User:LogansPop22/sandbox: Difference between revisions

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Annabelle is terribly hurt by Joe’s betrayal, but she vows not “to let any worthless man ruin [her] job”(74), and she is cheered at the prospect of covering the war in Burma: “It sounds too terrible. Those poor men, and no one to tell what they’re doing. Forgotten Army. How dare people treat them like that” (75). Annabelle proves herself “still out to save the world,” as Jane had earlier described her, claiming, “We have to write, Jane. The people who fight can’t. It’s our job. Our duty, really” (19, 18). So Annabelle and Jane go off to yet another war front, finding it “lovely to be at the same war” but regretting that the men they love cannot somehow tolerate sharing the ex- perience with them (23). Hemingway’s Philip Rawlings had criticized Dorothy, saying that “the first thing an American woman does is try to get the man she’s interested in to give up something” (24), but in ''Love Goes to Press'' it is the men who try to change the women. As Sandra Spanier notes in her Afterword, ''"Love Goes to Press'' portrays men and women in love and at war from a distinctly female point of view, a lens through which we rarely have had the opportunity in American literature to view any war. And in this wartime drama, the European Theater of Operations is literally that— the stage set for the main action: the War between the Sexes” (82).

In ''The Fifth Column'', Hemingway also portrays what he called “the great unending battle between men and women” (Baker 481-82), though he plays it for tragedy rather than comedy. His biting portrait of Dorothy Bridges, Philip Rawlings’ potential wife, provided a cautionary example that Hemingway proceeded to ignore, as so many critics have pointed out, and as Philip seems to know when he famously confesses, “I’m afraid that’s the whole trouble. I want to make an absolutely colossal mistake” (42). But in order to render evident this colossal mistake, which Philip actually avoids, {{pg|400|401}}

In ''The Fifth Column'', Hemingway also portrays what he called “the great unending battle between men and women” (Baker 481-82), though he plays it for tragedy rather than comedy. His biting portrait of Dorothy Bridges, Philip Rawlings’ potential wife, provided a cautionary example that Hemingway proceeded to ignore, as so many critics have pointed out, and as Philip seems to know when he famously confesses, “I’m afraid that’s the whole trouble. I want to make an absolutely colossal mistake” (42). But in order to render evident this colossal mistake, which Philip actually avoids, {{pg|400|401}} Hemingway is reduced to caricaturing Martha in the role of Dorothy—in point of fact, underplaying those characteristics that he found most attractive in Martha and also most disconcerting. But the play didn’t work, critics citing most often as its primary flaw the unbelievable characterization of Dorothy. And so he easily ignored his own warning, as Martha also apparently did, though her fictional counterpart quite rightly says of Philip, “You’re a very serious problem for any woman” (24). These two willful, talented, independent people came together in the heat of battle, then waged their own personal war, from which Martha emerged an accomplished war correspondent and Hemingway emerged as husband to a woman whom he had persuaded to abandon war correspondence—not a pocket Reubens, as he affectionately termed her, but a pocket female war correspondent whom he packed up for the home front once he decided he wanted to leave the war behind. But given the modernist merging of home front and war front, Hemingway should not have been surprised to discover that in moving Mary into Martha’s room at the Finca Vigía, he had not emerged as victor in the war between the sexes but had merely shifted the battlelines.

Revision as of 10:00, 20 March 2025 view source LogansPop22 (talk \| contribs) 509 edits Adding and remediating paragraphs ← Older edit		Revision as of 10:08, 20 March 2025 view source LogansPop22 (talk \| contribs) 509 edits Adding and remediating paragraphs Newer edit →
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	Annabelle is terribly hurt by Joe’s betrayal, but she vows not “to let any worthless man ruin [her] job”(74), and she is cheered at the prospect of covering the war in Burma: “It sounds too terrible. Those poor men, and no one to tell what they’re doing. Forgotten Army. How dare people treat them like that” (75). Annabelle proves herself “still out to save the world,” as Jane had earlier described her, claiming, “We have to write, Jane. The people who fight can’t. It’s our job. Our duty, really” (19, 18). So Annabelle and Jane go off to yet another war front, finding it “lovely to be at the same war” but regretting that the men they love cannot somehow tolerate sharing the ex- perience with them (23). Hemingway’s Philip Rawlings had criticized Dorothy, saying that “the first thing an American woman does is try to get the man she’s interested in to give up something” (24), but in ''Love Goes to Press'' it is the men who try to change the women. As Sandra Spanier notes in her Afterword, ''"Love Goes to Press'' portrays men and women in love and at war from a distinctly female point of view, a lens through which we rarely have had the opportunity in American literature to view any war. And in this wartime drama, the European Theater of Operations is literally that— the stage set for the main action: the War between the Sexes” (82).		Annabelle is terribly hurt by Joe’s betrayal, but she vows not “to let any worthless man ruin [her] job”(74), and she is cheered at the prospect of covering the war in Burma: “It sounds too terrible. Those poor men, and no one to tell what they’re doing. Forgotten Army. How dare people treat them like that” (75). Annabelle proves herself “still out to save the world,” as Jane had earlier described her, claiming, “We have to write, Jane. The people who fight can’t. It’s our job. Our duty, really” (19, 18). So Annabelle and Jane go off to yet another war front, finding it “lovely to be at the same war” but regretting that the men they love cannot somehow tolerate sharing the ex- perience with them (23). Hemingway’s Philip Rawlings had criticized Dorothy, saying that “the first thing an American woman does is try to get the man she’s interested in to give up something” (24), but in ''Love Goes to Press'' it is the men who try to change the women. As Sandra Spanier notes in her Afterword, ''"Love Goes to Press'' portrays men and women in love and at war from a distinctly female point of view, a lens through which we rarely have had the opportunity in American literature to view any war. And in this wartime drama, the European Theater of Operations is literally that— the stage set for the main action: the War between the Sexes” (82).

	In ''The Fifth Column'', Hemingway also portrays what he called “the great unending battle between men and women” (Baker 481-82), though he plays it for tragedy rather than comedy. His biting portrait of Dorothy Bridges, Philip Rawlings’ potential wife, provided a cautionary example that Hemingway proceeded to ignore, as so many critics have pointed out, and as Philip seems to know when he famously confesses, “I’m afraid that’s the whole trouble. I want to make an absolutely colossal mistake” (42). But in order to render evident this colossal mistake, which Philip actually avoids, {{pg\|400\|401}}		In ''The Fifth Column'', Hemingway also portrays what he called “the great unending battle between men and women” (Baker 481-82), though he plays it for tragedy rather than comedy. His biting portrait of Dorothy Bridges, Philip Rawlings’ potential wife, provided a cautionary example that Hemingway proceeded to ignore, as so many critics have pointed out, and as Philip seems to know when he famously confesses, “I’m afraid that’s the whole trouble. I want to make an absolutely colossal mistake” (42). But in order to render evident this colossal mistake, which Philip actually avoids, {{pg\|400\|401}} Hemingway is reduced to caricaturing Martha in the role of Dorothy—in point of fact, underplaying those characteristics that he found most attractive in Martha and also most disconcerting. But the play didn’t work, critics citing most often as its primary flaw the unbelievable characterization of Dorothy. And so he easily ignored his own warning, as Martha also apparently did, though her fictional counterpart quite rightly says of Philip, “You’re a very serious problem for any woman” (24). These two willful, talented, independent people came together in the heat of battle, then waged their own personal war, from which Martha emerged an accomplished war correspondent and Hemingway emerged as husband to a woman whom he had persuaded to abandon war correspondence—not a pocket Reubens, as he affectionately termed her, but a pocket female war correspondent whom he packed up for the home front once he decided he wanted to leave the war behind. But given the modernist merging of home front and war front, Hemingway should not have been surprised to discover that in moving Mary into Martha’s room at the Finca Vigía, he had not emerged as victor in the war between the sexes but had merely shifted the battlelines.