User talk:CVinson/sandbox: Difference between revisions

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 Oswald’s Tale) is the instrument of a death which lives forever in the shadowy ambiguity of Margot Macomber’s true intent, and which brings to a
 close the short, happy, existential life of the protagonist.
+Part One of Hemingway’s To Have and Have Not () opens with an action sequence in which two politically opposed groups of Cubans kill each
+other with, among other guns, a mm. Luger, a  gauge shotgun, and a .
+Thompson submachine gun. Later in the same section of the book, the protagonist Harry Morgan, a modern pirate like his namesake Henry Morgan
+(?–: a Welsh buccaneer in the Caribbean, later acting governor of
+Jamaica, –) carries out the dangerous mission of transporting (and
+double-crossing) illegal Chinese immigrants with the aid of a fairly standard
+but versatile battery consisting of a Winchester - lever action carbine, a  gauge pump shotgun, and“the Smith andWesson thirty-eightspecial I had
+when I was on the police force up in Miami“ (Hemingway, To Have ).
+In Part Two, Harry is badly wounded in his right arm, which he subsequently loses, by the gunfire of law enforcement agents while smuggling
+liquor from Cuba. But in Part Three, the longest and most intense section of
+the book, he (literally) single-handedly kills, with his Thompson submachine gun, four Cuban revolutionaries escaping from a bank robbery. And
+yet, a true existential character trapped in a naturalistic world, he mutters
+with his dying breath this credo: “No matter how a man alone ain’t got no
+bloody fucking chance” ().