The Mailer Review/Volume 4, 2010/Jive-Ass Aficionado: Why Are We in Vietnam? and Hemingway's Moral Code: Difference between revisions
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heart like the jaws of a vise . . . like attack of vertigo when stepping into dark and smelling pig shit, that’s what death smells to him” (136){{sfn|Hemingway|1926}}. With Harry, | heart like the jaws of a vise . . . like attack of vertigo when stepping into dark and smelling pig shit, that’s what death smells to him” (136){{sfn|Hemingway|1926}}. With Harry, | ||
Hemingway’s dying hero from “Snows of Kilimanjaro,” he sensed death’s | Hemingway’s dying hero from “Snows of Kilimanjaro,” he sensed death’s | ||
presence and“he could smell its breath” (Hemingway,“Snows” 54){{sfn|Hemingway|2003}}. But of all | presence and“he could smell its breath” (Hemingway,“Snows” 54){{sfn|Hemingway|2003|p39-56}}. But of all | ||
the things that D.J. and the Hemingway heroes share in common, it’s an ostensible cure for dread—a moral code for doing things precisely and with | the things that D.J. and the Hemingway heroes share in common, it’s an ostensible cure for dread—a moral code for doing things precisely and with | ||
passion—that gives them a sense of importance as well as being, and offers | passion—that gives them a sense of importance as well as being, and offers | ||
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hunt was pure competition, not recreation, and that’s the way the hunting | hunt was pure competition, not recreation, and that’s the way the hunting | ||
trip plays out in Mailer’s novel. | trip plays out in Mailer’s novel. | ||
Like Pop, the Great White Hunter in ''Green Hills''{{sfn|Hemingway|1935}}, and Wilson in “The Short Happy Life of Francis Macomber{{sfn | Like Pop, the Great White Hunter in ''Green Hills''{{sfn|Hemingway|1935}}, and Wilson in “The Short Happy Life of Francis Macomber{{sfn|Hemingway|2003|pg 5-28}},”Big Luke is the big expert on hunting in his particular stretch of wilderness, and his derision or validation of those who hire his services somehow matters.It does to D.J.,who himself has already pronounced similar judgment on the “medium-grade and high-grade asshole” (Mailer, ''Why Are We in Vietnam?{{sfn|Mailer|1967}}''50) that compete in his corporate culture. Even Rusty, the corporate “father” as well as D.J.’s, is in it hoping to bag a big-enough bear for Big Luke to say that he got off “a fair shot” (51){{sfn|Mailer|1967}}—just a little show of approval, which is all, one suspects, that D.J.ever wanted from his father.{{pg|203|204}} | ||
The closest D.J. comes to that approval is when he and Rusty break off | The closest D.J. comes to that approval is when he and Rusty break off | ||
from the rest of the group as Hemingway’s hero did—“‘Son, let’s split from | from the rest of the group as Hemingway’s hero did—“‘Son, let’s split from | ||