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<blockquote>Hemingway’s personal religious pilgrimage takes him through a rejection of Puritanism, and far beyond the social-gospel brand of Protestantism, into an ever-deepening discovery of Catholicism. This personal faith-journey is manifest . . . with the aesthetic and historical and spiritual sensibility centered in ritual and ceremony (e.g., most obviously, as in the world of ''Toreo,'' or the bullfight; and, less obviously, in the vision of life-as-pilgrimage). Hemingway’s rootedness in the sacramental sense of experience, in the incarnational paradigms of Catholic Christianity, grows ever deeper.{{sfn|Stoneback|2003|p=50}} </blockquote> | <blockquote>Hemingway’s personal religious pilgrimage takes him through a rejection of Puritanism, and far beyond the social-gospel brand of Protestantism, into an ever-deepening discovery of Catholicism. This personal faith-journey is manifest . . . with the aesthetic and historical and spiritual sensibility centered in ritual and ceremony (e.g., most obviously, as in the world of ''Toreo,'' or the bullfight; and, less obviously, in the vision of life-as-pilgrimage). Hemingway’s rootedness in the sacramental sense of experience, in the incarnational paradigms of Catholic Christianity, grows ever deeper.{{sfn|Stoneback|2003|p=50}} </blockquote> | ||
Stoneback’s argument is plausible. Yes, Hemingway’s rhetoric is always unsentimental, open-ended, embedded in modernity: that is hard to dispute. Cleanth Brooks said Hemingway confined himself to“his secular terms.”{{efn|“The doctor’s suicide shook Hemingway: it added another painful memory to those from years of powerful mixed emotions. As in other times of need he turned to the faith he had embraced, rather than to that of his father, for support.”{{sfn|Buske|2002|p=87-88}}}} I think that he went further. Granted, in Hemingway there is no parallel to T. S. Eliot’s pilgrimage from the agnosticism of ''The Waste Land'' (1922) to the faith of ''Four Quartets'' (1943). But then most of the Modernists felt unable to follow Eliot in his particular journey. Nor is there any equivalent to Mailer’s final book, ''On God'' | Stoneback’s argument is plausible. Yes, Hemingway’s rhetoric is always unsentimental, open-ended, embedded in modernity: that is hard to dispute. Cleanth Brooks said Hemingway confined himself to“his secular terms.”{{efn|“The doctor’s suicide shook Hemingway: it added another painful memory to those from years of powerful mixed emotions. As in other times of need he turned to the faith he had embraced, rather than to that of his father, for support.”{{sfn|Buske|2002|p=87-88}}}} I think that he went further. Granted, in Hemingway there is no parallel to T. S. Eliot’s pilgrimage from the agnosticism of ''The Waste Land'' (1922) to the faith of ''Four Quartets'' (1943). But then most of the Modernists felt unable to follow Eliot in his particular journey. Nor is there any equivalent to Mailer’s final book, ''On God,''{{sfn|Mailer and Lennon|2007}} his “quest into the nature and context of ‘reality,’ particularly non-material entities”—in effect “Mailer’s metaphysics.”{{sfn|Sipiora|2008|p=503}} | ||
If Hemingway had not encountered physical and psychological problems, if his memory had not been gravely impaired, what at the end would he have written? We can never know what ''might'' have been. But Stoneback puts it well, “Pilgrimage, the notion and motion of spiritualized travel, is at the center of Hemingway’s religious vision and his work from his earliest stories to the final, unfinished and posthumously published novels and memoirs.”{{sfn|Stoneback|2003|p=49}} With great skill, and with a high degree of indeterminacy,Hemingway’s rhetoric appears poised between the language-game of God and that of modernism. Some claim the two games are inherently incompatible. I argue otherwise. | If Hemingway had not encountered physical and psychological problems, if his memory had not been gravely impaired, what at the end would he have written? We can never know what ''might'' have been. But Stoneback puts it well, “Pilgrimage, the notion and motion of spiritualized travel, is at the center of Hemingway’s religious vision and his work from his earliest stories to the final, unfinished and posthumously published novels and memoirs.”{{sfn|Stoneback|2003|p=49}} With great skill, and with a high degree of indeterminacy,Hemingway’s rhetoric appears poised between the language-game of God and that of modernism. Some claim the two games are inherently incompatible. I argue otherwise. | ||
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=== God-Language in Mailer: Protagonist in the Cosmic Struggle === | === God-Language in Mailer: Protagonist in the Cosmic Struggle === | ||
With Norman Mailer, we have a different rhetorical situation. Partly, this difference is a time shift: Hemingway was shaped by the Great War, Mailer by World War II, the generation haunted by the Holocaust and Hiroshima. Hence, there is a religious shift: Hemingway grew up in Oak Park Protestantism before moving to Catholicism, whereas Mailer’s roots were in the Judaism of Brooklyn. To characterize Mailer’s God-language, I use the phrase ''protagonist in the cosmic struggle.'' J. Michael Lennon says that Mailer’s writing is “shot through with his ideas on God and the Devil and the struggle in which they are locked.”{{sfn|Mailer and Lennon|2007}} | |||
=== Notes === | === Notes === | ||
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* {{cite book |last=Gellner |first=Ernest |date=1975 |title=Legitimation of Belief |location=Cambridge |publisher=Cambridge University Press |ref=harv }} | * {{cite book |last=Gellner |first=Ernest |date=1975 |title=Legitimation of Belief |location=Cambridge |publisher=Cambridge University Press |ref=harv }} | ||
* {{cite journal |last= | * {{cite journal |last=Hassan |first=Ihab |date=1987 |title=Hemingway: Valor against the Void |journal=American Fiction 1915-1945 |location=Ed. Harold Bloom. New York |publisher= Chelsea House |pages=285-299 |ref=harv }} | ||
* {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=A Clean, Well-Lighted Place |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=29-33 |ref=harv }} | * {{cite journal |last=Hemingway |first=Ernest |date=1991 |title=A Clean, Well-Lighted Place |journal=The Snows of Kilimanjaro and Other Stories |location=New York |publisher= Scribner |pages=29-33 |ref=harv }} | ||
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* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }} | * {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }} | ||
* {{cite book |last=Mailer |first=Norman and Michael Lennon |date=2007 |title=On God: An Uncommon Conversation |location=New York |publisher=Random House |ref=harv }} | |||
* {{cite book |last=Marx |first=Karl |date=1975 |title=''A Contribution of the Critique of Hegel's'' Philosophy of Right. ''Introduction.'' |journal=Early Writings |location=Ed. Lucio Colletti. London |publisher=Penguin |pages=243-258 |ref=harv }} | * {{cite book |last=Marx |first=Karl |date=1975 |title=''A Contribution of the Critique of Hegel's'' Philosophy of Right. ''Introduction.'' |journal=Early Writings |location=Ed. Lucio Colletti. London |publisher=Penguin |pages=243-258 |ref=harv }} | ||