User:KWatson/sandbox: Difference between revisions

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side of the International / Red / Republican project in the Spanish Civil War

is found in the confrontation between the Soviet journalist Karkov and

André Marty, the Frenchman who is a member of the Comintern. As Robert A. Martin shows, Karkov is drawn on the model of Stalin’s personal journalist Koltsov, whereas Marty, also an actual historical figure, retains his own name in the novel. Marty, for whom, as Martin writes, Hemingway had “an intense personal animosity” appears in ''For Whom the Bell Tolls'' as a paranoid, deranged careerist who is eager and willing to have executed anyone on his own side about whom he has the least suspicion. He is the embodiment of the worst side of the Comintern’s involvement in the Spanish Civil War. He is also a prescient if unintentional portrait of many of Stalin’s salient character traits, especially in his obsession with rooting out imaginary enemies.

André Marty, the Frenchman who is a member of the Comintern. As Robert A. Martin shows, Karkov is drawn on the model of Stalin’s personal journalist Koltsov, whereas Marty, also an actual historical figure, retains his own name in the novel{{sfn|Martin|1992|p=62}}. Marty, for whom, as Martin writes, Hemingway had “an intense personal animosity” {{sfn|Martin|1992|p=61}} appears in ''For Whom the Bell Tolls'' as a paranoid, deranged careerist who is eager and willing to have executed anyone on his own side about whom he has the least suspicion. He is the embodiment of the worst side of the Comintern’s involvement in the Spanish Civil War. He is also a prescient if unintentional portrait of many of Stalin’s salient character traits, especially in his obsession with rooting out imaginary enemies.

Karkov-Koltsov, like Hemingway, detests Marty, who for all of his misdeeds has somehow remained untouchable, and he is determined to find Marty’s “weakness” and expose it (Hemingway 418). When Karkov-Kolstsov forces Marty to release unharmed Gomez and Andrés, who have brought the news from Robert Jordan that the fascists can no longer be subject to a surprise attack, he is asserting his role as the chief do-gooder of the Soviet contingent. Hemingway draws him as the righteous one who uses his privileged status as journalist and Stalin’s right-hand man to make things right in both Spain and the Soviet Union. I have to say that I find this portrait of Karkov-Koltsov to be naïve at best. It is the one place in the novel where Hemingway comes closest to the realm of Socialist Realism, where the heroes

@@ Line 66: / Line 66: @@
 side of the International / Red / Republican project in the Spanish Civil War
 is found in the confrontation between the Soviet journalist Karkov and
-André Marty, the Frenchman who is a member of the Comintern. As Robert A. Martin shows, Karkov is drawn on the model of Stalin’s personal journalist Koltsov, whereas Marty, also an actual historical figure, retains his own name in the novel. Marty, for whom, as Martin writes, Hemingway had “an intense personal animosity” appears in ''For Whom the Bell Tolls'' as a paranoid, deranged careerist who is eager and willing to have executed anyone on his own side about whom he has the least suspicion. He is the embodiment of the worst side of the Comintern’s involvement in the Spanish Civil War. He is also a prescient if unintentional portrait of many of Stalin’s salient character traits, especially in his obsession with rooting out imaginary enemies.
+André Marty, the Frenchman who is a member of the Comintern. As Robert A. Martin shows, Karkov is drawn on the model of Stalin’s personal journalist Koltsov, whereas Marty, also an actual historical figure, retains his own name in the novel{{sfn|Martin|1992|p=62}}. Marty, for whom, as Martin writes, Hemingway had “an intense personal animosity” {{sfn|Martin|1992|p=61}} appears in ''For Whom the Bell Tolls'' as a paranoid, deranged careerist who is eager and willing to have executed anyone on his own side about whom he has the least suspicion. He is the embodiment of the worst side of the Comintern’s involvement in the Spanish Civil War. He is also a prescient if unintentional portrait of many of Stalin’s salient character traits, especially in his obsession with rooting out imaginary enemies.
 Karkov-Koltsov, like Hemingway, detests Marty, who for all of his misdeeds has somehow remained untouchable, and he is determined to find Marty’s “weakness” and expose it (Hemingway 418). When Karkov-Kolstsov forces Marty to release unharmed Gomez and Andrés, who have brought the news from Robert Jordan that the fascists can no longer be subject to a surprise attack, he is asserting his role as the chief do-gooder of the Soviet contingent. Hemingway draws him as the righteous one who uses his privileged status as journalist and Stalin’s right-hand man to make things right in both Spain and the Soviet Union. I have to say that I find this portrait of Karkov-Koltsov to be naïve at best. It is the one place in the novel where Hemingway comes closest to the realm of Socialist Realism, where the heroes