Kirschner 1
Jacob Kirschner
AP Literature
6th Hour
June 1, 2012
Annotated Bibliography
The Sun Also Rises
Adams, Richard. Sunrise Out of The Waste Land. Critical Essays on Ernest Hemingway’s The Sun
Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995. Print.
The author of this essay, Richard Adams, acknowledges the fact that T. S. Eliot is a
mentor to Ernest Hemingway. This being stated Adams goes on to highlight
the many similarities between Hemingway’s The Sun Also Rises and Eliot’s
famous work The Waste Land. Adams then went on to argue that
Hemingway had gotten his storyline and writing style from a multitude of
other authors and famous works. This seemed a little frivolous because
according to How to Read Literature Like a Professor, there is only one
storyline that has already been thought of and everything else comes from
that. However Adams did go on to recognize that although The Sun Also
Rises is similar to many other works Hemingway has his own genius and
specific style that no one can replicate.
Wagner, Linda. The Sun Also Rises: One Debt to Imagism. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995.
Print.
The subject of this essay once again makes the point that Hemingway had
inspiration in his writing techniques from other authors. One such author, Ezra
Pound, who was one of the leaders of Imagism. Wagner goes on to describe the
Kirschner 2
similar techniques of Modernist poetry that Hemingway utilizes in his novels,
commenting on his “poetic method” and style of writing. Also multiple passages
from Hemingway’s The Sun Also Rises are cited and used to show that much of
Hemingway’s writing style represents a single image--one of the main characteristics of Imagism.
Fleming, Robert. The Importance of Count Mippipopolous: Creating the Code Hero. Critical
Essays on Ernest Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall
& Co, 1995. Print.
This essay discusses the role of the minor character Count Mippipopolous, who is
introduced in the first part of the book, and is in a total of three scenes. Fleming
says that the Count is an early prototype of his signature code hero, which is a
minor character whose flaws are outweighed by his dedication to a certain code he
lives by. Throughout the scenes the Count is in we see to facets of him: the proper
and English Count and the one who reverts to bad grammar and smokes American
cigars. Fleming goes on to say that the Count taught Jake many lessons such as the
importance of self-respect.
Reynolds, Michael. Signs, Motifs, and Themes in The Sun Also Rises. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995.
Print.
In this essay Reynolds touches on the idea of the many ambiguous signs that Jake,
as the narrator notices. Many of these signs are ones that the reader may not notice
at first but really stand for something greater. Reynolds goes on to say that in a
hundred years a thousand footnotes will be needed in Hemingway’s The Sun Also
Kirschner 3
Rises in order for the reader to understand the true meaning of the signs Jake Barnes
notices throughout the novel. One such example that Reynolds goes in length to
explain is the amount of money Jake spends while living in Paris during that time
period. Noticing how much money Jake spends in a month and extrapolating that to
how much he spends on everyday items in today’s economy. Doing this raises
questions as we see that Jake spends way more in a month than any single man in
Paris needs in order to sustain himself, while his apartment is plain and simple in
appearance.
Josephs, Allen. Toreo: The Moral Axis of The Sun Also Rises. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995. Print.
Allen Josephs essay is about the Toreo’s, bullfighters, being the moral axis in The
Sun Also Rises. This notion is developed by letters Hemingway wrote to his friends
saying that Spain was his new frontier and that the bullfighters are the only true
artists in the world. Josephs argues that the bullfight is meant to show what model
behavior should look like. Also that it is not Romero but the art Romero creates. In
other words it’s not the bullfighter but the art of bullfighting. Not all the facts
Hemingway has in The Sun Also Rises are true about Spain except the description
of the bullfighting, which he considered true art and strengthens the idea of the toreo being the moral axis of The Sun Also Rises. Using the idea of the toreo, in this case, Pedro Romero as a perfect hero it allows Hemingway to further develop his characters fitting into the lost generation.
Jacob Kirschner
AP Literature
6th Hour
June 1, 2012
Annotated Bibliography
The Sun Also Rises
Adams, Richard. Sunrise Out of The Waste Land. Critical Essays on Ernest Hemingway’s The Sun
Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995. Print.
The author of this essay, Richard Adams, acknowledges the fact that T. S. Eliot is a
mentor to Ernest Hemingway. This being stated Adams goes on to highlight
the many similarities between Hemingway’s The Sun Also Rises and Eliot’s
famous work The Waste Land. Adams then went on to argue that
Hemingway had gotten his storyline and writing style from a multitude of
other authors and famous works. This seemed a little frivolous because
according to How to Read Literature Like a Professor, there is only one
storyline that has already been thought of and everything else comes from
that. However Adams did go on to recognize that although The Sun Also
Rises is similar to many other works Hemingway has his own genius and
specific style that no one can replicate.
Wagner, Linda. The Sun Also Rises: One Debt to Imagism. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995.
Print.
The subject of this essay once again makes the point that Hemingway had
inspiration in his writing techniques from other authors. One such author, Ezra
Pound, who was one of the leaders of Imagism. Wagner goes on to describe the
Kirschner 2
similar techniques of Modernist poetry that Hemingway utilizes in his novels,
commenting on his “poetic method” and style of writing. Also multiple passages
from Hemingway’s The Sun Also Rises are cited and used to show that much of
Hemingway’s writing style represents a single image--one of the main characteristics of Imagism.
Fleming, Robert. The Importance of Count Mippipopolous: Creating the Code Hero. Critical
Essays on Ernest Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall
& Co, 1995. Print.
This essay discusses the role of the minor character Count Mippipopolous, who is
introduced in the first part of the book, and is in a total of three scenes. Fleming
says that the Count is an early prototype of his signature code hero, which is a
minor character whose flaws are outweighed by his dedication to a certain code he
lives by. Throughout the scenes the Count is in we see to facets of him: the proper
and English Count and the one who reverts to bad grammar and smokes American
cigars. Fleming goes on to say that the Count taught Jake many lessons such as the
importance of self-respect.
Reynolds, Michael. Signs, Motifs, and Themes in The Sun Also Rises. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995.
Print.
In this essay Reynolds touches on the idea of the many ambiguous signs that Jake,
as the narrator notices. Many of these signs are ones that the reader may not notice
at first but really stand for something greater. Reynolds goes on to say that in a
hundred years a thousand footnotes will be needed in Hemingway’s The Sun Also
Kirschner 3
Rises in order for the reader to understand the true meaning of the signs Jake Barnes
notices throughout the novel. One such example that Reynolds goes in length to
explain is the amount of money Jake spends while living in Paris during that time
period. Noticing how much money Jake spends in a month and extrapolating that to
how much he spends on everyday items in today’s economy. Doing this raises
questions as we see that Jake spends way more in a month than any single man in
Paris needs in order to sustain himself, while his apartment is plain and simple in
appearance.
Josephs, Allen. Toreo: The Moral Axis of The Sun Also Rises. Critical Essays on Ernest
Hemingway’s The Sun Also Rises. Nagel, James. New York: G. K. Hall & Co, 1995. Print.
Allen Josephs essay is about the Toreo’s, bullfighters, being the moral axis in The
Sun Also Rises. This notion is developed by letters Hemingway wrote to his friends
saying that Spain was his new frontier and that the bullfighters are the only true
artists in the world. Josephs argues that the bullfight is meant to show what model
behavior should look like. Also that it is not Romero but the art Romero creates. In
other words it’s not the bullfighter but the art of bullfighting. Not all the facts
Hemingway has in The Sun Also Rises are true about Spain except the description
of the bullfighting, which he considered true art and strengthens the idea of the toreo being the moral axis of The Sun Also Rises. Using the idea of the toreo, in this case, Pedro Romero as a perfect hero it allows Hemingway to further develop his characters fitting into the lost generation.