User:LogansPop22/sandbox: Difference between revisions

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wanted, when I wanted, and write what I saw” (22). In a 1945 Collier’s article describing the end of World War II in Europe, “You’re on Your Way Home,” Gellhorn writes that “the war, the hated and perilous and mad, had been home for a long time too; everyone had learned how to live in it, everyone had something to do, something that looked necessary, and now we were back in this beautiful big safe place called home and what would become of us?” (qtd. in Sorel 389).

For women at the war front, now at home in the public sphere, what in {{pg|387|388}}

For women at the war front, now at home in the public sphere, what in {{pg|387|388}} fact was there to return to, since the home front was publicly defined by the presence of a waiting wife? Yet such a return was necessary if the balance between the male public sphere and the female private sphere was to be reestablished. Margaret Mead addressed this male anxiety, complaining about the “continuous harping on the theme: ‘Will the women be willing to return to the home?’’’ and noting the male self-interest involved in this particular skirmish between the sexes: “[This question was] repeated over and over again. . . by those to whose interest it will be to discharge women workers . . . as soon as the war is over” (qtd. in Gilbert and Gubar 3:214). The female war correspondent at the battle front was an extreme example of the millions of women who had entered the public sphere of war work, if most often on the home front.

Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in For Whom the Bell Tolls. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape, 15 “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}}

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 wanted, when I wanted, and write what I saw” (22). In a 1945 Collier’s article describing the end of World War II in Europe, “You’re on Your Way Home,” Gellhorn writes that “the war, the hated and perilous and mad, had been home for a long time too; everyone had learned how to live in it, everyone had something to do, something that looked necessary, and now we were back in this beautiful big safe place called home and what would become of us?” (qtd. in Sorel 389).
-For women at the war front, now at home in the public sphere, what in {{pg|387|388}}
+For women at the war front, now at home in the public sphere, what in {{pg|387|388}} fact was there to return to, since the home front was publicly defined by the presence of a waiting wife? Yet such a return was necessary if the balance between the male public sphere and the female private sphere was to be reestablished. Margaret Mead addressed this male anxiety, complaining about the “continuous harping on the theme: ‘Will the women be willing to return to the home?’’’ and noting the male self-interest involved in this particular skirmish between the sexes: “[This question was] repeated over and over again. . . by those to whose interest it will be to discharge women workers . . . as soon as the war is over” (qtd. in Gilbert and Gubar 3:214). The female war correspondent at the battle front was an extreme example of the millions of women who had entered the public sphere of war work, if most often on the home front.
+Dorothy Bridges’ identity as female war correspondent is undermined not only by her characterization but by the very structure of the play, which rigidly confines her to the domestic sphere—a strategy that Hemingway later employed more subtly in For Whom the Bell Tolls. Act One, where Dorothy is prominent, has three scenes, all set at the Hotel Florida. Act Two, where Dorothy is less prominent, has only one scene set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, where two Loyalist soldiers are being interrogated for suspected treason, and at Chicote’s Bar, the hangout for International Brigade soldiers, prostitutes, and war correspondents. Act Three, where Dorothy is again less prominent, has two scenes set at the Hotel Florida; the other two scenes are set at Seguridad headquarters, and at a Republican artillery observation post that Philip and Max infiltrate. The active Philip’s scenes include not only those in his and Dorothy’s rooms at the Hotel Florida, but also those at Seguridad Headquarters, Chicote’s Bar, and the Republican observation post. In contrast, Dorothy is never presented outside of the Hotel Florida, almost always in her own room (only once entering Philip’s room). Indeed, she is most frequently seen in bed, for example “sleeping soundly” through Philip’s extended conversation with the hotel manager (16), “go[ing] back to sleep for just a little while longer” after waking for breakfast and conversation (26), pushed by Philip “toward the bed” in a protective gesture when the Loyalist soldier is shot in Philip’s room (33), eating breakfast in bed, reading in bed, lying in bed with Philip while she wears her new silver fox cape, 15 “asleep in bed” when Philip and Max discuss the initial failure of their counterespionage plan (55). Jeffrey Meyers de- {{pg|388|389}}