880
PARTISAN
~EVI~W
elements of his being but only instruments that he manipulates, and the
~tructure
begins to fall apart, it is a posture, no longer the "universe."
With Hemingway these lapses are frequent; they occur whenever he
becomes too strongly aware of his own identity and finds it necessary
to set himself off from the "others"-in a story like "The Snows of
Kilimanjaro," for instance, in parts of
The Sun Also R ises,
in the whole
doctrine of
"cojones"
and the boring
Schwiirmerei
of wine-tasting. His
prose then becomes pompous and mechanical and without honesty;
between the writer and his words there intervenes the personal mask,
that ill-conceived image of himself which H emingway seeks with such
astonishing lack of finesse to impose upon others.
Of his longer works, only
A Farewell to Arms
is relatively free of
this self-assertiveness. In
For Whom the Bell Tolls,
with its cute
"obscenitit:s" and the fal se rhetoric of literal translation from Spanish,
language was already becoming a kind of joke and the writer a kind
of clown- though still, perhaps, on the level of art. With
Across the
River and into the Trees,
the joke has descended to the level of the
Broadway columnists, and the writer, as
if
in a final convulsion of his
famous love of death, is engaged
in
destroying himself.
The book is a compendium of Hemingway's habitual themes, opin-
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