User:LogansPop22/sandbox: Difference between revisions

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(5). She cites four critical locations, neighborhoods and suburbs of Madrid where the Nationalist enemy had been dug in since November 1936, sites of horrific battles between Republican militias (soon supported by the International Brigades) and the Nationalist Army that determined whether Madrid would stand or fall. Madrid suffered mightily, but La Pasionaria’s cry "No Pasarán”—“They shall not pass”—became the city’s watchword. For the rest of the war, the Nationalists maintained their positions on the outskirts of Madrid, shelling the city and inhibiting the movement of supplies, while Madrid held fast despite terrible punishment until the very end. It was a “City of Anguish” as Edwin Rolfe titled one of his Spanish Civil War poems. These battle sites were indeed “dreadful,” as Dorothy asserts in her understated idiom (and as Robert Jordan recollects in For Whom the Bell Tolls, having fought at Usera and Carabanchel himself). And she keeps her promise to write “just as soon as [she] understand[s] things the least bit better” (10).

Employing understatement like Philip’s own, Dorothy later comments to Philip in passing, “I work when you’re not around,” a claim that Philip could also make (57). Yet Philip has a history on which to draw to enact his role successfully, whereas Dorothy must create a new role without history’s support, {{pg|392|393}}

Employing understatement like Philip’s own, Dorothy later comments to Philip in passing, “I work when you’re not around,” a claim that Philip could also make (57). Yet Philip has a history on which to draw to enact his role successfully, whereas Dorothy must create a new role without history’s support, {{pg|392|393}} rendering her circumspect as she defines this identity. Nancy Sorel notes of the women war correspondents who reported World War II—“fewer than a hundred in all” (xili)—that “every women felt vulnerable in regard to her professional status,” whether because of “discriminatory treatment by generals,” “denigrating remarks from hostile male reporters,” or unwanted romantic or sexual advances (xiv). Dorothy disguises her vulnerability at enacting her new role as war correspondent just as Philip does at enacting his role as counterespionage agent. But Dorothy has no one to talk to about her secret life, while Philip has Max, to whom he confides his doubts and fears, and even the hotel manager, to whom he confides information in a code they both understand. As Pilar tells Robert Jordan in ''For Whom the Bell Tolls'', “Everyone needs to talk to someone. Now for every one there should be some one to whom one can speak frankly, for all the valor one could have one becomes very alone”(89). And secretly valorous Dorothy is in this regard far more alone than Philip.

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	(5). She cites four critical locations, neighborhoods and suburbs of Madrid where the Nationalist enemy had been dug in since November 1936, sites of horrific battles between Republican militias (soon supported by the International Brigades) and the Nationalist Army that determined whether Madrid would stand or fall. Madrid suffered mightily, but La Pasionaria’s cry "No Pasarán”—“They shall not pass”—became the city’s watchword. For the rest of the war, the Nationalists maintained their positions on the outskirts of Madrid, shelling the city and inhibiting the movement of supplies, while Madrid held fast despite terrible punishment until the very end. It was a “City of Anguish” as Edwin Rolfe titled one of his Spanish Civil War poems. These battle sites were indeed “dreadful,” as Dorothy asserts in her understated idiom (and as Robert Jordan recollects in For Whom the Bell Tolls, having fought at Usera and Carabanchel himself). And she keeps her promise to write “just as soon as [she] understand[s] things the least bit better” (10).		(5). She cites four critical locations, neighborhoods and suburbs of Madrid where the Nationalist enemy had been dug in since November 1936, sites of horrific battles between Republican militias (soon supported by the International Brigades) and the Nationalist Army that determined whether Madrid would stand or fall. Madrid suffered mightily, but La Pasionaria’s cry "No Pasarán”—“They shall not pass”—became the city’s watchword. For the rest of the war, the Nationalists maintained their positions on the outskirts of Madrid, shelling the city and inhibiting the movement of supplies, while Madrid held fast despite terrible punishment until the very end. It was a “City of Anguish” as Edwin Rolfe titled one of his Spanish Civil War poems. These battle sites were indeed “dreadful,” as Dorothy asserts in her understated idiom (and as Robert Jordan recollects in For Whom the Bell Tolls, having fought at Usera and Carabanchel himself). And she keeps her promise to write “just as soon as [she] understand[s] things the least bit better” (10).

	Employing understatement like Philip’s own, Dorothy later comments to Philip in passing, “I work when you’re not around,” a claim that Philip could also make (57). Yet Philip has a history on which to draw to enact his role successfully, whereas Dorothy must create a new role without history’s support, {{pg\|392\|393}}		Employing understatement like Philip’s own, Dorothy later comments to Philip in passing, “I work when you’re not around,” a claim that Philip could also make (57). Yet Philip has a history on which to draw to enact his role successfully, whereas Dorothy must create a new role without history’s support, {{pg\|392\|393}} rendering her circumspect as she defines this identity. Nancy Sorel notes of the women war correspondents who reported World War II—“fewer than a hundred in all” (xili)—that “every women felt vulnerable in regard to her professional status,” whether because of “discriminatory treatment by generals,” “denigrating remarks from hostile male reporters,” or unwanted romantic or sexual advances (xiv). Dorothy disguises her vulnerability at enacting her new role as war correspondent just as Philip does at enacting his role as counterespionage agent. But Dorothy has no one to talk to about her secret life, while Philip has Max, to whom he confides his doubts and fears, and even the hotel manager, to whom he confides information in a code they both understand. As Pilar tells Robert Jordan in ''For Whom the Bell Tolls'', “Everyone needs to talk to someone. Now for every one there should be some one to whom one can speak frankly, for all the valor one could have one becomes very alone”(89). And secretly valorous Dorothy is in this regard far more alone than Philip.