Wine to water

He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 WINE TO WATER La y BELCHER Uni e sidad de Valladolid E nes Hemingway began o w i e he sho s o y “The Wine o Wyoming”1 in Oc obe 1928, some se en mon hs a e his e u n o he Uni ed S a es om Pa is, whe e he had been li ing since la e 1921. And al hough he was echnically a esiden o he Uni ed S a es, li ing on he im o Ame ica in Key Wes , Flo ida, his alues and poin o iew had changed o e e . O en he el like a s ange in his na i e land. He could hun and ish in Wyoming, bu his hough s we e o Eu ope, as e lec ed in a le e w i en in Wyoming o his iend Waldo Pie ce in Augus 1928: “I’ e go o see some o os. By God e e y Sunday e ening his summe a 5 o’clock seems as i my whole li e we e poin less.”2 The na a o o he s o y, who has also been li ing in F ance, looks a he coun y: “I looked like Spain, bu i was Wyoming”(p. 353). The na a o is in Ame ica, and he sees he Bigho n Moun ains o Wyoming in he dis ance, one o he emblema ic scenes o he Ame ican Wes , bu “ hey looked mo e like Spain han e e ” (353). Up in Wyoming, dea h in he a e noon was he shoo ing o p ai ie dogs om a Fo d oads e . I was a long jou ney o Spain. Desc ibing bo h Hemingway and his second wi e Pauline a he ime o hei a i al in he Uni ed S a es, Michael Reynolds has no ed “ he ac was ha nei he o hem, E nes o Pauline, was any longe me ely an Ame ican; hey had li ed oo long in Eu ope and he expe ience had changed hem i e ocably.”3 Wyoming was in ano he coun y, and in ha coun y, his na i e land, Hemingway el diso ien ed. Consequen ly, as he o en did, Hemingway con e ed his in e nal u moil in o ic ion. In “The Wine o Wyoming,” Hemingway c ea es a cha ac e whose cu ious idiolec , composed o an admix u e o English and F ench, and con using use o English syn ax e lec his own sense o diso ien a ion, and which, in u n, causes he eade o expe ience a simila sensa ion. I is no impe a i e ha he ansla o be awa e o Hemingway’s pe sonal si ua ion in o de o ansla e he s o y; only he nuances o bo h he idiolec and he syn ac ic anomalies need be cap u ed – o example, by adap a ion o he o me , and h ough some o m o equi alence o he la e – and a communica i e ende ing will ollow. As will be demons a ed, i is e iden ha J. Gómez del Cas illo, he Spanish ansla o o “The Wine o Wyoming,”4 ei he was no awa e o 1 E nes Hemingway, “The Wine o Wyoming,” in The Comple e Sho S o ies o E nes Hemingway, The Finca Vigía Edi ion (New Yo k: Cha les Sc ibne ’s Sons/Macmillan Publishing Company, 1987), pp. 342-354. All u he quo a ions will be aken om his edi ion. 2 Ca los Bake , ed., E nes Hemingway, Selec ed Le e s, 1917-1961 (NewYo k:Cha les Sc ibne ’s Sons, 1981), pp. 282-283. 3 Michael Reynolds, Hemingway: The Ame ican Homecoming (Ox o d: Blackwell Publishe s, 1992), p. 198. 4 E nes Hemingway, “El ino de Wyoming,” in Los asesinos, T ans. J. Goméz del Cas illo, hi d ed. (Ba celona: Ca al , 1991), pp. 127-145. All u he quo a ions will be aken om his edi ion. - 1 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 said nuances o chose o igno e hem, adop ing wha could be classi ied as an explica o y ansla ion s a egy, a conscien ious e o o cla i y hose elemen s in he sou ce ex ha c ea e ambigui y and pe plexi y. This app oach no only nega es Hemingway’s s ylis ic de ices and hei e ec on he eade , bu also ob usca es he cha ac e iza ion o he p incipal cha ac e . The use o F ench is one o he wo s ylis ic de ices Hemingway employs o induce diso ien a ion, a de ice which bo h e lec s he eelings o he main p o agonis while a he same ime causing eade s o ind hemsel es con used and diso ien ed. Madame Fon an and he husband a e F ench immig an s who li e nea She idan, Wyoming, and ea n hei li ing by unning a boa ding house and selling boo leg wine as a sideline in P ohibi ion-e a Ame ica. Al hough M . Fon an appea s o ha e adap ed ela i ely well o his adop ed land, Madame Fon an is unable o comp ehend ully he cus oms o his s ange coun y. She is a o eigne and will o e e emain so, o he alues and cul u al he i age ha e no p epa ed he o li e in a o eign land ha is o he , a imes, incomp ehensible. She is no luen in English, and o en wha has been said in English mus be explained o he in F ench. In he speech, she equen ly al e na es be ween F ench and wha has become he idiolec - English/F ench. Re e ing o he daugh e -in-law, an Ame ican Indian, Madame Fon an says: “All he ime she eads. Rien que des books. Tou le emps elle s ay in bed and ead books” (343). I would be logical o suppose ha a e age Ame ican eade s a e no amilia wi h F ench and, he e o e, when con on ed wi h ubiqui ous dialogues such as hese hey a e likely o be, a leas , pe plexed. Much o wha she says in F ench can be asce ained om he ex in English, bu some o i canno . In an a emp a p ese ing he mul ilingual dialogue, he ansla o does main ain he pa ois in ansla ion: “Lee odo el iempo. Rien que des lib os. Tou le emps elle (5) es á en la cama y lee lib os” (130). Al hough he s udy o F ench has been somewha mo e widesp ead in Spain han in he Uni ed S a es, i could be a gued ha no all Spanish speaking eade s a e so su icien ly amilia wi h F ench ha he use o i would no c ea e p oblems o unde s anding and, he e o e, ha Cas illo has managed o ec ea e he e ec p oduced by he sou ce ex . Un o una ely, as we will see, his is no he case. Madame Fon an is su p ised by much o he beha io o he Ame icans; she is ba led by many o hei cus oms; and he mo e o Ame ica has also mean he end o some hing impo an o he . I has signi ied he loss o any close con ac wi h he eligion – Ca holicism. In con as o F ance, whe e he e was a as majo i y o Ca holics and e y ew P o es an s, he e a e many P o es an s and Bap is s in Wyoming and e y ew Ca holics: “Ici il y a op de chu ches. En F ance il y a seulmen les ca holiques e les p o es an s-e ès peu de p o es an s. Mais ici ien que de chu ches. Quand j’è ais enu ici je disais [. . .]” (347). Al hough she emains a Ca holic, she no longe a ends mass. He e Madame Fon an exp esses ano he ac o which adds o he aliena ion, and eade s who do no unde s and he F ench, a e aliena ed om he ex , o in o de o cap u e some sense o he abo e dialogue hey mus ecu o con ex ual clues in English ha a o d a ela ed idea. In he ansla ion, he abo e dialogue, apa om sligh syn ac ical modi ica ions, appea s o be ai h ully ep oduced: “Ici il y a op des iglesias. En F ance il y a seulmen les ca holiques e les - 2 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 p o es an s. Ce e ès peu des p o es an s. Mais ici ien que des iglesias. Quand j’è ais enue ici je disais”5 [. . .] (135). I has been men ioned ha Cas illo’s ea men o he F ench in he s o y appea s o e lec ha o he o iginal. Two dis up i e elemen s, howe e , in ude no on he esonance o he p ose bu a he on he isual e ec achie ed by Hemingway. The ansla o eso s o bo h i alics and oo no es when he ansc ibes he F ench. In he o iginal, he lack o i alics lends au hen ici y o he dialogues, a oiding he appea ance o academic p ose occasioned by he use o i alics in he ansla ion. The oo no es in he ansla ion which p o ide he Spanish ansla ion o he F ench used in he o iginal no only in e up he low o he dialogue bu also, because o hei explica o y na u e, nulli y he diso ien ing e ec hey p oduce in he sou ce ex . And he i s d op o wa e is added o he wine. Al hough he was w i ing o an English-speaking public, Hemingway belie ed ha he use o F ench was essen ial o he s o y, as he s a ed in a le e o his edi o Maxwell Pe kins: “The F ench is necessa y in his.” (5) The F ench is undamen al o mo e han one eason. Madame Fon an’s idiolec ce ainly con ibu es o he cha ac e iza ion, bu he ex ensi e use o F ench o F ench/English seems excessi e i i is iewed as exclusi ely ha ing his pu pose. E en i he eade s unde s and F ench and a e hus able o deciphe Madame Fon an’s linguis ic pas iche, hey a e pe plexed by he incessan ba age. I , howe e , hey do no unde s and F ench and a e consequen ly unable o deciphe he mix u e o F ench and English, hey a e, jus as Madame Fon an, con used and diso ien ed, and Hemingway’s pu pose has been se ed. The second elemen in he s o y which causes pe plexi y and diso ien a ion is Madame Fon an’s use o English syn ax. The e ec is mo e sub le and cumula i e, like a sligh ly o -key no e played h oughou a symphony. S uc u ally, he s o y is cen e ed a ound dialogues be ween an e aced na a o and Madame Fon an, who ela es a ious inciden s which demons a e he sense o con usion when con on ed by a cul u e she canno ully comp ehend. Hemingway manipula es he syn ax in such a way ha on one hand he speech is in he cha ac e o a o eigne who is no luen in English; on he o he hand eade s a e con on ed wi h syn ac ical anomalies ha cause hem o pause o o sea ch he ex o cla i ica ion. In he ansla ed s o y, mo e wa e is added o he wine. I he ansla o adop ed he s a egy o explica ion conce ning he ansla ion composed o F ench/ English, he now akes he ac o cla i ica ion conce ning he ansla ion o Madame Fon an’s English syn ax, as will be e iden in he ollowing passages. While he na a o and he Fon ans a e d inking home-b ewed bee , hey ell him abou some ou hey had once caugh . Madame Fon an suddenly exclaims: “Good ou , all igh , oo. My God, yes. All he same; hal -pound one ounce.” Con used, he na a o asks, “How big?” (345). Madame Fon an, accus omed o no being unde s ood, epea s: “Hal -pound one ounce. Jus igh o ea . All he same size; hal -pound one ounce” (345). Madame Fon an’s peculia way o exp essing weigh causes bo h he na a o and he eade a momen o con usion, o some hing ei he weighs a hal - pound o i does no , in which case he weigh is gi en in ounces i i does no su pass a pound. In he ansla ion he weigh o he ou is inc eased and he e ec is los : “Buenas uchas, ambién. ¡Dios mío!, sí. Casi odas iguales; pesaban más de medio kilo cada una.” “¡Qué g andes!” (134) is he la esponse o he na a o in he ansla ion. 5 Bake , p. 323. - 3 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 I is when we a e con on ed wi h Madame Fon an’s use –o misuse– o he e b enses ha we ind ou sel es in he mos eache ous e ain. Ne e heless, we do ha e a ou disposal a ype o compass o guide us ac oss his landscape wi h igu es. In gene al she employs he p esen o he ba e in ini i e o exp ess he pas , al hough, i may added, he con usion o he enses is no es ic ed o he wo men ioned abo e. No mally in any one dialogue sequence Madame Fon an, when she is e e ing o he pas , will ei he employ a e b in pas ense somewhe e wi hin he sequence o an ad e b o ime wi h e e ence o he pas . In he ollowing example, she ela es how she p epa ed a jack- abbi , desc ibing he pas ac ion wi h wo e bs in p esen and linking he sequence o he con ex ual pas o he passage wi h a pas ense e b: “My God, I make he sauce all igh , and he ea i all and said, ‘La sauce es meilliu e que le jack’” (349). E en in his a he s aigh o wa d example, we a e momen a ily diso ien ed, o we expec he pas ense bu we a e con on ed wi h he p esen . In he ansla ion, howe e , all pa hs a e clea ly ma ked, and i he s o y is ead only in ansla ion, he eade is led o belie e ha Madame Fon an speaks s anda d, g amma ical English, as he ollowing ansla ion o he example gi en abo e clea ly demons a es: “¡Dios mío! Hice bien la salsa y él la comió y dijo: “La sauce es meilliu e que le lieb e.” (138). Aspec in he ollowing example is pos poned un il he inal independen clause; when i is inally e ealed, he eade mus hen anapho ically con e he wo ini ial independen clauses o he pas : “The e’s a a me comes o see wha ’s he ma e , and we gi e him some hing o d ink, and he s ayed wi h us a while” (345). The ansla ion, “ ino un ag icul o pa a e qué pasaba y le dimos algo de bebe y se quedó con noso os un a o,” (133) is as anspa en as sp ing wa e . The e a e many hings ha Madame Fon an does no unde s and, bu she is long pas he poin o asking o explana ions. On he o he hand he pe cep i e eade does seek explana ions. I is a simple enqui y: when did he e en desc ibed by Madame Fon an occu ? The key in he ollowing sequence o dialogue lies, as has been men ioned, in he ad e b o ime. A an Indian camp he elde o Madam Fon an’s wo sons me an Ame ican Indian woman and ma ied he . The woman is beyond Madame Fon an’s g asp, as she explains o he na a o : When he b ough he home I hough I would die. He’s such a good boy and wo ks ha d all he ime and ne e un a ound o make any ouble. Then he goes away o wo k in he oil- ields and b ings home his Indienne ha weighs igh hen one hund ed eigh y- i e pounds (343). The s ylis ic de ice ha causes he eade o pause and men ally ecas he sen ence in his passage, as in many o he s, is he denial o wha is syn ac ically expec ed. The signpos s exis , bu hey a e askew. The i s sen ence –a e b in pas ense ollowed by ano he pas and hen a condi ional– is a com o able one. The second sen ence is composed o e bs in he p esen indica i e. Upon eading “ hen”, howe e , we expec i o be ollowed by a e b in pas ense, jus as we expec he e b p eceding he second use o “ hen” o be in pas ense. The e bs ollowing and p eceding “ hen” a e in p esen indica i e, and in o de o co ec ly in e p e he sen ence we mus ei he ca y along wi h us he linguis ic baggage o “b ough ” o ely upon he ad e b hen, o bo h. - 4 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 The ansla ion o his passage, as wi h he ansla ion o he s o y in gene al, leads us o he ques ion o “wha o do wi h a diminished hing:”6 Cuando la ajo a casa c eí que iba a mo i . Es un muchacho an bueno y abaja an o odo el iempo y nunca anda po ahí dando uel as ni me iéndose en líos. De p on o se ué a abaja en los yacimien os pe olí e os y se ajo a casa a esa india que pesaba en onces ochen a y cua o kilos (131). In he p e iously ci ed examples we ha e seen ha whene e Madame Fon an employs a e b in pas ense, ega dless o i s posi ion wi hin he dialogue sequence, i is a clea signal ha a leas one o he o he sen ences in he dialogue g oup also e e s o he pas . Bu in he ollowing passage he e ain is mined: ‘The e was one man,’ Madame Fon an said, ‘and his wi e ne e le s him ou . So he ells he he’s i ed, and goes o bed, and when she goes o he show he comes s aigh down he e, some imes in his pyjamas jus wi h a coa o e hem’ (350). I would appea , based on p io expe ience, ha he in e p e a ion o he passage hinges on “ he e was one man,” since he e b is in pas , and, consequen ly, ha his was indeed a pas ac ion. La e , howe e , we disco e ha his is habi ual beha io on he pa o he man: ‘C’es un o iginal,’ Fon an said, ‘mais aimen gen il. He’s a nice ellow’. ‘My God, yes, nice ellow all igh ,’ Madame Fon an said. ‘He’s always in bed when his wi e ge s back om he show’ (350). I could be a gued ha since Madame Fon an’s g amma is no o be us ed, we canno be su e when she says ha he is always in bed when his wi e e u ns whe he she is e e ing o he p esen o o he pas . M . Fon an, howe e , is a eliable in o man whose command o English is a supe io o ha o his wi e, and he implica ion in “c’es un o iginal, he’s a nice ellow,” is ha he will con inue o make his noc u nal isi s o he Fon an’s house in o de o d ink boo leg wine. Wi h his, and he ac o Madame Fona an’s epe i ion o he p esen ense in he inal sen ence, in mind, we now, con a y o he no m, con e he pas ense o he p esen . Diso ien ed, he ansla o , pe haps because he has also elied on he no mal linguis ic pa e n o Madame Fon an’s speech, does no ind his way h ough he mine ield: ‘Había un homb e,’ dijo Madame, ‘que su esposa nunca le dejaba eni . Él le decía que es aba cansado y se iba a la cama, y cuando ella salía al cine, él enía di ec amen e aquí en pijama con solo un ab igo encima.’ ‘C’es un o iginal,’ dijo Fon an, ‘mais aimen gen il (1). Es un buen ipo. ‘¡Oh sí! Un buen ipo, ienes azón. Siemp e es aba en la cama cuando su muje ol ía del cine’ (140). By employing he Spanish impe ec , he ansla o con e s wha is mos p obably habi ual beha io in he p esen , and in he u u e by ex ension, o habi ual ac ion in he pas . 6 Pe e G i in, Less Than A T eason: Hemingway in Pa is (New Yo k: Ox o d Uni e si y P ess, 1990), p. ii. - 5 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 In he ollowing passage, Hemingway manipula es syn ax in such a way as o c ea e a mo e sub le e ec . Once again he oice is ha o Madame Fon an: One ime a ellow comes he e came he e and said he wan ed me o cook hem a big suppe and hey d ink one wo bo les o wine, and hei gi ls come oo, and hen hey go o he dance. All igh , I said. So I made a big suppe , and when hey come al eady hey d ank a lo (349). Madame Fon an’s con usion wi h espec o he e b enses – comes he e/came he e – mi o s he eade ’s ini ial con usion conce ning his passage in gene al. The jux aposi ion o pas and p esen , a echnique o eshadowing Hemingway’s conce n wi h ime, he melding o pas and p esen , ha would coalesce in G een Hills o A ica, is an e ec i e design: i demons a es Madame Fon an’s cul u al bewilde men , as well as p esen ing a na a o who o en eels displaced, one who, in he shadow o he Rocky Moun ains, sees he moun ains o Spain – all o which ansmi s a sense o disconce men o he eade . The cus oma y guidepos s a e s anding in he passage abo e, and Hemingway, by he echnique o epe i ion, has augh us o ead hem. When Madame Fon an employs he p esen ense e b o m in conjunc ion wi h ad e bials o ime e e ing o he pas o e bs in he simple pas , we ha e become accus omed o ans o ming he p esen ense o he simple pas . Following he au ho ’s lead, he choice be ween “comes he e/came he e,” con ex ually placed be ween “one ime” and “he wan ed,” is clea , as is he men al con e sion o “ hey come” o hey came p eceded by “So I made a big suppe ....” In his passage, howe e , Hemingway inc eases empo al con usion. The guidepos s a e no longe o be us ed. “They d ink”, “gi ls come,” and “ hey go” mus be in e p e ed no as simple pas bu a he as he simple u u e o a pas ac ion, esul ing in hey would d ink, gi ls would come, hey would go. The no mal ad e bial signs a e now also decep i e. The use o al eady in “when hey come al eady hey d ank a lo ” channels he eade o con e he simple pas o he plupe ec : hey had al eady d unk a lo . Time and place. Spain o Wyoming. F ance o Wyoming. Fai h ul o his ansla ion s a egy, Cas illo eso s o cla i ica ion and simpli ica ion, including he addi ion o he conjunc ion o , hus nega ing he e ec o he s o y on he eade , as well as i s majo in en : Una ez un ipo ino aquí y me dijo que que ía que le hicie a una g an comida y que bebe ían una o dos bo ellas de ino y sus muchachas ambién. Luego odos i ían a baila . Bueno, dije. De modo que hice una g an comida, y cuando inie on bebie on bas an e (139). Le us add one las me apho ical d op o wa e o he wine. The e a e many ins ances in he s o y in which he p onoun and i s e e en a e sligh ly con using. As has al eady been men ioned, i is again caused by he denial o wha is no mally expec ed o he syn ax. Madame Fon an ells he na a o how she came o acqui e a as e o bee : The man ha owns he b ewe y said o me and my sis e o go o he b ewe y and d ink he bee , and hen we’d like he hops. Tha ’s ue. Then we liked hem all igh . He had hem gi e us he bee . We liked hem all igh hen (349). - 6 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 Tha “ hem” e e s anapho ically o he hops in he hi d sen ence is clea , o Madame Fon an has p e iously said ha she did no like he odo o hops coming om he b ewe y. The con usion a ises in he inal use o “ hem”, he con usion s emming om he p oximi y o “bee ” and om wha is logically expec ed. I is no no mally he as e o hops ha a bee d inke likes; i is he gene ic as e o bee . Wi h his in mind, when we ead “bee ” in he penul ima e sen ence ollowed by “we liked,” he expec ed p onoun is “i .” “Them” causes us o bypass he logical e e en and make he anapho ic connec ion wi h hops. Al hough his a gumen may appea o leak upon close examina ion, he e a e in he ex a ious ins ances in which e e ence is manipula ed so as o cause he e ec jus men ioned. I has a cumula i e e ec . I is ano he disco dan esonance e e be a ing h oughou he ex . Pe haps in he ansla ed passage some equi alen ambigui y has been e ained: El p opie a io de la ce ece ía nos dijo a mí y a mi he mana que ué amos a la ce ece ía y bebié amos ce eza y luego nos gus ó el olo del lúpulo. Es e dad. Luego nos gus aba mucho. Él nos daba la ce eza y en onces nos gus aba (138). While he e is he ansposi ion o “ hem” o “el olo del lúpulo” in he inal sen ence, he subjec o he e b gus aba could be ei he “el olo del lúpulo” o “la ce eza.” In any case, he no mal p ocedu e is o cla i y any e e ence in he ex ha migh cause ambigui y o con usion. “Wine o Wyoming” o en causes he eade o pause and ask himsel “wha on ea h is his all abou .”7 I is he same ques ion ha Madame Fon an, con used by a cul u e ha she does no ully comp ehend, has p obably asked he sel on many occasions. The eeling o diso ien a ion ha he use o F ench and he cunning manipula ion o syn ax p oduces on he eade e lec s he bewilde men el by Madame Fon an. In his “s o y o los ameni ies and displaced cus oms,” as Michael Reynolds has classi ied i ,8 he eade mus a e se di icul e ain pa ien ly, as pa ien ly as he Fon ans wai o hei wine o each he igh momen . Cas illo, he Spanish ansla o , has also c ossed di icul e ain, and in so doing he has igh ed he sign pos s and ligh ed he way. Hemingway biog aphe Kenne h lynn dismisses he s o y, w i ing ha “ a om gi ing p omise ha he Rocky Moun ain Wes would someday igu e impo an ly in his ic ion, “Wine o Wyoming” indica ed ha he didn’ wish o cope wi h i ...” (409)9. Pe haps he ansla o has also app oached he s o y wi h he same a i ude, o he has gi en us a ansla ion ha explains and cla i ies he sou ce ex . He has gi en us a map wi h all he ou es clea ly ma ked. And he wine o Wyoming ha he se es is no o Hemingway in age. BIBLIOGRAPHY BAKER, Ca los. E nes Hemingway, Selec ed Le e s, 1917-1961. New Yo k: Cha les Sc ibne ’s Sons, 1981. 7 Tom S oppa d, “Re lec ions on E nes Hemingway,” E nes Hemingway: The W i e in Con ex , Ed. James Nagel (Madison: Uni . o Wisconsin P ess, 1984), p. 22. 8 Michael Reynolds, Hemingway: he 1930s (New Yo k: No on, 1997), p. 41. 9 Kenne h Lynn, Hemingway (New Yo k: Simon And Schus e , 1987), p. 409. - 7 - He mēneus. Re is a de T aducción e In e p e ación Núm. 4 - Año 2002 GRIFFIN, Pe e . Less Than A T eason: Hemingway in Pa is. New Yo k: Ox o d Uni e si y P ess, 1990. HEMINGWAY, E nes . “The Wine o Wyoming,” in The Comple e Sho S o ies o E nes Hemingway, The Finca Vigía Edi ion. New Yo k: Cha les Sc ibne ’s Sons/Macmillan Publishing Company, 1987. –. “El ino de Wyoming,” in Los asesinos, T ans. J. Goméz del Cas illo, hi d ed. Ba celona: Ca al , 1991. LYNN, Kenne h. Hemingway. New Yo k: Simon And Schus e , 1987. REYNOLDS, Michael. Hemingway: The Ame ican Homecoming. Ox o d: Blackwell Publishe s, 1992. –. Hemingway: The 1930s. New Yo k: No on, 1997. STOPPARD, Tom. “Re lec ions on E nes Hemingway,” E nes Hemingway: The W i e in Con ex , Ed. James Nagel. Madison: Uni . o Wisconsin P ess, 1984. The Hemingway Re iew. Vol. VI, No.1 (1986). - 8 -