Research Paper After reading, watching, and studying the Canvas module resources, write at least an 650 word essay supporting the claim, Francis Macomber goes on the hero's journey.Use in text citatio

Margot Macomber's Gimlet Author(syf % H U W % H Q G H r Source: College Literature, Vol. 8, No. 1 (Winter, 1981yf S S 0 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/25111356 Accessed: 04-11-2017 16:15 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to College Literature This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms 12 MARGOT MACOMBER'S GIMLET Bert Bender In its treatment of "the great American boy-men" and "American fe male cruelty," "The Short Happy Life of Francis Macomber" is one of the most self-consciously American stories by one of our most American writers. But over the last decades the story has become even more American than Hemingway could have imagined: projecting recent shifts in American values, critics have wrenched from it a meaning that distorts what Heming way seems to have had in mind when he wrote the story in 1936. Mark Spilka complained about this in 1960, pointing out that critics had failed to make the vital connection between the Macomber story and Hemingway's life's work, his vision and style. Spilka's example was Warren Beck, who, in "The Shorter Happy Life of Mrs. Macomber," had argued that the story is about Margot Macomber's regeneration through love: her short happy life exists when she shoots at the buffalo in order to save Francis (this has been the greatest point of contention among critics?whether Margot's shot was an accident, whether she did or did not, consciously or unconsciously, mur der Francisyf ' H V S L W H 6 S L O N D V D G Y L F H K R Z H Y H U W K H V W R U \ V L Q W H U S U H W H U s since 1960 have tended increasingly to project the revolution in our cultural values, arguing that Margot is the heroine and that the guide Wilson and even Francis are villains: Hemingway, himself, and the virile male who dominated the bloody world we associate with Green Hills of Africa have lost their appeal as America greened and the women's movement flowered. Thus, in 1973 the Fitzgerald/Hemingway Annual published an article titled "Margot Macomber: 'Bitch Goddess' Exonerated," whose point is that "the American woman's hardness has been brought about as a result of her husband's weakness. Perhaps it's not the women who pick the men they can handle, but the men who pick women that can handle them. ' ' 2 The question for critics is, should we seek to interpret Hemingway's story about American "boy-men" and "female cruelty," or America's changing attitude about Hemingway's fiction? My own feeling is that we owe Hemingway's story a closer reading than we have yet managed and, further, that we can develop such a reading without having to apologize for what we see. That Hemingway's vision and values may offend us today does not justify our rewriting his fiction. The stories Hemingway named as his own favorites in 1938 have at least one thing in common: their remarkably efficient openings.3 One thinks of the poetic first paragraph of "In Another Country," and of the opening This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms MARGOT MACOMBER'S GIMLET 13 dialogue in "Hills like White Elephants," "The Snows of Kilimanjaro," and "A Clean, Well-Lighted Place"?openings whose first gestures project the story's unity. In "A Clean, Well-Lighted Place," for example, much of the story is contained in the reverberation of death, despair, and nothing ness in the waiters' first few words. The opening of "The Short Happy Life of Francis Macomber" (another of Hemingway's favoritesyf L V H T X D O O \ U e markable, but for reasons that aren't at all apparent: It was now lunch time and they were all sitting under the double green fly of the dining tent pretending that nothing had happened. "Will you have lime juice or lemon squash?" Macomber asked. "I'll have a gimlet," Robert Wilson told him. "I'll have a gimlet too. I need something," Macomber's wife said. "I suppose it's the thing to do," Macomber agreed. "Tell him to make three gimlets." The mess boy had started them already, lifting the bottle out of the can vas cooling bags that sweated wet in the wind that blew through the trees that shaded the tents. "What had I ought to give them?" Macomber asked. "A quid would be plenty," Wilson told him. "You don't want to spoil them." "Will the headman distribute it?" "Absolutely." 4 Most readers see at once how this first sentence sets the stage for the open ing dialogue and how the initial interchange of remarks among Francis, Wilson, and Margot clearly dramatizes the relationship that exists among them throughout the story, until everything changes with Francis's rebirth. That is, we see an uncertain, ineffectual, and inexperienced Francis ask three questions of his guide, thus beginning an education that will lead him to his new life; we see Wilson assert himself; and we see Margot yield to the strong man's authority. Francis's first question reveals that he needs a guide even among these civilized white companions, and his next questions reveal that he is even more insecure in the primitive world of the safari, where his education will take place. It is an impressive little drama; but if this were all, I would hesitate to call attention to it as one of Hemingway's best openings. He does a great deal more to define his subject, and to establish the stylistic attitude he will as sume toward it, by selecting drinks that are perfectly in character. To begin, we see that Francis has not yet learned Hemingway's manly art of drinking alcohol. True, he will have a whiskey and soda later this evening, but he will not really taste what Hemingway's ritual drinking entails until after he kills his bull and finds his courage the next day. Then, the first thing he says, after Wilson certifies his performance ("You shot damn well"yf L V / H W V J o to the car ... I want a drink." Not only does he repeat, after finishing the third, wounded bull, "Let's get the drink," but?to make sure that we see This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms 14 COLLEGE LITERATURE just how far Francis has come by then?Hemingway has him repeat again, "Let's all have a drink." Whereupon they all drink straight whiskey from the flask (p. 29yf $ W W K H E H J L Q Q L Q J R I W K H V W R U \ K R Z H Y H U K H L V D S S U R S U L D W H O y identified with "lemon squash," with its suggestion of cowardice and de feat; he has already been crushed by his own cowardice and, as we shall see, by Margot. Hemingway must have had great fun putting these words into Macomber's own mouth. "Milk" or "Squirt" (if that drink had existed thenyf Z R X O G K D Y H F D U U L H G D V L P L O D U E X W I D U W R R R E Y L R X V P H D Q L Q J / H P R n squash" has the added virtue of being believable: it is a British drink and we can at least concede that the British guide Wilson might have had a supply of it. In short, "lemon squash" is a good invention; it's the perfect?per haps even the fated?drink for Francis, the only character in any of Hemingway's African stories ever to mention the drink. But if Hemingway was amused by Francis's "lemon squash," he was pre paring to have even more fun with "gimlet." At first it seems out of charac ter that Robert Wilson?considered by many to be the prime example of Hemingway's ideal of hawkish virility?should order a gimlet. One would expect such a man to have his hard liquor "straight" or "on the rocks." Of course there wouldn't be any "rocks" on the safari, but no character in any of Hemingway's other African stories ever has a gimlet. Harry in "The Snows of Kilimanjaro" drinks whiskey and soda. And in Green Hills of Africa, Pop (Philip Percival, apparently a model for Robert Wilsonyf D Q d Hemingway drink only straight whiskey and water, whiskey and soda, or German beer. Hemingway had all the drinks in the world to choose from, but in this story of sexual violence it is fitting that Wilson ask for a gimlet and that Margot should follow his lead so quickly. Hemingway wanted the sexual suggestion of something like "screwdriver," but that would have been a dead giveaway. "Gimlet" is perfect: like a "screwdriver," it is a drink named after a tool?the "small hand tool for boring holes, having a spiraled shank, a screw tip, and a cross handle" (The American Heritage Dictionaryyf 3 H U K D S V K H U H F D O O H G V X F K D Q H D U O L H U X V H R I W K H Z R U G D V + D w thorne's "gimlet-eyed," for example (in The House of the Seven Gablesyf , and turned it here to his explicitly sexual purpose. Whatever, "gimlet" is the perfect image to express the general violence and, in particular, the sexu al violence Hemingway depicts on this safari. Clearly, he identifies Wilson with the gimlet in this opening drama and, further, foretells the sexual en counter between Wilson and Margot just hours later. More important, this elaborate selection of drinks and play on words allows Hemingway to ac complish what he wants most?to say it all here first, to have arranged for Margot to say, "I'll have a gimlet too, I need something." It all comes to this for Hemingway in this story: Margot needs something?to be domi nated sexually, physically, psychically; and the quashed Francis is incapable of setting things right. This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms MARGOT MACOMBER'S GIMLET 15 It is worth noting here that, according to Hemingway's understanding of the Macombers' deadly relationship, Margot is not a simple "bitch god dess," responsible for the whole mess. We learn later that "the way they were together now was no one person's fault" (p. 34yf 7 K L V L V ) U D Q F L V V V W R U y more than Margot 's, and from its first moment Hemingway begins to lead Francis on the educational journey toward his new brief life. Francis's initial uneducated state exists in his not yet having learned his essential les son concerning the primitive reality of male authority in Hemingway's world. But he has a guide in Wilson, who knows about gimlets, and whose answer to Francis's last question about the headman packs a punch like his .505 Gibbs: "Absolutely." Francis must learn what "headman" means. This intensely efficient opening drama does more, however, than to re veal Hemingway's vision and values; it suggests much of the story's pro found unity, as well. In "The Short Happy Life," the aesthetics of hunting and the aesthetics of storytelling are one: Wilson's advice to Francis, "It's the first [shot] in that counts," applies equally to writing, as we have seen from the deadly accuracy of Hemingway's "first shot" at the story. Later, Margot will shoot with deadly accuracy, too. (Nor can we fail to hear such shots reverberate throughout the writer's career, from his haunting remark about the sometimes "dull and blunt. . . instrument you write with"?bet ter to have it dull, he said, and know you had to "hammer it into shape" again and still know you had something to say than have it "bright and shining and nothing to say, or smooth and well oiled in the closet, but un used"?until the end.yf 0 R U H R Y H U W K H V W R U \ V X Q L W \ R I V W \ O H D Q G W R Q e develops out of the attitude Hemingway takes toward his material in the opening scene, with its intense, even perverse, word play. The opening vol ley of off-color puns penetrates to the story's heart, where the arts of hunt ing, storytelling, and love lie grotesquely intertwined. Many critics have noted the heavy presence of sexual allusion in "The Short Happy Life," but without seeing its origin in the opening scene; and others seem to have missed Hemingway's point altogether. Many have noted, for example, how Wilson's sexual prowess is conveyed in the descrip tion of his rifle and bed: the "short, ugly, shockingly big-bored .505 Gibbs" he grinningly carries onto the scene just as Francis comments on the "frightful," and Margot the "impressive," sound of the lion's roar; and the "double size cot" he carries "on safari to accommodate any windfalls he might receive" (pp. 13, 26yf 6 L P L O D U O \ L W K D V E H H Q D U J X H G W K D W + H P L Q g way intends a sexual meaning when he has Wilson tell Margot that he could be put "out of business" if the authorities found out that he had chased buffalo with a car (Margot had said it seemed "very unfair," and Francis notes, "now she has something on you"yf ) X U W K H U W K H U H S H D W H G P H Q W L R Q R f Wilson's red face seems intended to emphasize a kind of blood-engorged sexual readiness as well as the kind of courage suggested later in his own This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms 16 COLLEGE LITERATURE description of the new Francis: "he's a ruddy fire eater" (p. 31yf % X W V R P e interpreters, seeking to prove that Margot is the heroine (or that Wilson has been mistakenly admired at her expenseyf K D Y H V H H Q T X L W H R W K H U T X D O L W L H s suggested by Wilson's red face. Virgil Hutton, for example, argues that Wilson is "a hyprocrite [who] merits his perpetual red badge of shame"; that his red face suggests the red "once used on maps to designate areas of the world under British rule" and the "red face of Moliere's archetypal, hyprocrite, Tartuffe." 7 But in the story Wilson's redness is given a sexual significance by Margot's repeated, "the beautiful red-faced Mr. Wilson" at the very time that she makes sexual advances toward him?when she kisses him just after Francis had displayed his cowardice and, later, when she is obviously planning to visit his tent that evening. Emphasizing Wilson's red face in order to underscore his phallic strength and Margot's willingness to submit to it, Hemingway writes here in a manner familiar to readers of D. H. Lawrence. In one of his own responses to what has been called the Prufrock-Waste Land vision of death and impotence, for example, Lawrence makes one of his women (one who had "felt very remote from this business of male and female, and giving and taking"yf F R Q I U R Q W D Q R O d cathedral which he describes as though it were a giant phallus: "It was built of reddish stone, that had a flush in the night, like dark flesh." Since this is another story of a woman learning how to submit, she "dimly" realizes in the presence of Lawrence's obvious symbol that "behind all the ashy pallor ... of our civilization, lurks the great blood-creature waiting, implacable and eternal, ready at last to crush our white brittleness and let the shadowy blood move erect once more. " 8 But the Macomber story's most blatant sexual pun occurs the morning after Margot sleeps with Wilson. At the breakfast table Wilson asks, in his "throaty voice," whether Francis had slept well, and Hemingway arranges that as Wilson asks this he is symbolically "filling his pipe." When the non plussed Francis can only return the question, "Did you?" Wilson's arro gant reply is, "Topping." Not even Francis misses this one; he thinks, "you bastard . . . you insolent bastard" (p. 23yf 7 R S S L Q J L V R I F R X U V H I D r more obvious than "gimlet," but we can note that even in this instance Hemingway's punning style accomplishes more than just to amuse us at Francis's expense. "Topping"is perfect because it expresses at once the two aspects of Hemingway's subject that are emphasized throughout the story?male sexual dominance as it is related to male authority and cour age. Ultimately, Francis's education will be complete only when he learns the meaning of Hemingway's violent sexual puns. And we can observe Heming way as he emphasizes the educational process throughout the story, begin ning with Francis's initial questions, and, for example, his abject confession to Wilson that "there are a lot of things I don't know" (p. 7yf $ Q L P S R U W D Q t This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms MARGOT MACOMBER'S GIMLET 17 lesson occurs when, seeing Wilson threaten the boys with lashes instead of the legal punishment of fines, Francis asks, "Do you still have them whipped?" His response to Wilson's explanation ("they prefer it to fines"yf is, "How strange!" And the guide's moral provides Francis with one of the most important bits of wisdom: " 'Not strange, really,' Wilson said. "Which would you rather do? Take a birching or lose your pay?' . . . 'We all take a beating every day, you know, one way or another" ' (p. 6yf $ J D L Q , some interpreters, seeking to prove that Hemingway discredits Wilson in order to emphasize Margot's virtue, have argued that Hemingway means to criticize Wilson's treatment of the boys. The problem with this argument is not only that it contradicts the story's unity and its aesthetics, but, as Mark Spilka might have complained, that it doesn't fit with what we know of the author. It is helpful, for example, to recall the way Hemingway treated some of his own less cooperative black helpers (one named Garrick, in par ticularyf L Q * U H H Q + L O O V R I $ I U L F D $ W R Q H S R L Q W K H F R P S O D L Q V , K D G Q o chance to train them; no power to discipline. If there had been no law I would have shot Garrick and they would have all hunted or cleared out." 9 This is very like the wisdom Nick seems to have gathered in "A Way You'll Never Be," when he quotes "that great soldier and gentleman, Sir Henry Wilson: Gentlemen, either you must govern or you must be governed." 10 And elsewhere in "The Short Happy Life" the guide Wilson understands Francis's cowardice and Margot's cruelty in the same terms: "They [American women] govern, of course, and to govern one has to be cruel sometimes," but the situation disgusts him (p. 10yf . Hemingway's main point about Francis's education is that it must come through experience, felt knowledge of the primitive power, violence, suffer ing, and sexuality that prevail in this safari world and, even if less apparent ly, in Francis's own civilized world. Hemingway dwells on this, emphasizing Francis's inability to feel: he "did not know how the lion had felt before he started his rush . . . nor what kept him coming" after he had been hit in the mouth by "the unbelievable smash of the .505 with a muzzle velocity of two tons." n This is in contrast to Wilson, who did know "something about it and only expressed it by saying, 'Damned fine lion' "; and we see that Fran cis's ignorance of primitive violence and suffering is directly related to his ignorance of human affairs, including his relationship with Margot: "but Macomber did not know how Wilson felt about things either. He did not know how his wife felt except that she was through with him." One of the things he knew was that she would not leave him now. "He knew about that, about motor cycles," etc., and "about sex in books, many books, too many books." Both he and Margot know that neither will leave the other, but "if he had been better with women she would probably have started to worry." Finally, this extended analysis of Francis's education ends in the narrator's description of the "sound basis of their union": "Margot was This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms 18 COLLEGE LITERATURE too beautiful for Macomber to divorce her and Macomber had too much money for Margot ever to leave him." In short, they are locked in a death struggle, and Francis does not yet know about the primitive regenerative power in Hemingway's male world of blood, violence, and sex. In the very next sentence, however, after detailing what Francis knows and does not know, and after explaining how this is related to the Macom ber marriage, Hemingway lets us see another of the crucial steps in Francis's educational process?this time as things come together for him in a dream. From a fitful sleep, he "woke suddenly, frightened in a dream of the bloody-headed lion standing over him, and listening while his heart pounded, he realized that his wife was not in the other cot in the tent. He lay awake with that knowledge for two hours" (p. 22yf 7 K L V N Q R Z O H G J H L s obviously important as a part of Francis's education. He seems, for example, to see more clearly the govern-or-be-governed nature of their relationship, for when Margot returns he says, "You don't wait long when you have an advantage, do you?" (p. 23yf % X W L W L V P R V W L P S R U W D Q W W R Q R W e that the images in Francis' dream contain all he must learn about life: "the bloody-headed lion standing over him" is an image not only of primitive suffering, courage, and violence, but also of the red-faced Wilson who is at this moment "standing over" Francis by cuckolding him. Indeed, as there is something courageous and violent about Wilson's sexual power, there is something sexual (at least in Hemingway's dreamyf D E R X W W K H E L J J D P H 7 K e most desirable trophies are always the males or bulls, of course, and they are depicted with phallic imagery as expressive as Wilson's .505; this is true of the lion, for example, with "his barrel of a body bulking smoothly," and of the three bull buffalo, "huge, black animals looking almost cylindrical in their long heaviness" (pp. 14, 27yf . Francis does complete his education, of course, does somehow find his new life; and Wilson accounts for the change partly by noting that Francis hadn't had time to be afraid during the buffalo hunt. Wilson also sees that the change?"more than any loss of virginity"?means that Macomber will henceforth have "no bloody fear," a quality that "women knew"; so in Francis's case it "probably meant the end of cuckoldry too" (p. 33yf 7 K X V , sensing the change in Francis, Margot is "very afraid of something." This leaves us with the final ambiguity, whether Margot murdered Francis or not. We are told that she "shot at the buffalo," but we know also that, especially in this safari world, and frightened as she is, she might well have unconsciously shot at Francis?just as he had earlier run before he realized it. As the long critical debate over this issue might indicate, it is probably an unresolvable ambiguity; but it seems of little consequence. After all, it is the story of Francis's short happy life; and it is fitting that the Macomber re lationship should end as it has been portrayed all along?as a death struggle that subsides only when one clearly yields, dominates, or dies. This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms MARGOT MACOMBER'S GIMLET 19 Now, whether or not we like the taste of Hemingway's gimlet, the reading I have presented here is, I think, in accord with what we know of his style and vision, in general. That is, the violence, sex, and masculine domination suggested by the gimlet image reflect what Spilka called "the wasteland frontier conflict" of Hemingway's vision, or what Jackson J. Benson has described as the "emotional-psychological underpinning of Hemingway's fiction," a pattern of which includes "(1yf D V V H U W L R Q R I W K H V H O I X V X D O O \ R f the masculine principle"yf \f fear of failure, and (3yf D W W D F N V R Q W K R V e things which threaten the successful assertion of the self." 12 Benson goes on to explain how this all involves "the dramatization of power, courage, achievement, and virility-life" and how the threats to Hemingway's "suc cessful assertion of the self" typically originate in "parents and parental figures, certain kinds of women, marriage, Victorian morality, and compet ing writers" (p. 292yf 7 K H W K U H D W H Q L Q J Z R P D Q " 0 D U J R W " P X V W E H V X E G X H G , and subdued in a way that involves the sexual violence suggested by the gim let image. Further, we see that violence is necessary not only because of the nature of most sexual relationships, according to Hemingway, but because of the resulting anger to which men like Francis must be roused before they can gain what Hemingway would consider natural male dominance. Ac cording to Wilson's sense, Francis's new courage is due only in part to his not having had time to be afraid; it was "that and being angry too" (p. 33yf . My purpose here is not to defend Hemingway's primitive sexist values, but to show how they are embodied in the story from beginning to end. Like the opening scene of a renaissance drama, Hemingway's opening portrays a world out of balance; and as the action unfolds, the balance is restored. The initial problem is suggested by Margot's need for a gimlet, as Hemingway plays upon the word; by the end, despite her having just killed Francis with a "Mannlicher" (Hemingway puns unabashedlyyf + H P L Q J Z D \ V H W V W K e world right by having Margot assume a properly submissive posture: she yields to Wilson's angry attack: " 'Oh, please stop it,' she said. 'Please, please stop it.' 'That's much better,' Wilson said. "Please is much better. Now I'll stop.' " Hemingway makes things work out; from his point of view the ending is poetically just, or happy, and that is what he seems to have had in mind when he tentatively called the story "The Happy End ing." 13 "The Short Happy Life of Francis Macomber" is as efficiently de signed as a bullet, and as ugly. As an American short story its efficient form is perhaps ideal; and it is an impressively high calibre denial of the claim, then in the air, that life ends "not with a bang but a whimper." NOTES 1 "The Necessary Stylist: A New Critical Revision," Modern Fiction Studies, 6 (Winter 1960-1961yf : D U U H Q % H F N 7 K H 6 K R U W H U + D S S \ / L I H R I 0 U V . Macomber." Modern Fiction Studies, 1 (Nov. 1955yf ) R U D G H I H Q V H R f This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms 20 COLLEGE LITERATURE Beck and an attack on others like Spilka who see Margot as a "bitch" and Wil son as creditable, see Robert B. Holland, "Macomber and the Critics," Studies In Short Fiction (Winter 1968yf % H F N D Q G 6 S L O N D U H V X P H G W K H L U G L V S X W e over the Macomber story in 1975-76, Beck maintaining, "I am of the same opinion still," and Spilka responding, "I must stick to my own unregenerate be lief": Beck, "The Shorter Happy Life of Mrs. Macomber?1955,1975," Modern Fiction Studies, 21 (Autumn 1975, 363-385; Spilka, "Warren Beck Re vis ted," Modern Fiction Studies, 22 (Summer 1976yf . 2 Anne Greco, "Margot Macomber: 'Bitch Goddess,' Exonerated," Fitz gerald/Hemingway Annual 1972, Mathew Bruccoli and C. E. Frazer, Jr., ed., (Washington, D.C.: N.C.R. Microcard Editions, 1973yf S . 3 He listed his favorites in his ' 'Preface, ' ' to the Fifth Column and the First Forty nine Stories (New York: Scribners, 1938yf . 4 The Short Stories of Ernest Hemingway (New York: Scribners, 1955yf S ; further references to "The Short Happy Life" are from this text, cited paren thetically by page. 5 "Preface" to The Fifth Column and the First Forty-nine Stories. 6 John M. Howell and Charles A. Lawler, "From Abercrombie and Fitch to The First Forty-nine Stories: The Text of Ernest Hemingway's 'Francis Macom ber,' " Proof{The Yearbook of American Bibliographical and Textual Studiesyf , 11 (1972yf . 7 "The Short Happy Life of Macomber," The University Review, XXX (June 1964yf 5 S W L Q - D F N V R Q - % H Q V R Q 7 K H 6 K R U W 6 W R U L H V R I ( U Q H V W + H P L Q g way: Critical Essays, (Durham, North Carolina: Duke Univ. Press, 1975yf S S . 239, 250. 8 D. H. Lawrence, "The Border Line," in The Complete Short Stories (Viking: New York, 1971yf , , , S S . 9 Green Hills of Africa (New York: Charles Scribner's Sons, 1953yf S . 10 The Short Stories of Ernest Hemingway, p. 412. 11 This and the following quotes in this paragraph are taken from an extended passage on Francis's knowledge on pp. 21-22. 12 Spilka, p. 295; The Short Stories of Ernest Hemingway: Critical Essays, p. 291. 13 Carlos Baker, Ernest Hemingway. A Life Story (New York: Charles Scribner's Sons, 1969yf S . This content downloaded from 132.174.254.102 on Sat, 04 Nov 2017 16:15:42 UTC All use subject to http://about.jstor.org/terms