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eBay Has a sticker on the front cover by the previous library Has been stamped on the inside title page by the previous library Modern Critical Interpretations The Old Man and the Sea HC ExLib 1999. Condition is “Very Good”. Shipped with USPS Media Mail. Third printing Pages are tight and clean Modern Critical Interpretations William Faulkner called Hemingway’s The Old Man and the Sea “the best single piece” by any of the group of their contemporaries. First published in 1952 Hemingway’s novelette is a parable of a man’s noble struggle with the natural world. The simple story of Santiago, the old Cuban fisherman, and his battle with the great marlin and the sharks, is one of moral heroism, self-reliance, courage, and imagina- tive vision that has given rise to dissenting crit- ical interpretations. Joseph Waldmeir suggests that in The Old Man and the Sea Hemingway “has finally taken the decisive step in elevating what might be called his philos- ophy of Manhood to the level of a religion.” Christian symbolism, the subject of the essay by G.R. Wilson Jr., contrasts the focus of Robert P Weeks on the “fakery” of the clair- voyant powers the author assigns to Santiago. Sheldon Norman Grebstein compares the structure of The Old Man and the Sea to that of a drama, noting the interplay of “essential symbolic patterns” found in other of Hemingway’s works; Linda W. Wagner observes that, because Hemingway is an Imagist, he presents Santiago not as “pure pathos,” but rather as “proud and courageous, aligned with the arch young lions;” Gerry Brenner points out the multiple meanings that continue to enrich readings of Hemingway’s deceptively simple text; and Bickford Sylvester discusses, among other issues of cultural context, the significance of baseball in Santiago’s storytelling. Also included in this comprehensive collec- tion are essays by Carlos Baker, Leo Gurko, Delmore Schwartz, Nemi D’Agostino, Clinton S. Burhans Jr., Philip Young, Claire Rosenfield, James H. Justus, and David Timms. Ernest Hemingway’s The Old Man and the Sea is one of over 100 volumes in the Modern Crit- ical Interpretations series, edited and intro- duced by Harold Bloom and published by Chelsea House. Taken together, these volumes represent the best criticism of the most widely read poems, novels, stories, and dramas of the Western world. CHELSEA HOUSE PUBLISHERS PHILADELPHIA Modern Critical Interpretations Ernest Hemingway’s THE OLD MAΝ AND THE SEA Edited and with an introduction by Harold Bloom Sterling Professor of the Humanities Yale University Editor’s Note vii Introduction 1 Review of The Old Man and the Sea William Faulkner 5 The Boy and the Lions Carlos Baker 7 The Heroic Impulse in The Old Man and the Sea 13 Leo Gurko The Old Man and the Sea and the American Dream 21 Delmore Schwartz Confiteor Hominem: Ernest Hemingway’s Religion of Man Joseph Waldmeir 27 The Later Hemingway 35 Nemi D’Agostino The Old Man and the Sea: Hemingway’s Tragic Vision of Man Clinton S. Burbans Jr. 45 Fakery in The Old Man and the Sea Robert P. Weeks 53 Hemingway’s Extended Vision: The Old Man and the Sea 61 Bickford Sylvester vi CONTENTS The Old Man and the Sea: Vision /Revision 73 Philip Young New World, Old Myths 81 Claire Rosenfield Hemingway’s Craft in The Old Man and the Sea 95 Sbeldon Norman Grebstein The Poem of Santiago and Manolin Linda W. Wagner 105 Incarnation and Redemption in The Old Man and the Sea G.R. Wilson Fr. 119 The Later Fiction: Hemingway and the Aesthetics of Failure 125 James H. Justus A Not-So-Strange Old Man: The Old Man and the Sea 141 Gerry Brenner Contrasts in Form: Hemingway’s The Old Man and the Sea and Faulkner’s The Bear’ 153 David Timms The Cuban Context of Tbe Old Man and the Sea 165 Bickford Sylvester Chronology 185 Contributors 189 Bibliography 193 Acknowledgments 195 Index 199 3. Editor’s Note My Introduction meditates upon some of the limitations of Hemingway’s late short novel, while granting the continuing popularity of The Old Man and the Sea. After a gracious tribute from the novelist William Faulkner, the critical essays begin with Carlos Baker’s account of the love between the old man and the boy. Leo Gurko finds a new kind of heroism in The Old Man and the Sea, while Delmore Schwartz sees the book as the extension of the American Dream. For Joseph Waldmeir, the short novel is an exercise in humanistic religion, after which Nemi D’Agostino sees the universe of the book as fundamentally non-religious. Clinton S. Burhans Jr., is persuaded that Santiago is a tragic hero, while Robert P. Weeks manifests considerably more skepticism. In Bickford Sylvester’s view, the book is a triumph of paradox and symbolism, after which we are given Philip Young’s study of Hemingway’s self-revision. Claire Rosenfield finds a primitive religious structure, rather than a Christian one, in The Old Man and the Sea, while Sheldon Norman Grebstein analyzes Hemingway’s writerly craft in the book. To Linda W. Wagner, imperfect human love is the harmonizing force in Hemingway’s narrative, while G.R. Wilson Jr., finds instead images of Christian incarnation and redemption. James H. Justus investigates the patterns of what he calls “the aesthetics of failure” in the book, after which Gerry Brenner uncovers Oedipal patterns in Santiago. The contrasts in structure between Faulkner’s The Bear and Hemingway’s short novel are explored by David Timms, after which Bick- ford Sylvester returns to conclude this volume with a description of The Old Man and the Sea’s Cuban background.
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