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<blockquote>The central theme of “The Snows of Kilimanjaro,” I believe, is the exploration of unrealized alternatives and the coincident judgments of these alternatives by characters, narrator, and implied author. The explorations of “what might have been”— which appear in some form in every section of “Snows”—unite the story’s fragments and provide the key to its total thematic effect, inviting the reader to participate in the process of judgment. (Harding –)</blockquote> | <blockquote>The central theme of “The Snows of Kilimanjaro,” I believe, is the exploration of unrealized alternatives and the coincident judgments of these alternatives by characters, narrator, and implied author. The explorations of “what might have been”— which appear in some form in every section of “Snows”—unite the story’s fragments and provide the key to its total thematic effect, inviting the reader to participate in the process of judgment. (Harding –)</blockquote> | ||
::In , Hemingway was living in Key West, Florida. Michael Reynolds tells us that he “was in a period of reassessment, melancholy and morose . . .” (). He felt battered by the critics and preoccupied with death. It was the middle of the Great Depression. Fascists and Nazis were on the march, and another cataclysmic War seemed imminent. As Hemingway was working on what would become “Snows” and “Francis Macomber,” the first two of Fitzgerald’s three “Crack-Up” essays appeared in Esquire. Reading them, Hemingway was “depressed and appalled,” partly because—rightly or wrongly—he believed Scott was alluding not only to his own breakdown but also to Hemingway’s “suicidal gloom” (Reynolds ). True or not, Hemingway would have his revenge.5 Even so, the “Crack-Up” articles may have been the catalyst that Hemingway needed to write this masterpiece. Reynolds continues the story, | ::In , Hemingway was living in Key West, Florida. Michael Reynolds tells us that he “was in a period of reassessment, melancholy and morose . . .” (). He felt battered by the critics and preoccupied with death. It was the middle of the Great Depression. Fascists and Nazis were on the march, and another cataclysmic War seemed imminent. As Hemingway was working on what would become “Snows” and “Francis Macomber,” the first two of Fitzgerald’s three “Crack-Up” essays appeared in Esquire. Reading them, Hemingway was “depressed and appalled,” partly because—rightly or wrongly—he believed Scott was alluding not only to his own breakdown but also to Hemingway’s “suicidal gloom” (Reynolds ). True or not, Hemingway would have his revenge.5 Even so, the “Crack-Up” articles may have been the catalyst that Hemingway needed to write this masterpiece. Reynolds continues the story, | ||
::indent,In April of , shortly after reading Fitzgerald’s third instalment in Esquire, Ernest finished his story of the dying writer in disrepair, “The Snows of Kilimanjaro,” in which Harry berates himself for the same kinds of failure that haunt Fitzgerald: squandering talent which never creates the fiction of which it was capable. . . . The result is a collection of short stories inside of a short story about a writer who failed his talent by not writing these very stories (Reynolds –). | |||