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Tema 55:
La generación
perdida: S.
Fitzgerald, J.
Steinbeck y E.
Hemingway. La
narrativa de W.
Faulkner.
Topic 55:
La generación perdida: S. Fitzgerald, J. Steinbeck y E. Hemingway. La narrativa de W. Faulkner
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Topic 55:
La generación perdida: S. Fitzgerald, J. Steinbeck y E. Hemingway. La narrativa de W. Faulkner.
Table of contents
1. The Lost generation. _________________________________________________ 4

2. The writers of the Lost generation. ______________________________________ 7
2.1. Scott
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Tema 55:
La generación perdida: S. Fitzgerald, J. Steinbeck y E. Hemingway. La narrativa de
W. Faulkner. Con formato: Fuente:
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Fitzerald. _________________________________________________________________ 7
2.1.1. The author and his time. ______________________________________________________ 7
2.1.2. Fitzgerald works: The Great Gatsby and Babylon revisited. _________________________ 12
2.2. Ernest Hemingway _____________________________________________________ 15
2.2.1. His life.__________________________________________________________________ 15
2.2.2. His main works: For Whom the Bell Tolls & The Old Man and the Sea. _______________ 20
3. John Steinbeck. ____________________________________________________ 25
3.1. The author and his times. _______________________________________________ 25
3.2. Steinbeck’s The Grapes of Wrath main themes. ____________________________ 28
4. William Faulkner ___________________________________________________ 29
4.1. The author and his times. _______________________________________________ 29
4.2. Themes in The sound and the fury. _______________________________________ 34
Bibliography _________________________________________________________ 40
Summary. ___________________________________________________________ 41
1. The Lost generation. __________________________________________________
2. The writers of the Lost generation. _______________________________________
2.1. Scott Fitzerald. __________________________________________________________
2.1.1. The author and his time. _______________________________________________________
2.1.2. Fitzgerald works: The Great Gatsby and Babylon revisited. ___________________________
2.2. Ernest Hemingway _______________________________________________________
2.2.1. His life.____________________________________________________________________ Con formato: Fuente: Cursiva
2.2.2. His main works: For Whom the Bell Tolls & The Old Man and the Sea. _________________ Con formato: Derecha
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3. John Steinbeck. ______________________________________________________ Color de fuente: Gris 25%
3.1. The author and his times. _________________________________________________ Con formato: Fuente: Negrita, Color
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3.2. Steinbeck’s The Grapes of Wrath main themes. _______________________________
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Iván Matellanes’ Notes

La generació
ón perdida: S. Fitzgerald,
F J. Ste
Topic 55:
einbeck y E. Hemingway. La na
arrativa de W. F
Faulkner
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ea continua sen
ncilla,
4. William
W Faullkner _______________________________________________________
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4.11. The authoor and hid tiimes. _________________
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4.22. Themes in
n The soundd and the fury
ry. _________
_____________________________________
Bibliiography ______________________________________________________________
_____
1. Th
he Lost generation. ____________________________________________________
____ 2
2. Th
he writers of the Lost generation.
g _______________________________________
____ 5
2.11. Scott Fitzerald. ___________________________
____________________________________ 5
2.1.1. The au
uthor and his tiime. ________________________________________________________ _____ 5
2.1.2. Fitzgerrald works: Thhe Great Gatssby and Babyloon revisited. ____________
_ ____________
____ 10
2.22. Ernest Heemingway ________________________
___________________________________ 13
2.2.1. His lifee.__________________________________ ____________________________________ ____ 13
2.2.2. His maain works: Forr Whom the B
Bell Tolls & Th
he Old Man annd the Sea. ______________
____ 18
3. Joohn Steinbeeck. ________________________________________________________
___ 23
3.11. The authoor and his tiimes. _________________
___________________________________ 23
3.22. Steinbeck
k’s The Grap
pes of Wrath
h main them
mes. _______________________________ 26
4. William
W Faullkner _______________________________________________________
___ 27
Bibliiography ______________________________________________________________
___ 34
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Ivá
án Matellanes’’ Notes
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1. The Lost generation. Con formato: Fuente: 8 pto
With the WW1 Armistice of 1918, the peacemaking of 1919 and

the 18th Amendment of the same year which in theory made USA a “dry”
nation, the USA prose-writers entered a new period or revolt. In some
ways this was a continuation of earlier movements. But the writers
themselves did not think so; they recognized no affinity to with pre-war
writers, except perhaps THEODOR DREISER. The post-war generation: the LOST
GENERATION. GERTRUDE STEIN applied the phrase lost generation to a group of
writers who began to write in the 1920s & use it to describe the people of the
1920's who rejected American post WWI values. “You are a lost generation”,
she said to Ernest Hemingway. Though several stories conjecture on how the
LOST GENERATION came to be called thus, the most plausible seems to be
this: One summer in Belley, while Gertrude Stein's Ford auto was in need of
some repair, it was serviced quickly by a young garage mechanic at the
hotel where she was staying. When she mentioned the young man's efficiency
to the proprietor, her friend M. Pernollet, replied that boys of his age made
good workers, though it was different with the ones who had gone to war.
Young men became civilized between the ages of 18 and 25, while the
soldiers had missed that civilizing experience. They were, he said, une
génération perdue. When Hemingway heard the story at the rue de Fleurus, he
decided to use the sentence "You are all a lost generation" (attributing it to
Gertrude Stein) as an epigraph for his first novel, The Sun Also Rises, a story
about the 'uncivilized', aimless lives of the very people M. Pernollet had in mind.
Due to the book's tremendous success, the phrase was guaranteed enduring
fame
Paris was the capital city of the LOST GENERATION. It passed, of
course, through other towns en route, from Munich to Madrid, Pamplona to
Rapallo. Humphrey Bogart's Casablanca can even be counted as a border
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outpost. But the greatest concentration of expatriates was always to be found
in Paris, and more specifically in the streets around the boulevard
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Montparnasse. The city had a double attraction for writers. Its artistic de fuente: Gris 25%
reputation had never been higher. It was the home of all that was most Color de fuente: Gris 25%

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daringly modern. As Gertrude Stein used to say, Paris was where the twentieth Automático, 0,5 pto Ancho de línea)
century was. Secondly, it was also a city where Americans could live on
very little money. Even young writers with nothing to show could live like
boulevardiers on small allowances from back home. In the exchange bonanza
of the 1920s it took real dedication to starve. Writers who had always wanted
to live in Paris suddenly made the discovery that it was a practical economic
proposition.
EZRA POUND was one of the first to arrive, coming from England where
he had lived throughout the war. He had come to the conclusion that postwar
London was dead. He soon made his presence felt on the Paris literary scene,
at the salons in the rue Jacob and the rue de Fleurus and in the little magazines.
He was living in a ground floor flat on the rue Notre-Dame-des-Champs. Soon
writers were arriving thick and fast. SHERWOOD ANDERSON paid his first brief
visit in 1921. Later that year the 22-year-old ERNEST HEMINGWAY arrived in
town with his bride, Hadley. He was a shy, good looking young man, who
tended to listen more than talk. He was living off his wife's allowance and the
income from occasional pieces written for a Canadian newspaper. Another
significant visitor in the summer of 1921 was SCOTT FITZGERALD. Unlike
Hemingway, Fitzgerald had already made a name for himself with his
first novel. His wife Zelda and he spent only a few days in Paris at this time.
Three disillusioning years were to pass before the two of them, worn out with
parties, were to return to the city where Scott had decided that they could work,
live cheaply and escape from the burden of their friends.
The literary colony was based in Montparnasse, known familiarly as
THE QUARTER. In the centre of Montparnasse, then as now, lay the four large
cafés that dominate the crossroads where the boulevard Montparnasse
meets the boulevard Raspail. The Coupole and the Rotonde, the Dôme and
the Sélect soon had international reputations. The twenties' expatriates were
as closely identified with these cafés as Gaudí and the Modernists were with Els Con formato: Derecha
quatre gats on Barcelona in their day. Con formato: Fuente: 8 pto, Negrita,
Sadly, many talents in the Quarter did not posess the any dedication. Con formato: Fuente: Negrita, Color
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Poet and author ROBERT MCALMON was to be the prime literary casualty of Con formato: Fuente: 8 pto, Negrita,

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Paris in the 20s. Although he was a generous patron of other people's talents, Automático, 0,5 pto Ancho de línea)
publishing works by HEMINGWAY, STEIN and WILLIAM CARLOS WILLIAMS, his
own writing languished as he buried himself in drink. Perhaps it was a
reaction to Prohibition back home or a natural side effect of café life, but the
writers took to alcohol with gusto. Perhaps most tragic was the fate of SCOTT
and ZELDA FITZGERALD: because of their incessant partying, Scott was
frequently carried home, too drunk to stand up, and Zelda was soon
institutionalized. EZRA POUND disapproved of his peers' mounting excesses,
which is one of the reasons why he eventually moved to Italy. In many
ways, living in the fast lane as they were, this 'Lost Generation' was hell-bent
on self-destruction, more than amply living up to its adopted name. By the
end of the decade, many of the expatriate community had either returned to
the States or moved on to other locales.
The LOST GENERATION defines a sense of moral loss or aimlessness
apparent in literary figures during the 1920s, bc WWI seemed to have
destroyed the idea that if you acted virtuously, good things would happen.
Many good, young men went to war and died, or returned home either
physically or mentally wounded (for most, both), and their faith in the moral
guideposts that had earlier given them hope, were no longer valid...they were
"Lost."
The WW1 was an enormous event. The puzzling factor for Europeans
was the disproportionate nature of its effect upon American. In duration
and cots (lives, money …) it meant comparatively little. The USA boys saw
action for only 4 or 5 months. Yet the disgust at the was, and the revulsion
from it, were almost universal in America. It was not only wealthy Americans
who opposed Wilson’s Treaty of Versailles; he had no fiercer opponents that the
intellectuals of the New Republic 1. Americans had entered the fight under the
assurance that it was a crusade. They left the scene sure that they have been
fooled: that was not, after all, their war. Many Europeans experiences a similar Con formato: Derecha
disillusionment towards the armistice of 1918, but the American reaction was Con formato: Fuente: 8 pto, Negrita,
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Magazine which appealed not to the masses but to the leaders of society. Color de fuente: Gris 25%

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Things commonly believed in are false and that the artist is Automático, 0,5 pto Ancho de línea)
isolated from the rest of society: These were, in general, adopted as
axioms by the writers of the LOST GENERATION. That they were negative
statements was typical of an era of negations. They were, however, cheerful
negations.
The term LOST GENERATION was an appropriate term for the writers who
were born around 1900. It was lost, first of all, because it was displaced,
schooled away and almost pulled away from its attachment to any
region or tradition. It was lost because they try to live in exile. It was lost
because it accepted no older guides to conduct and because it had formed
a false picture of society and the writer’s place in it. The generation belonged to
a period of transition from values already fixed to values that had to be created.
2. The writers of the Lost generation.

2.1. Scott Fitzerald.
2.1.1. The author and his time.
Have you ever felt that there were two of you battling for control of the
person you call yourself? Have you ever felt that you weren't quite sure which
one you wanted to be in charge? All of us have at least two selves: one who
wants to work hard, get good grades, and be successful; and one who would
rather lie in the sun and listen to music and daydream. To understand F. Scott
Fitzgerald, the man and the writer, you must begin with the idea of
doubleness, or twoness.
Fitzgerald himself said in a famous series of essays called The Crack Up,
"the test of a first-rate intelligence is the ability to hold two opposed ideas in
the mind at the same time, and still retain the ability to function." Everything
about Fitzgerald is touched by this idea. For example, he both loved and
hated money. He was attracted to the life of the very rich as an outsider who
had very little, and at the same time he hated the falseness and hypocrisy and Con formato: Derecha
cruelty of their lives. He was disciplined, knowing that he had to have great Color de fuente: Gris 25%
mental and physical self-control to succeed as a writer, but he was often unable Con formato: Fuente: Negrita, Color
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loved his wife Zelda more than anything in his life, and yet he hated her for Automático, 0,5 pto Ancho de línea)
destroying his talent. Part of him lived a dazzling life full of parties, gaiety, and
show; and part of him knew that this sort of life was a complete facade.
Fitzgerald himself seemed genetically destined for doubleness. His
mother's father, P. F. McQuillan, went to St. Paul, Minnesota, in 1857, at the
age of 23. In twenty years he built up- literally from nothing- an enormously
successful wholesale business. He was a totally self-made man, and from him
Scott inherited a sense of self-reliance and a belief in hard work. The
Fitzgeralds, on the other hand, were an old Maryland family. Scott himself was
named for his great, great, great grandfather's brother. Edward Fitzgerald,
Scott's father, was a handsome, charming man, but one who seemed more
interested in the family name than in hard work.
The McQuillan and the Fitzgerald in Scott vied for control throughout his
childhood. He was a precocious child, full of energy and imagination, but he
liked to take short cuts, substituting flights of fantasy for hard work. As an
adolescent he loved to play theatrical games pretending to be drunk on a
streetcar or telephoning an artificial limb company to discuss being fitted for a
false limb. He was an excellent writer and a vivid satirist of his classmates, but
his marks were not good; so, like so many Midwestern boys, he was shipped
East to boarding school, where he would be taught discipline and hard work.
In September of 1911, he enrolled at the NEWMAN SCHOOL in
Hackensack, New Jersey, a popular Roman Catholic school among
Midwestern families. Here he was to have two years to ready himself for a
good Ivy League College, preferably Princeton or Yale. Scott chose Princeton,
but Princeton very nearly didn't choose him. The doubleness in Scott is
beautifully illustrated by the way in which he maneuvered himself into Princeton.
An avid writer and reader, Fitzgerald tended to read what he liked and ignore
his school work, and therefore he failed his entrance exams during his senior
year. After a "summer of study," he took them again and failed them again. Con formato: Derecha
Finally on September 24, 1913, his seventeenth birthday, he appeared before Con formato: Fuente: 8 pto, Negrita,
the Admissions Committee and convinced them to accept him. Con formato: Fuente: Negrita, Color
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Personal magnetism was able to achieve what hard work had not. Con formato: Fuente: 8 pto, Negrita,

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One of the things Scott inherited from his Grandfather Automático, 0,5 pto Ancho de línea)
McQuillan was ambition. Scott was a fierce competitor, and if he wanted
something badly enough he could work like a demon. What Scott wanted
were women and popularity, and the way to win women and be popular
was with money, good looks, and athletics. He didn't have the first, but he had
the second, and he worked very, very hard at the third by trying out for
freshman football. He scrapped the football pads and found another outlet for
his energy and his ambition: writing musical comedies. One of the most
prestigious organizations at Princeton was and still is the Triangle Club, a
group that writes and produces a musical comedy every year.
Fitzgerald devoted most of his energies at Princeton to the TRIANGLE
SHOW. He was elected secretary of the club, and was in line to become its
president (something he wanted more than anything in his life), but it was not
to be. In December of 1915, the fall of his junior year, he was sent home with
malaria. When he returned in March, he was tyold that he would have to fall
back a year and that he was academically ineligible for the Triangle presidency.
In the spring of 1917 his class graduated, and Scott was left behind to
complete his senior year. He never did; instead, he enlisted in the army.
Why? Perhaps because he wanted to be a hero, and the USA was about
to make the world safe for democracy. Perhaps because college was no fun
anymore. Perhaps because beautiful women love young men in uniform.
Whatever the reason, Fitzgerald left Princeton in November and found himself
in the summer of 1918 stationed at Camp Sheridan, outside Montgomery,
Alabama. Here 2nd Lieutenant Scott Fitzgerald met Miss ZELDA SAYRE, who
was to become his wife and the single most important influence on his
life. It was love at first sight. He loved her crazy, romantic streak which
matched his own. He proposed to her, and she turned him down. He was too
young and he had no money, and she could not be sure he would ever amount
to anything. Con formato: Derecha
So he went off to war, but he never got to Europe. By the time his Con formato: Fuente: 8 pto, Negrita,
regiment had been sent overseas, the Armistice had been signed and his Con formato: Fuente: Negrita, Color
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dreams of military glory had to be set aside with the football pads and the Con formato: Fuente: 8 pto, Negrita,

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presidency of the Triangle Club. But Scott was determined to be famous. Scott Automático, 0,5 pto Ancho de línea)
had written, during his long, lonely months in the army, a novel about life at
boarding school and at Princeton. But no one would publish it and Zelda, who
had finally promised to marry him, changed her mind. In what he called his
"long summer of despair," he went home to St. Paul, rewrote his novel, and
submitted it to Charles Scribner's Sons. Maxwell Perkins, a young editor who
was to become Fitzgerald's friend and supporter for life, accepted the book. In
March of 1920, Scott Fitzgerald's first novel, This Side of Paradise, was
published.
This Side of Paradise made Fitzgerald famous. It also made Zelda
change her mind again. On April 3, 1920, in the Rectory of St. Patrick's
Cathedral in New York City, they were married. Within two years they
became the most notorious young couple in America, symbolizing what
Fitzgerald called THE JAZZ AGE.
The JAZZ AGE began in May of 1918 and ended with the stock market
crash of 1929. The JAZZ AGE brought about one of the most rapid and
pervasive changes in manners and morals the world has ever seen,
changes that we are still wrestling with today. It was a period when the
younger generation- men and women alike- were rebelling against the
values and customs of their parents and grandparents. After all, the
older generation had led thousands of young men into the most brutal and
senseless war in human history. People of Fitzgerald's age had seen death, and
when they came back, they were determined to have a good time.
And have a good time they did. The saxophone replaced the violin;
skirts went short; women started smoking; and Prohibition, which was
supposed to stop drinking, only reshaped it into secret fun. The public saloon,
now illegal, was replaced by the private cocktail party, and men and women
began drinking together. Scott and Zelda not only chronicled the age,
they lived it. They rode down 5th Avenue on the tops of taxis; they dove Con formato: Derecha
into the fountain in front of New York's famous Plaza Hotel. Scott fought with Con formato: Fuente: 8 pto, Negrita,
waiters, and Zelda danced on tabletops. They drank too much and passed out Con formato: Fuente: Negrita, Color
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Many years later in a beautiful letter to his daughter Scottie, Scott talked Automático, 0,5 pto Ancho de línea)
about the tension of those years: "When I was your age I lived with a great
dream. The dream grew and I learned to speak of it and make people listen.
Then the dream divided one day when I decided to marry your mother... I was
a man divided: she wanted me to work too much for her and not enough for
my dream."
The dream, of course, was his dream of being a great writer. This
Side of Paradise had made him famous because it was the first novel that
honestly described the life-style of the new generation, but his work
during the first 3 years of his marriage was not nearly what he knew it could
have been. In 1923 he set out to write a book that he could be proud of, so he
retired into strict seclusion and celibacy for 10 months. The new novel was The
Great Gatsby, and the 10 months he devoted to that novel was artistically the
most disciplined ten months of his life. The novel was published in the
spring of 1925. Though sales were disappointing, the criticism was very positive.
Great writers like the novelist EDITH WHARTON and the poet T. S. ELIOT wrote
FITZGERALD letters of congratulations. And GERTRUDE STEIN gave great praise
to the book. Hemingway himself, a new friend of Fitzgerald's in 1925, loved
The Great Gatsby.
To maintain the social style Zelda loved, Scott wrote stories for the
popular magazines of the time, like Cosmopolitan, Smart Set, and the Saturday
Evening Post. Maintaining a dizzying social life, Scott, Zelda, and their daughter
Scottie moved from New York City to Long Island, eventually on to Paris, and
finally back to the United States. He could not finish another novel, and he
could not make Zelda happy. She became more and more depressed, and
finally in April 1930, Zelda had a complete breakdown and had to be
hospitalized. The great stock market crash of 1929 had ended America's
decade of prosperity, and Zelda's breakdown in 1930 ended the Fitzgerald's
decade as the symbol of The Jazz Age. The party was over. Con formato: Derecha
From 1930 until his death in Hollywood in 1940, Scott struggled Con formato: Fuente: 8 pto, Negrita,
to regain the stature he had earned with The Great Gatsby, but he Con formato: Fuente: Negrita, Color
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never could. He wrote Tender is the Night, which is a beautiful novel, during Con formato: Fuente: 8 pto, Negrita,

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the early '30s, but when the book was published in 1934, America was not Automático, 0,5 pto Ancho de línea)
interested in a story about rich Americans partying on the French Riviera. This
was the Depression, and the novelists in demand were SHERWOOD ANDERSON and
JOHN STEINBECK, writers who talked about the plight of poor people.
Scott continued to care for Zelda, who was to spend the rest of her
life in and out of sanitariums.
Desperate for money, he took a job as a script writer for M-G-M
in 1937, where he worked on and off for the next two years. With the support
of a friend of his, in 1939 he began a new novel: The Last Tycoon, a book
based on the career of the legendary Hollywood producer Irving Thalberg,
whom Fitzgerald greatly admired. But he died of a heart attack on December 21,
1940, leaving The Last Tycoon unfinished.
2.1.2. Fitzgerald works: The Great Gatsby and Babylon revisited.

Jay Gatsby, the hero of The Great Gatsby (1925), believes in the
absolute power and natural and “natural goodness” of money. The
novel is considered by many critics to be one of the great 20th C novels.
Through the eyes of Nick Carraway, the narrator, we can see both the glamour
and the moral ugliness of the 20s. Nick’s neighbor is Gatsby, a rich and
successful man (and possibly a criminal), but Gatsby is also a true romantic. He
has spent his whole life dreaming of his childhood sweetheart. He gives large
and expensives parties at his home and hopes that she will come and fall in
love with him again.
The novel combines symbolism with psychological realism. The
descriptions of the house, the parties, the music and the guests give them a
symbolic burn. They seem to be a part of a unreal world: “Men and girls came
and went moths among the whisperings and the champagne and the stars”.
Gatsby symbolizes the American belief that money can buy love and
happiness. His failure makes him a rather tragic figure.
According to many critics, The Great Gatsby is a symbolist tragedy.
The hero tries – and fails- to change the world of hard material objects Color de fuente: Gris 25%
(and of hard materialistic people) into the ideal world of his fantasy. There de fuente: Gris 25%

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is something heroic about Gatsby: To the end of his life, he continued to Automático, 0,5 pto Ancho de línea)
believe and to hope.
This novel has a number of themes. The following being the most
important ones:
1. THE CORRUPTION OF THE AMERICAN DREAM: The American
Dream- as it arose in the Colonial period and developed in the
nineteenth century- was based on the assumption that each person, no
matter what his origins, could succeed in life on the sole basis of his or
her own skill and effort. The dream was embodied in the ideal of the
self-made man, just as it was embodied in Fitzgerald's own family by
his grandfather, P. F. McQuillan.
The Great Gatsby is a novel about what happened to the American
dream in the 1920s, a period when the old values that gave
substance to the dream had been corrupted by the vulgar
pursuit of wealth. The characters are Midwesterners who have come
East in pursuit of this new dream of money, fame, success, glamour, and
excitement. Tom and Daisy must have a huge house, a stable of polo
ponies, and friends in Europe. Gatsby must have his enormous mansion
before he can feel confident enough to try to win Daisy.
What Fitzgerald seems to be criticizing in The Great Gatsby is
not the American Dream itself but the corruption of the
American Dream. What was once a belief in self-reliance and hard
work has become what Nick Carraway calls "...the service of a vast,
vulgar, and meretricious beauty." The energy that might have gone into
the pursuit of noble goals has been channeled into the pursuit of power
and pleasure, & a very showy, but fundamentally empty form of success.
Fitzgerald's critique of the dream of success is developed primarily
through the five central characters and through certain dominant
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images and symbols. The characters might be divided into three groups: Con formato: Derecha
a) NICK, the observer and commentator, who sees what has gone wrong; Con formato: Fuente: 8 pto, Negrita,
b) GATSBY, who lives the dream purely; & c) TOM, DAISY, & JORDAN, the Con formato: Fuente: Negrita, Color
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"foul dust" who are the prime examples of the corruption of the dream. Con formato: Fuente: 8 pto, Negrita,

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2. SIGHT AND INSIGHT: Both the character groupings and the images Automático, 0,5 pto Ancho de línea)
and symbols suggest a second major theme that we can call "sight and
insight." As you read the novel, you will come across many images of
blindness; is this because hardly anyone seems to see what is
really going on? The characters have little self-knowledge and even
less knowledge of each other. Even GATSBY- we might say, especially
Gatsby- lacks the insight to understand what is happening. He
never truly sees either Daisy or himself, so blinded is he by his dream.
The only characters who see, in the sense of "understand," are Nick and
Owl Eyes. The ever present eyes of Dr. Eckleburg seem to reinforce the
theme that there is no all-seeing presence in the modern world.
3. THE MEANING OF THE PAST: The past is of central importance in the
novel, whether it is Gatsby's personal past (his affair with Daisy in 1917)
or the larger historical past to which Nick refers in the closing sentence
of the novel: "So we beat on, boats against the current, borne back
ceaselessly into the past." The past holds something that both Gatsby
and Nick seem to long for: a simpler, better, nobler time, perhaps, a
time when people believed in the importance of the family and the
church. Tom, Daisy and Jordan are creatures of the present- Fitzgerald
tells us little about their pasts- & it is this allegiance to the moment that
makes them so attractive, & also so rootless & spiritually empty.
4. THE EDUCATION OF A YOUNG MAN: In Chapter VII, Nick remembers
that it is his 30th birthday. He, like Gatsby, Tom, & Daisy, came East to
get away from his past; now that his youth is officially over, he realizes
that he may have made a mistake to come East, & begins a period of re-
evaluation that leads to his final decision to return to the Middle West.
The Great Gatsby is the story of Nick's initiation into life. His trip
East gives him the education he needs to grow up. The novel can,
therefore, be called a bildungsroman2. NICK writes The Great Gatsby Con formato: Derecha
to show us what he has learned. Con formato: Fuente: 8 pto, Negrita,

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2
German word for a story about a young man. Other examples are The Red Badge of Courage Con formato: Fuente: 8 pto, Negrita,
and David Copperfield. Color de fuente: Gris 25%

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The rich symbolic nature of Fitzgerald’s best novels and short stories Automático, 0,5 pto Ancho de línea)
often makes us stop and re-read passages. Only this way can we see the real
meaning of colors and other details. “Babylon Revisited” (1931), one of his
best late short stories, describes the LOST GENERATION after its moral and
economical collapse. The hero and his wife had lived widely in Paris in the 20s.
Now, the “party is over”. It is a sad and memorable story.
2.2. Ernest Hemingway

2.2.1. His life.
Ernest Hemingway receives the PULITZER PRIZE for The Old Man and the
Sea in 1953 and the NOBEL PRIZE FOR LITERATURE one year afterwards. July 2nd,
1961. Sunday morning. HEMINGWAY awakens early at his home in secluded
Ketchum, Idaho. He loads a double-barreled shotgun, places the butt against
the floor & the barrels against his forehead, and pulls the trigger. There's a
sizable list of famous people who have ended their own lives.
Occasionally someone who commits suicide will leave a brief note, but often
we're left guessing at the reasons.
Ernest Hemingway didn't leave a suicide note, yet he did leave
behind many statements about life by means of the characters he created in his
stories. His "old man" is certainly one of them, perhaps the main one. You may
or may not see a connection between Hemingway's old man and Hemingway's
decision to end it all on July 2, 1961. But the possibility is certainly there.
Hemingway's nearly 62 years make an interesting story by themselves.
But they're even more interesting in the light of this "little" story of an old
Cuban fisherman and his 3-day battle with a huge fish. The old man,
Santiago, experiences battle, rejection, failure, loss, glory, and
triumph. In his life, Hemingway did too.
Does this mean the old man of the story is Hemingway? Was he
saying, "Here is a shortened, symbolic representation of my life"? Although
some critics would agree, Hemingway himself didn’t encourage this view. Con formato: Fuente: 8 pto, Negrita,
You can enjoy speculating on this issue. There's an old saying: Every piece of
writing is at least a little bit autobiographical. In this case it’s probably true. de fuente: Gris 25%

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For someone who lived his adult life in bold, often brawny fashion across Automático, 0,5 pto Ancho de línea)
three continents in full public view, his early years were rather serene ones in
a quiet town. Hemingway was born on July 21,1899, in Oak Park, Illinois. As a
boy he became a very good fisherman and hunter at the family's summer
cottage in Michigan. These adventures were his fondest boyhood memories. His
mother was inclined toward the arts, especially music. Young Ernest
received voice and cello lessons, which he was supposed to practice in the
actual "music room" of their large home. When she was out, he would push the
musical paraphernalia to the side of the room and use it as a boxing arena with
his friends. A relatively minor rebellion, but it suggests the individualism
which Hemingway's later life was to demonstrate on a larger scale.
The individualism blossomed when he graduated from high school and
showed no interest in college, even though he had been a good student. In fact,
he stubbornly refused college. This individualism is another idea to keep in
mind when you relate Hemingway's life to The Old Man and the Sea. The old
man Santiago isn't exactly a groupie either. In fact, early in the story, the boy
Manolin tells Santiago, "But there is only you." Most people would agree there
was only one Hemingway & perhaps add that there will never be another
remotely like him.
HEMINGWAY was interested not in college but in war. WWI had been
raging for three years when Hemingway carried his high school diploma back
down the aisle, and he was determined to participate before the action stopped.
But he met rejection. First, his father refused to let him enlist. Later,
when his father gave permission, the armed forces rejected him because
of poor sight in one eye. Still he did get some experience of violence, if not
of actual war. He got a job as a young reporter with the KANSAS CITY STAR
covering the police and hospital stories. Finally he managed to get his taste of
war. More than a taste. Enlisting with the ITALIAN RED CROSS as an
ambulance driver, he made his way to the front lines. During a furious Con formato: Derecha
Austrian shelling of the Italian troops, he carried a wounded soldier to safety. Con formato: Fuente: 8 pto, Negrita,
And while he carried the soldier in his arms, he was struck by 200 pieces of Con formato: Fuente: Negrita, Color
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shrapnel from a mortar shell & was wounded from machine gun bullets. Con formato: Fuente: 8 pto, Negrita,

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There was a moment of glory for Hemingway's act of military heroism: a Automático, 0,5 pto Ancho de línea)
decoration from the Italian government and some glowing stories in his
hometown papers. And a moment of rejection: the American nurse he fell in
love with while recovering turned down his proposal of marriage. The glory of
his hero's welcome back in the States didn't last either. He was now
determined to be a writer, but his articles & stories were rejected by one
magazine after another. His experience in the war overseas changed his
outlook, and he became more & more estranged from his parents. In Europe he
encountered cynicism about the war, not patriotism, and there was an
overwhelming loss of hope and belief in traditional values.
His "doing nothing" brought the disapproval of his parents. HEMINGWAY's
"birthday present" at age 21 was a Get-Out-Of-The-House-Until-You-Grow-Up-
And-Get-A-Real-Job letter which his mother personally handed to him. He did
get out and find a real job, married a girl named Hadley Richardson, and
moved to Paris as correspondent for the TORONTO STAR. Paris was a
gathering place for American expatriates: people who chose to live away
from their homeland, mostly because they were disillusioned or confused about
their lives and their country. His newspaper work succeeded. His other literary
attempts, the ones that really mattered to him, didn't. He kept submitting
manuscripts. They kept getting rejected.
In 1925 a book of short stories entitled In Our Time was published; in
1926, a novel, The Sun Also Rises; in 1928 another story collection, Men
Without Women. All of these books were well received by the critics and by
the public. There were exceptions. Hemingway's parents found their son's
writing distasteful, even shocking. Hemingway's characters were not
always genteel people with polite speech habits. Dr. and Mrs. Hemingway found
this offensive and even returned their copies of In Our Time to the publisher.
In 1927 they saw HEMINGWAY's divorce from HADLEY, an action which further
outraged his parents. Con formato: Derecha
His life became, for a while, positive and negative, fortune and reversal. Con formato: Fuente: 8 pto, Negrita,
There was a happy wedding to PAULINE PFEIFFER in 1927, a writer for Vogue Con formato: Fuente: Negrita, Color
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magazine, and in 1928 a warm reconciliation with his family. But in December Con formato: Fuente: 8 pto, Negrita,

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of 1928, Hemingway's father gave in to a period of growing depression and Automático, 0,5 pto Ancho de línea)
shot himself with a revolver. Hemingway moved to Key West, Florida, poured
himself into writing, and a year later produced A Farewell to Arms, a novel
which raised him to the very peak of literary and financial success at the age of
30. Hemingway filled the next several years satisfying his desire for broader
and deeper experiences. He revelled in deep-sea fishing off the Florida
Keys, he hunted big game in Wyoming. In the summer of 1933 he
undertook an African safari but contracted amoebic dysentery on the way. So,
like Santiago in The old and the sea, he played out his great adventure weak
and hurting. Others told him to go back, postpone the hunt, wait until he
recovered. HEMINGWAY said no. The safari was successful. In spite of his
condition, he shot & dropped a charging Cape buffalo a few feet before the
enraged animal would have killed him.
Hemingway's fascination with war occupied him again from 1936 to 1938
in Spain. This is a strange side of his life. He absolutely loved being in a
war; the closer to the most heated action, the better. Then, when it was over,
he would write about the futility and horror of war. He covered the Spanish
Civil War as a correspondent, following the Republican, or Loyalist,
infantry into the fiercest battles. Hemingway's zeal for the Loyalist cause was
revealed in actions as well as words. He accompanied both regular
Republican army groups and guerrilla bands as a correspondent. He
spent time in the Spanish cities, in the countryside, in the mountains. He also
bought ambulances for the Loyalists, and helped prepare a pro-Loyalist
documentary film, The Spanish Earth. Eventually, he was thoroughly depressed
when they were finally defeated by the Franco forces.
From this experience came For Whom the Bell Tolls, in 1940. It is the
conflicting impulses of attraction and repulsion that create much of the tension
in For Whom the Bell Tolls. The publication of the novel was greeted with
acclaim by some, but with disdain by others. Some liberals and some Con formato: Derecha
conservatives were angered because they felt HEMINGWAY had Con formato: Fuente: 8 pto, Negrita,
betrayed them by not writing a novel that favored their respective Con formato: Fuente: Negrita, Color
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political outlook. But Hemingway responded, In stories about the war I try to Con formato: Fuente: 8 pto, Negrita,

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show all the different sides of it, taking it slowly and honestly and examining it Automático, 0,5 pto Ancho de línea)
in many ways. So never think one story represents my viewpoint
because it is much too complicated for that. PARAMOUNT PICTURES bought
the film rights for $150,000 (an astronomical figure in the early 40s).
HEMINGWAY was now in a position to call his own shots; he sold the film rights
only after Paramount agreed to his insistence that Gary Cooper and Ingrid
Bergman play the lead roles.
The 2nd marriage had ended in divorce in 1938. In 1941 he married
Martha Gellhorn. They lived on an estate outside Havana, CUBA, surrounded
by luxuries. Nearby was a small fishing village. WWII, as other wars before it,
captivated HEMINGWAY. Again deciding to be a correspondent, he became
chief of Collier's European bureau. He accompanied the Royal Air
Force on several bombing raids over occupied France; he crossed the
English Channel with American troops on June 6, 1944. Again he was in
the thick of fighting in Belgium and Germany, sending back stirring accounts of
the battlefield.
In 1945 his 3rd marriage broke up & in 1946 his 4th, and last, marriage
began: Mary Welsh. They resettled outside Havana, where Hemingway was
now an international celebrity. In 1950 his books Across the River and Into
the Trees were a professional disaster, at least in terms of critical opinion.
HEMINGWAY appeared to be washed up as a writer.
Then in 1952 came The Old Man and the Sea, the Pulitzer & the
Nobel Prize. It was his last major work published while he was still alive. In
1961 came the end of it all: By his own hand. His health had been deteriorating.
Nothing, including visits to the famous Mayo Clinic, seemed able to return him
to the masculine vigor he so enjoyed. Did he decide that if he could not "do it
all" he would prefer to do nothing? In any case, his great adventure with
life and literature was ended, by his own choosing.

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2.2.2. His main works: For Whom the Bell Tolls & The Old Man and Con formato: Fuente: 8 pto
the Sea.
- FOR WHOM THE BELL TOLLS: THEMES.
MAJOR THEMES:
1. Relationship of the individual to mankind:
Hemingway's choice of a JOHN DONNE poem as the source of the
novel's title and epigraph emphasizes a major theme of For Whom the Bell
Tolls: "No man is an iland," that is, no person can exist separate from the
lives of others, even others living in far-away countries.
The theme is demonstrated most clearly by the actions of ROBERT JORDAN.
Throughout his participation in the Spanish Civil War, he has fought actively
for a cause- not the cause of communism, as he says, but the cause of
antifascism. As the novel progresses, his involvement with the guerrilla
band, and particularly his love for Maria, teach him the value of the
individual as he or she affects a larger society. The abstractions of an
ideology are lifeless without the people they represent; concepts have no
meaning except for the ways in which they affect human beings.
For JORDAN, MARIA represents human love, the first he has ever
known. It is for her that he stays behind to allow the rest of the band
to escape, demonstrating his realization that others depend on him as he has
depended on them. His decision not to commit suicide at the end of the
novel represents his ultimate understanding that he must fight for the
people whose lives are affected by the cause, not purely for the cause as
a generalized ideology.
Both PABLO & PILAR represent minor variations of this theme. PABLO is full
of greedy self-interest now that he owns horses. His decision to betray
the guerrilla band is due to his need to survive and thrive. At the last
minute, however, he seems to understand how his actions will affect those
whom he once led, & returns to help them. PILAR is almost blindly Con formato: Derecha
devoted to the cause. She’ll do whatever it takes to win for the Color de fuente: Gris 25%
Republic. Yet she, too, comes to understand the severe toll the guerrillas' Con formato: Fuente: Negrita, Color
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mission is likely to take, & for the 1st time she expresses doubts. Con formato: Fuente: 8 pto, Negrita,

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2. Nature of the Spanish civil war. Automático, 0,5 pto Ancho de línea)
Who wants the Spanish Civil War? Is anyone likely to benefit from it? Look
for answers to these questions as you read For Whom the Bell Tolls. There is
much to suggest that the common people, on whose behalf the war is
supposedly being waged, are tired of the war, uninterested in it, and unlikely
to benefit from it. Readers have pointed out that Hemingway was prompted in
part to write For Whom the Bell Tolls to show his disgust at the way in
which the civil war had betrayed the Spanish people, both through
internal disputes between the warring factions and through foreign
intervention eager for a testing ground for an upcoming war.
The war's effect on the Spanish is demonstrated in acts of great courage
and great cruelty. The challenges of the struggle created both the
bloodthirstiness and greed of PABLO, as well as the steadfast courage of
PILAR & ANSELMO. The war may have exacted a terrible price from its people,
Hemingway seems to be saying, but it often revealed them at their best.
Despite his pro-Republican leanings, HEMINGWAY is careful to point out that
both sides are capable of savage behavior and that each side is
peopled with human beings with similar human needs. Through ROBERT
JORDAN, Hemingway describes how a foreigner comes to view the Spanish
struggle. JORDAN often states his belief in the "power, justice, and
equality to the people" theory espoused by the Republicans. But he
soon sees the toll the war is taking on those around him, and he realizes, too,
that his own side has committed as many outrages against human rights as the
enemy has.
3. Love:
HEMINGWAY writes about several kinds of love in For Whom the Bell
Tolls. Romantic love is depicted in the relationship of JORDAN & MARIA.
Before Maria, Jordan had expressed himself sexually, but he had not loved.
Loving her transports him from his intellectual world of ideology to Con formato: Derecha
the world of real-life relationships. Maria represents the love that Con formato: Fuente: 8 pto, Negrita,
humanizes Jordan, making possible his transition from a political partisan to one Con formato: Fuente: Negrita, Color
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who recognizes the worth of the individual. Con formato: Fuente: 8 pto, Negrita,

Topic 55:
Other kinds of love also are discussed in the novel. Many of the peasants in Automático, 0,5 pto Ancho de línea)
the guerrilla band demonstrate a fierce love of the land that supports their
involvement in this brutal war. Jordan's love of liberty has brought him to
Spain to fight for the Republican cause. The anguish of Pablo's band as the
guerrillas listen to the attack on El Sordo's camp reflects the love among
comrades. And Pilar's concern for Maria's happiness and well-being is a kind of
maternal love that plays a part in Maria's healing process.
4. Death:
In Hemingway's novels, heroes are often involved in activities that
risk death- in fact, they might be said to court death. Robert Jordan is no
exception, and from the beginning of For Whom the Bell Tolls death is a
palpable presence. Jordan's job as demolition expert is filled with danger, and
there are numerous foreshadowings of his fate, such as the death of KASHKIN,
his predecessor, and the troubling information PILAR reads in his palm.
Death also is linked to the novel's major theme of interdependency.
The deaths that occur during the story affect the lives of others. KASHKIN's
death, for example, affects Jordan and the members of the guerrilla
band. El Sordo's death has serious consequences for the members of the camp.
JORDAN is haunted by the deaths of his father and grandfather. Jordan's
decision to hold off his own death by not committing suicide is made in
order to save the lives of the others who are trying to flee the enemy.
5. Hypocrisy.
Prime among examples of hypocrisy are the Loyalist leaders
themselves, many of whom are incompetent & uncaring. They exploit
their positions in order to attain a level of comfort and self-indulgence in the
midst of war. Many of the leaders who were supposed to have sprung directly
from the Spanish peasantry at the beginning of the war are not really genuine,
and some have been imported. In his musings, JORDAN admits that he
doesn't really believe all the things he says he believes in order to Con formato: Derecha
justify his involvement in the war. The crowning touch is ANDRE MARTY, the Con formato: Fuente: 8 pto, Negrita,
visiting communist leader. Although many regard him w/fear, his incompetence Con formato: Fuente: Negrita, Color
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sends men to their death while career officers do nothing about it. Con formato: Fuente: 8 pto, Negrita,

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6. Religion. Automático, 0,5 pto Ancho de línea)
On the surface, religion does not come across favorably in the pages
of For Whom the Bell Tolls. Characters like LIEUTENANT BERRENDO order
atrocities and utter prayers almost in the same breath. One character,
JOAQUIN, reveals the conflict that many of the characters underwent as their
own religious beliefs were forcibly replaced with communist theories. He
returns to his Roman Catholic prayers just as he thinks death is near.
Some readers feel that Hemingway is criticizing religion as an emotional "band-
aid." But others say that his portrayal of religion suggests that a relationship
with God is built into the human condition, and that neither evil nor official
atheism can eradicate it.
- THE OLD MAN AND THE SEA: THEMES.
As often happens in a great piece of literature, there is more than one
possible theme. There are many, and people do not always agree on which are
central. HEMINGWAY himself said he tried very hard to make the man, the boy,
the sea, the fish, and the shark true enough to life. Consequently, they
might mean many things to different people. And these different things that
people see in his story won't always fit together like pieces in a puzzle. Some of
them are contradictory. Here are some possibilities.
1. Man the sinner:
Even SANTIAGO accuses himself of disloyalty. He deliberately went out
far beyond the usual fishing waters, violating the sanctuary of the
marlin. In other words, he sinned. Just as the flood waters of Genesis
brought destruction upon the earth as the result of sin, so the sin of Santiago
is followed by destruction.
2. Man the Saint:
SANTIAGO is filled with a simple, honest goodness. heHe loved his wife;
he loves MANOLIN; he loves many things on the earth. Following the
example of Christ, he suffers unjustly and undergoes defeat. He experiences Con formato: Derecha
his own type of crucifixion. But his acceptance of suffering, again Con formato: Fuente: 8 pto, Negrita,
following the model of Christ, inspires and frees Manolin, who will follow after Con formato: Fuente: Negrita, Color
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him & continue his work. Con formato: Fuente: 8 pto, Negrita,

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3. Stoicism. Automático, 0,5 pto Ancho de línea)
Greek "Stoic" philosophers taught that the glory of a human being is to
accept suffering and misfortune without complaint, even without
resistance. Santiago certainly exemplifies this. "Suffering does not matter
to a man," he says. He endures the sustained pain of the line across his back
and the cuts on his face and hands. Although he expresses rage at the
scavenger sharks, he does not complain to heaven or to anyone.
4. The “Code hero”
Closely related to the concept of stoicism is the "CODE HERO," a phrase used
to describe the main character in many of Hemingway's novels. Some
critics regard SANTIAGO as the most developed example of these CODE HEROES.
In this phrase, "CODE" means a set of rules or guidelines for conduct. In

Hemingway's code, the principal ideals are honor, courage, and
endurance in a life of stress, misfortune, and pain. Often in Hemingway's
stories, the hero's world is violent and disorderly; moreover, the violence and
disorder seem to win.
The "code" dictates that the hero acts honourably in the midst of
what will be a losing battle. In doing so he finds fulfillmentfulfilment: he
becomes a man or proves his manhood and his worth. The phrase
"grace under pressure" is often used to describe the conduct of the code hero.
5. Man defeated.
In spite of being good, in spite of being skilled and dedicated, in spite of
putting forth noble and heroic efforts, SANTIAGO does not enjoy success.
Even his prayers go unanswered. He ends up weaponless and helpless, a
complete victim of forces beyond his control.
6. Man triumphant.
SANTIAGO comes ashore with only the skeleton of his fish, but he has
not truly been defeated. He has achieved a spiritual victory, something
far more meaningful than having 500 pounds of marlin meat to bring to market. Con formato: Derecha
Against great odds and in spite of intense personal suffering, he conquered Con formato: Fuente: 8 pto, Negrita,
the fish itself and survived the gruelling 3 days on the sea. There may Con formato: Fuente: Negrita, Color
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be nothing to sell, but the skeleton itself stands as proof of his accomplishment. Con formato: Fuente: 8 pto, Negrita,

Topic 55:
7. Suffering. Automático, 0,5 pto Ancho de línea)
Suffering is both common and unavoidable throughout the story. SANTIAGO
suffers from hunger and general poverty. His hands bear the scars of old
wounds and they receive new ones. The pain in his back is relentless. He nearly
passes out from exhaustion several times. All of it is unavoidable because it
results from his being what he was born to be: a fisherman. The conclusion is
that being true to yourself and your destiny will bring inevitable suffering.
8. Good and evil.
As noted before, SANTIAGO can be seen both as saint- even a Christ figure-
and as sinner. The destructive forces of evil are readily symbolized by the
sharks. If you see SANTIAGO's losing the fish as losing the entire battle, then
evil has triumphed. If you see Santiago's endurance and survival as the true
victory, then evil has brought tragedy but has not actually conquered.
3. John Steinbeck.
3.1. The author and his times.
He didn't know it at the time, but JOHN STEINBECK started getting ready
to write The Grapes of Wrath when he was a small boy in California.
Much of what he saw and heard while growing up found its way into
the novel. On weekends his father took John and his 3 sisters on long drives
out into the broad and beautiful valleys south of Salinas, the town where John
was born in 1902. He observed the workers and the run-down huts in which
they lived. And he saw, even before he was old enough to wear long pants,
that the farmhands' lives differed from his own.
Although the Steinbecks weren't wealthy, they lived in a comfortable
Victorian house. John grew up on 3 square meals a day. He never doubted
that he would always have enough of life's necessities. He even got a pony for
his 12th birthday, which became the subject of one of his earliest successes:
The Red Pony.
John’s father saw that he had talent and encouraged him to become Con formato: Fuente: 8 pto, Negrita,
a writer. His mother at first wanted John to be a banker, but she changed her Con formato: Fuente: Negrita, Color
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mind when John began spending hours in his room scrawling stories & writing

Topic 55:
articles for the school paper. Later in life, STEINBECK denied that his family Automático, 0,5 pto Ancho de línea)
served as a model for the Joads in The Grapes of Wrath, but both
families understood well the meaning of family unity.
As a boy, John walked the woods and meadows near his home &
explored the caves. He swam in the creeks and water holes and became
acquainted with the ways of nature. He developed a feel for the land. Each
year the Salinas River flooded and then dried up, and John began to
understand the cycles of seasons. He saw that weather was more
than just something that might cancel a picnic. You can tell that John
must have loved the out-of-doors. Otherwise, how could he have set 4 novels &
several stories in the lush countryside where he spent his youth?
During high school (1915-19) he worked as a hand on nearby ranches.
There he saw migrant workers, men without futures, breaking their
backs all day for miserable wages & at night throwing away their cash
in card games and cantinas. Out of this experience came the novel Of Mice
and Men. Yet he also developed a profound respect for the inner strength
of many of these laborers. They owned little, moved fast & kept few friends,
but they endured. In spite of adversity, they stood tall and proud.
In fact, Steinbeck developed so much admiration for these working
"stiffs,"3 as they called each other, that he took up their style of life. He was
19 & had spent two unrewarding years at Stanford University. He tried to find
work as a deckhand on a Pacific freighter, but ended up instead in the beet and
barley fields of the Willoughby Ranch south of Salinas. Then he worked in a
beet factory as a bench-chemist.
All the while, he gathered material for writing. After each day's work
he wrote. 6 months later he decided to return to the classroom and to
study the writer's craft seriously. Some of his pieces ended up in the
college newspaper; others showed up later as sections of The Long Valley, In
Dubious Battle, The Grapes of Wrath, and East of Eden. Con formato: Derecha
STEINBECK's success as a writer coincided with the coming of the Con formato: Fuente: 8 pto, Negrita,
Great Depression. As many people around the country lost their Con formato: Fuente: Negrita, Color
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3
corpses Color de fuente: Gris 25%

Topic 55:
wealth, STEINBECK prospered. He started to travel, not only because he Automático, 0,5 pto Ancho de línea)
could afford it, but because he wanted to collect material for his writing. The
country was heavy with frustration. Everywhere he went he met downtrodden
people with stories to be told. In 1937, driving a late-model car, he and his wife
Carol traveled Route 66 from Oklahoma to California. He saw the roadside
camps, used-car lots, diners, and gas stations that eventually became sites for
events in The Grapes of Wrath. Thinking that a good story might be
written about the migrants, he spent four weeks with workers in
California, working with them in the fields and living in their camps.
He wrote an angry article on the inhumane treatment of the
migrants. He detailed the wretched conditions of the camps and blamed the
California ranch owners for misery among the workers. Meanwhile, he had
begun working on The Grapes of Wrath. It pointed fingers at those
responsible for keeping people in poverty. It used tough language (in the 1930s
four-letter words were uncommon in novels). It was meant to rouse its
readers. STEINBECK chose its title from the words of "The Battle Hymn of
the Republic," a song, both religious and patriotic, that stirs the emotions as
few songs do. STEINBECK expected the book to be a failure. He thought
that many people would hate the book and would most likely hate him.
He might be branded Communist, a label that could give him trouble for the
rest of his life. His publisher urged him to soften the book, to make it
more acceptable. STEINBECK refused.
It was evidently a wise decision. The Grapes of Wrath is considered
STEINBECK's greatest novel. It won the Pulitzer Prize. Steinbeck's frank
portrayal of real people excited readers everywhere. Although some
libraries and school boards banned the book, it became a bestseller
almost instantly and was made into an Academy Award-winning movie in
1940. The book was rarely attacked on artistic grounds, but some people
called it a distortion of the truth, a piece of Communist propaganda. Con formato: Derecha
They said it couldn't be true that almost every migrant was a hero & almost Con formato: Fuente: 8 pto, Negrita,
every Californian a villain. Almost no one denied that it was a well-written piece Con formato: Fuente: Negrita, Color
de fuente: Gris 25%
of literature. STEINBECK died in 1968. Con formato: Fuente: 8 pto, Negrita,

Topic 55:
3.2. Steinbeck’s The Grapes of Wrath main themes. Automático, 0,5 pto Ancho de línea)
By and large, the major themes in The Grapes of Wrath are listed here in
the order they show up in the book.
1. The bond btw land and people.
Unless you depend on the land for your livelihood, you'll probably never fully
understand how strongly a man can be bound to his land. For the tenant
farmers of the novel, to be torn away from their land is a devastating
experience, akin to death itself. That's why MULEY GRAVES stays behind and
GRAMPA dies shortly after the start of the westward journey.
2. The effects of technology.
Even though The Grapes of Wrath takes place in the 20th C, the tenant
farmers rely on growing methods of bygonepast days. That's one reason the
farmers are poor and likely to remain so. Because machines can make land
profitable, landowning banks send in tractors and dozers. Machine
drivers lose touch with the soil; in effect, they become nonhuman pieces of
equipment. Without feeling a thing, therefore, they can rumble across the land
and knock down anything in their way.
3. Abandoning the old ways.
When the JOADS change from farm people to road people, they have to
abandon not only many of their belongings, but their habits and customs as
well. GRAMPA refuses to do it. MA agonizes over throwing her family letters and
clippings into the fire. CASY salts the pork even though it's "women's work."
Even the leadership of the JOADS must pass to MA before the family can
assume a new identity. It's a painful time for most of them, but the
promise of a better tomorrow drives them forward.
4. The human family.
People need each other every step of the way. MULEY knows he has to
share his rabbit with TOM & CASY. The Wilsons can't go on without
assistance from the Joads. The Wallaces invite Tom to work with them. Mrs.
Wainwright aids Rose of Sharon in childbirth. Rose of Sharon offers her milk to Con formato: Fuente: 8 pto, Negrita,
a dying man. You'll have no problem finding many more instances of people Con formato: Fuente: Negrita, Color
de fuente: Gris 25%
helping people in the novel.

Topic 55:
5. Government for the people and by the people. Automático, 0,5 pto Ancho de línea)
Only in the government camp at WEEDPATCH do the migrant people find
safety and comfort. It's the federal, not the state government that
provides refuge. Within the camp itself, people make the rules and select
leaders. God helps those who help themselves, the saying goes, but a little help
from a benevolent government doesn't hurt.
6. Grapes of wrath.
Anger in many guises dominates the book. Why else call it The
Grapes of Wrath? The tenant farmers are angry at the landowners. Roadside
characters such as the one-eyed man are angry with themselves. Californians'
fear of the migrants turns to anger. And most of all, the migrants are angry.
In a land of plenty, they are starving.
7. Quest for the Dollar.
The pursuit of money is a perfectly legitimate activity in our society.
However, what happens when, in the quest for the dollar, human
values are forgotten? Banks force people from their homes; big farmers eat
up little farmers; landowners exploit workers; food is burned and buried; people
starve. At what point does the pursuit of money turn into a crime?
8. Endurence.
The Grapes of Wrath is a story of endurance. You have to marvel at how
many of the characters, especially Ma Joad, can put up with such a relentless
barrage of trouble, and still go on. Men must be made of sturdy stuff to keep
trying in the face of adversity brought on by both nature and other men.
4. William Faulkner
4.1. The author and hid his times.
The Sound and the Fury is not the story of Faulkner's life, but it
contains many places and people FAULKNER knew. Jefferson, where the
COMPSONS live, is much like Faulkner's hometown of Oxford, Mississippi. Like
the COMPSONS, the FALKNERS were one of the oldest and most Con formato: Fuente: 8 pto, Negrita,
distinguished families in town. FAULKNER's mother, like MRS. COMPSON, Con formato: Fuente: Negrita, Color
de fuente: Gris 25%
came from a family that was not quite as distinguished, and she never forgot it.

Topic 55:
However, Faulkner's father, like Mr. Compson, was a hard-drinking, bitter man, Automático, 0,5 pto Ancho de línea)
who couldn't live up to his family's past.
Family, place, and past. These things were most important to
WILLIAM FAULKNER. After he was five years old, he and his parents lived only a
few blocks away from his grandfather's home, The Big Place. Faulkner's
grandfather was a successful lawyer and businessman. Townspeople called him
the Young Colonel even though he had never served in the army. Faulkner's
great-grandfather fought in the Civil War. Nicknamed the Old Colonel, he
commanded the Partisan Rangers, guerrillas who attacked Northern troops
behind their lines. The Old Colonel wrote novels, too. One of them, a murder
mystery called The White Rose of Memphis, which was a bestseller.
Their pride in the Old Colonel made the Civil War very real to the
FALKNER family. The war still affected everyone else in Oxford, too, even
though it had ended in 1865. Its most important effect was on relations
between blacks and whites. As a result of the Civil War, black slaves
were freed, but most got little more than freedom. They generally could find
work only in white people's fields or as servants in white homes.
Except for a few years right after the war, they could not vote. Segregation
laws, passed only a few years before Faulkner was born, prevented black
children from attending school with whites, or from riding the same
railroad cars or entering the same churches or stores. So, although many
blacks lived in Oxford, the only ones young Faulkner knew were his family's
servants. The housekeeper, CAROLINE BARR, was a second mother to
FAULKNER and his brothers, who called her Mammy Callie. She served as the
model for Dilsey in The Sound and the Fury.
Faulkner was a quiet, dreamy boy. Despite his interest in reading and
writing poetry, he dropped out of high school. His only real friend was Con formato: Subrayado doble, Color
de fuente: Automático
ESTELLE OLDHAM, and he was sure they would marry some day. But Con formato: Fuente: Negrita, Color
Estelle's family wanted her to marry a graduate of the University of Con formato: Derecha
Mississippi. Although Estelle loved Faulkner, she gave in to her parents' Con formato: Fuente: 8 pto, Negrita,
wishes. Estelle's marriage affected Faulkner deeply. He decided to join Con formato: Fuente: Negrita, Color
de fuente: Gris 25%
the Army in 1917, just as the United StatesUSA entered World War I,. But Con formato: Fuente: 8 pto, Negrita,

Topic 55:
but he was the Army rejected him because he was too short. Pretending to Automático, 0,5 pto Ancho de línea)
be British- that's why he put the "u" back in the family name- FAULKNER
Con formato: Fuente: Negrita, Sin
subrayado, Color de fuente:
talked his way into the Royal Air Force and was sent in 1918 to Toronto,
Canada, for training. The war ended before he even flew a plane. de fuente: Automático
However, Faulkner came back to Oxford with a slight British accent and a subrayado, Color de fuente:
Automático, Versales
limp he called a battle injury. He then enrolled as a special student at the Con formato: Fuente: Negrita, Color
University of Mississippi, taking courses in English and French literature.
Eventually, FAULKNER dropped out of college, too, and took odd jobs
to support himself while he wrote poetry. Many of his poems were about subrayado, Color de fuente:
Con formato ... [6]
ESTELLE, who by now had children and lived in the Far East. Encouraged by a
Con formato ... [4]
friend, FAULKNER sent his poems to magazines, and they began to be Con formato ... [5]
Con formato
published. He lived briefly in New York, where he worked in a bookstore. But ... [7]
Con formato ... [8]
the city he liked best was New Orleans. He spent time there, getting to know Con formato ... [9]
other writers and artists, and wrote Soldiers' Pay, his first novel, there. Con formato ... [10]
Con formato ... [11]
During the 1920s, many American writers went to live in Paris, where Con formato ... [12]
they could live cheaply and be part of the exciting experiments there in writing Con formato ... [13]
and painting. The American writers ERNEST HEMINGWAY and F. SCOTT Con formato ... [14]
FITZGERALD lived there. So did JAMES JOYCE, the great Irish novelist. JOYCE
pioneered a new technique of writing called stream-of-consciousness. Con formato ... [17]
Con formato
Instead of describing what a character was thinking, like most novelists, JOYCE ... [18]
put the character's actual thought process on paper. Joyce's approach Con formato ... [20]
had great influence on FAULKNER, who spent 1925-26 in Paris and traveling Con formato ... [21]
around Europe. Then Faulkner returned to Oxford and to New Orleans and Con formato ... [23]
continued writing.
By now Faulkner had turned thirty 30 and hadn't yet established himself
as a writer. He had published several novels, but they hadn't sold well. Neither
Estelle Oldham nor another woman he'd loved had wanted to marry him. He Con formato ... [26]
could barely earn a living. But within a couple of years, his life turned around.
In 1929, ESTELLE divorced her husband and married FAULKNER. The Con formato ... [29]
Sound and the Fury, his fourth 4th novel, was published later in the year Con formato ... [30]
and some people called it a masterpiece. Magazines began to buy Faulkner's Con formato ... [1]
stories, and with the proceeds he bought an old mansion, which he called Con formato ... [2]
Con formato ... [3]

Topic 55:
Rowan Oak. He lived there with Estelle, the two children of her first marriage, Automático, 0,5 pto Ancho de línea)
and several black servants. Faulkner and Estelle's own daughter, Jill, was born
in 1933.
Faulkner's novels continued to receive good reviews, but he Con formato: Fuente: Negrita
couldn't make enough money from the books to support his family. So subrayado, Color de fuente:
he followed a number of other American writers to Hollywood to work on Con formato: Fuente: Negrita, Color
film scripts. FAULKNER never liked Hollywood, but he made enough money Con formato: Fuente: Negrita, Sin
there to pay for life at Rowan Oak. FAULKNER's reputation continued to grow, Con formato: Fuente: Negrita, Color
de fuente: Automático, Versales
and some people said he was one of the best American writers. In 1950 he won
the Nobel Prize for Literature, probably the highest award for a writer. de fuente: Automático
Con formato: Sin subrayado, Color de
Faulkner was only the second American to be so honoredhonoured. fuente: Automático, Versales
Con formato: Fuente: Negrita,
. Sinclair Lewis, author of Babbit and Main Street, had been the first. Subrayado doble, Color de fuente:
Automático
In the 1950s, black Americans, especially in the South, stepped up Con formato: Fuente: Negrita, Color
their struggle for the civil rights so long denied them. At first, FAULKNER
supported them. As you can tell from reading The Sound and the Fury, de fuente: Automático
FAULKNER respected black people. Dilsey keeps the Compson family together, fuente: Automático, Versales
and she and her sons are both stronger and warmer than the white people in Cursiva, Color de fuente: Automático
the novel. In some of his other books, like Absalom, Absalom! and Go Down, Con formato ... [34]
Moses, FAULKNER even said that the guilt for slavery was a curse that Con formato ... [36]
would destroy white Southerners. Con formato ... [37]
As the years went by and the civil rights movement achieved some
success, however, FAULKNER backed away. He said blacks deserved Con formato ... [40]
Con formato
equal rights in American society but needed time to prepare for them. ... [41]
He advised black leaders to move slowly. He wrote that Mississippians Con formato ... [43]
should integrate their schools voluntarily, because integration was right. But if Con formato ... [44]
the government forced them to admit black children, he would resist. Not
surprisingly, black leaders were disappointed in Faulkner, and black writers
denounced him. Yet, Faulkner gave some of his Nobel Prize money to local Con formato ... [46]
Con formato
black schools, and & he sent several black youngsters from Oxford to college in ... [47]
the North. He was capable of helping individual blacks but couldn't Con formato ... [31]

Topic 55:
understand why blacks would need a political movement to win their Automático, 0,5 pto Ancho de línea)
rights.
Faulkner died in 1962, following a fall from a horse, although the long- Con formato: Fuente: Negrita, Color
term cause of death was his lifelong alcoholism. He never saw the
bloodiest years of the civil rights struggle in Mississippi nor the movement's
eventual triumph. - de fuente: Automático
Faulkner left a great body of work, which included 19 novels, and is subrayado, Color de fuente:
considered one of America's foremost writers. He said that The Sound Con formato: Fuente: Negrita,
Cursiva, Color de fuente: Automático
and the Fury was the book that caused him "the most grief and anguish," and Con formato: Fuente: Negrita,
his feeling for it resembled that of "the mother [who] loves the child who Con formato: Fuente: Negrita,
became the thief or murderer more than the one who became the priest."
Cursiva, Sin subrayado, Color de
Perhaps because The Sound and the Fury drew so heavily on emotions fuente: Automático
associated with his own childhood, its writing opened floodgates in Faulkner. Con formato: Fuente: Negrita,
fuente: Automático
Afterwards "I said to myself, now I can write," he recalled.
And write he did. Most readers believe Faulkner's earliest novels- Cursiva, Sin subrayado, Color de
fuente: Automático
Soldiers' Pay, Mosquitoes, and, to a lesser extent, Sartoris- are much less Con formato: Fuente: Negrita,
interesting than the ones that followed The Sound and the Fury. In the year fuente: Automático
after he finished it, he completed two other novels, Sanctuary and As I Lay de fuente: Automático
Dying. (Although Sanctuary was written first, it was not published until 1931, a Con formato: Fuente: Negrita,
year after As I Lay Dying.) Sanctuary, a dark, bitter novel about corruption Con formato: Fuente: Negrita, Color
and the middle-class hypocrisy that supports it, was the first of Faulkner's Con formato: Fuente: Negrita,
books to gain wide popular attention. Sanctuary resembles The Sound and fuente: Automático
the Fury in its pessimism and identification of female sexuality with de fuente: Automático
evil. As I Lay Dying resembles The Sound and the Fury in other ways. It, Con formato: Fuente: Negrita,
too, is the story of a family- the Bundrens, poor Jefferson people attempting Con formato: Fuente: Negrita, Color
to bury the mother. Like The Sound and the Fury, As I Lay Dying is Con formato: Fuente: Negrita,
technically brilliant, using several narrators to tell its story. Only a year after
the publication of Sanctuary, Faulkner completed Light in August. A story of Con formato: Fuente: Negrita, Color
emotional isolation, set in Faulkner's imaginary Yoknapatawpha County like The Con formato: Derecha
Sound and the Fury, Sanctuary, and As I Lay Dying, Light in August focuses on Con formato: Fuente: 8 pto, Negrita,
racial problems. Con formato: Fuente: Negrita, Color
de fuente: Gris 25%

Topic 55:
4.2. Themes in The sound and the fury.The publication of Light Automático, 0,5 pto Ancho de línea)
in August marked the end of Faulkner's first creative period.
Con formato: Título 2, Izquierda,
Later books like Absalom, Absalom! and Go Down, Moses Interlineado: sencillo
further explore the South. The Hamlet, The Town, and The
Mansion feature the Snopes family, which took over the town of
Jefferson as old families like the Compsons disappeared. Many
readers believe that Faulkner stopped writing great novels in Con formato: Sin subrayado, Color de
the late 1930s. His later books- less pessimistic, more fuente: Automático, Inglés (Reino
Unido), Versales
humorous- are also seen as less creative and profound. The Con formato: Sangría: Primera línea:
Sound and the Fury may or may not be Faulkner's best novel- 1,25 cm
readers disagree about this. But almost all readers say it is his Con formato ... [50]
first great novel. Con formato: Fuente: 10 pto, Sin
Automático, Inglés (Reino Unido)
Con formato: Sangría: Izquierda: 4
W. FAULKNER gives you two hints about the major themes of The Sound cm, Derecha: 2 cm, Interlineado:
sencillo
and the Fury. One is its title, which is taken from William Shakespeare's play Con formato: Fuente: 10 pto
Macbeth. In Act V, as he is about to be defeated and killed, Macbeth hears that
his wife is dead. He responds: Con formato ... [53]
Tomorrow, and tomorrow, and tomorrow, Con formato ... [54]
Creeps in this petty pace from day to day Con formato ... [55]
To the last syllable of recorded time; Con formato ... [56]
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player Con formato ... [58]
That struts and frets his hour upon the stage Con formato: Fuente: 10 pto, Sin
And then is heard no more; it is a tale subrayado, Color de fuente:
Told by an idiot, full of sound and fury, Automático, Inglés (Reino Unido)
Signifying nothing. Con formato: Sangría: Izquierda: 4
cm, Derecha: 2 cm
Like Macbeth's view of life, The Sound and the Fury is a tale told (in part) by Con formato: Fuente: 10 pto, Inglés
(Reino Unido)
an idiot, BENJY COMPSON. Macbeth believed that life was without meaning,
and that time brought only defeat. Some readers say Faulkner felt the Con formato: Sin subrayado, Color de
fuente: Automático, Inglés (Reino
same way, while others disagree. Unido)
Con formato: Sangría: Primera línea:
The second hint about the themes of The Sound and the Fury is 0,63 cm
Faulkner's frequent claim that the novel was an attempt to tell the story of Con formato ... [60]
Con formato: Color de fuente:
a little girl with muddy drawers who was watching her grandmother's Automático, Inglés (Reino Unido)
Con formato: Esquema numerado +
funeral from a tree while her brothers waited below. This alerts you to Nivel: 1 + Estilo de numeración: 1, 2,
3, … + Iniciar en: 1 + Alineación:
the novel's stress on point of view and to the importance of the relationship Izquierda + Alineación: 0,63 cm +
Tabulación después de: 1,27 cm +
between the Compson children as it changes over time. Sangría: 1,27 cm
Con formato: Color de fuente:
1. The passing time. Automático

Topic 55:
As you can tell from the frequent mention of watches and clocks, its Automático, 0,5 pto Ancho de línea)
characters are as concerned about the passage of time as Macbeth.
Each of them has a special relationship to time. Unido)
BENJY, whose section opens the book, lives outside of time. For him, Con formato: Sangría: Primera línea:
1,25 cm
the past is as real as the present. In 1928 he stands at the gate, still Con formato ... [62]
Con formato
expecting CADDY, who left home in 1910. Time does not exist for BENJY ... [63]
because he lives only in his senses.

QUENTIN, for his part, wants to step out of time. His section contains Con formato ... [64]
many references to time and timepieces. QUENTIN imagines himself and Caddy
burning together in a pure timeless flame. But the only way he can remove
himself from time is to kill himself. For Quentin, like Benjy, the past constantly
intrudes in the present. Quentin cannot leave the past because he is obsessed
by his problems and memories.
Time is also important to JASON. He is always finding out what time it Con formato ... [65]
is, always hurrying to do something or yelling at other people for being

late. JASON is constantly measuring time, the same way he's always
counting his money. Jason lives only in the present, without a past.
DILSEY, however, is aware of both past and present. When she hears Con formato: Fuente: Negrita, Color
de fuente: Automático, Inglés (Reino
the clock (which is not set correctly) in the Compson house strike five, she Unido), Versales
knows that it is eight o'clock. Of all the characters in the novel, only she 0,63 cm
knows what time it really is. She can both respect the values of the past
and function in the present.
2. The fall of the family. Con formato ... [67]
The COMPSONS are a family on the decline. Quentin Compson II governed Con formato: Sin subrayado, Color de
the state, and Jason II was a general (although not especially successful), but Unido)
Jason III is drinking his life away. And his children are even worse. 0,63 cm
One commits suicide, another disgraces herself, the third is a thief, and the
fourth is an idiot. The only grandchild is bitter and angry, with little likelihood of
leading a productive life.
What has gone wrong with the Compson family? Some readers point to the Con formato ... [69]
lack of love. Mrs. Compson is self-absorbed and doesn't care about her
children. Mr. Compson is not able to express his feeling for them. He Con formato: Derecha

Topic 55:
fills his son Quentin's head with cynical, life-denying ideas. These readers say Automático, 0,5 pto Ancho de línea)
that Quentin, Caddy, and Jason- and later the girl Quentin- all react- in different
ways- to the lack of parental love. Con formato: Inglés (Reino Unido)
3. The fall of the south. Con formato ... [71]
Some readers say the fall of the COMPSONS is not only the story of an Con formato: Sin subrayado, Color de
individual family. They see it as a story about the South as a region. For Unido)
these readers, the major explanation for the fate of the Compsons is found in 0,63 cm
the society of which they're part, not in the psychology of the family members.
You can find evidence for this approach in the Appendix. The Appendix was Con formato ... [73]
written more than fifteen years after The Sound and the Fury was published
and may represent Faulkner's rethinking of the book. During the intervening
years, he had written several novels. Two in particular- Absalom, Absalom!
and Go Down, Moses- deal with the history of the South. In the Appendix,
FAULKNER may have added his interpretation of Southern history to the
Compson family saga. In Absalom, Absalom! and Go Down, Moses,
FAULKNER pictures taking land from Indians and enslaving blacks as twin curses
on white Southerners. When a student once asked Faulkner, "What is the
trouble with the Compsons?" the novelist answered, "They are still living in the
attitudes of 1859 or '60"- that is, before the Civil War.
The only COMPSON who can cope with the twentieth century is JASON. Con formato ... [74]
He allows first a boarding house and then a housing development to be built on

the old family land. Such enterprises are typical of the modern South, and
Faulkner hated them. He told another student that "there are too many Jasons
in the South who can be successful, just as there are too many Quentins in the
South who are too sensitive to face its reality."
4. The modern world. Con formato ... [75]
Faulkner doesn't have much good to say about the modern world. JASON, Con formato: Sin subrayado, Color de
the character most fully a part of it, is the least appealing character Unido)
for most readers. Jason is not the only Compson child who adopts modern Con formato: Sangría: Primera línea:
0,63 cm
values that repel most readers. CADDY marries a Hollywood executive,
divorces him, and seems to wind up, in the 1940s, with a Nazi general. The girl
Quentin, too, is spiritually empty. Con formato: Derecha

Topic 55:
The emptiness of modern life was a frequent topic for writers in the first Automático, 0,5 pto Ancho de línea)
decades of the 20th C. Writers whom Faulkner knew in New Orleans and in Paris
fluently dealt with this theme. T. S. ELIOT's poem The Waste Land, published
seven years before The Sound and the Fury, is one example. Another is a
collection of essays by Southern writers, called I'll Take My Stand, published
only one year earlier. These writers rejected the values of modern urban
civilization, as did Faulkner.
5. Learning the truth. Con formato ... [79]
Related to the theme of shadow and substance is the theme of how truth is Con formato ... [80]
discovered. The Sound and the Fury is a story told from four points of view.
You find out what really happened as stories are told and retold. Because the
its structure is so unusual and so difficult, figuring out what is going on absorbs
the reader. It is impossible to understand the Benjy section until you have
finished the entire novel. You become a detective, looking for clues, weighing
one character's version against another's, filling in the gaps in people's stories.
6. The war btw good and evil. Con formato ... [81]
The war between good and evil- between integrity and irresponsibility- is a Con formato: Sangría: Primera línea:
0,63 cm
major theme in many of Faulkner's novels. In The Sound and the Fury, Con formato ... [82]
integrity is represented by innocent BENJY, idealistic QUENTIN, and

good-hearted DILSEY. Irresponsibility rests with MR. and MRS. COMPSON,
who don't care enough about their children; with hypocritical, alcoholic Uncle
MAURY BASCOMB; with promiscuous CADDY (although her love for her
brothers reveals the goodness in her); with angry and dishonest JASON; and
with dishonest Quentin, Caddy's daughter. At the end of The novel, is good
ahead, or does evil carry the day? There is evidence for both views.


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de fuente: Gris 25%

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de fuente: Gris 25%

La generació
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The LOST GENER RATION: http://w
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http://www.mon ntgomerycollegee.org/Departmen
nts/hpolscrv/jbo
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Scott Fitzgerald: http://www.pinkmonkey.com m/booknotes/ba arrons/grtgats.a
asp#contents.
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E. Hemingway: http://www.pinkmonkey.com//booknotes/barrrons/oldmans.a asp &
http://www.pinkkmonkey.com/bo ooknotes/barron
ns/forwhom.asp p
- J. Steinbeck: http://www.pinkmonkey.com/bo ooknotes/barronns/grpswth.asp
- W
W. Faulkner: htttp://www.pinkmonkey.com/bo ooknotes/barronns/sndfury.asp Con formato o: Fuente: Negrita, Sin
Color de fuente: Automático
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Con formato o: Fuente: 12 pto,

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Con formato o: Fuente: Negrita, Color
de fuente: Grris 25%
Color de fuen
nte: Gris 25%
Ivá
án Matellanes’’ Notes
Summary. Con formato ... [88]
- The Lost Generation: W/the WW1 & the 18th Amend which made USA a dry nation, the USA writers
Con formato
- James JoyceThe term THE LOST GENERATION (TLG): GERTRUDE STEIN coined this label: ... [110]
entered
♦♦a Like
new his
period revolthero, Stephen in A Portrait of the Artist as a Young Man, the young Joyce felt repressed by the narrow
fictional Con formato
interests, ... [89]
religious pressures, and political quarrels of turn-of-the-century Ireland. He was to remain away from Ireland for the rest of his life.
♦ Joyce did achieve his literary goal in exile. The artistic climate of continental Europe encouraged experiment. He laboured Conforformato
ten years on ... [111]
Portrait of the Artist, the fictionalized account of his youth. Con formato ... [112]
♦ Portrait of the Artist is usually read as an autobiography, but don't assume that he was exactly like his sober hero, STEPHEN DEDALUS.
Con who
___ A brief version was rejected in 1904, before JOYCE left Ireland. "I can't print what I can't understand," wrote the British editor formato
refused it ... [113]
She baptized sm writers who began to write in the 1920s & use it to describe the 1920's people who rejected American post WWI values..
♦ Her's car was been repaired by a young mechanic (very efficient young man). 1 Stein’s friend replied that these boys made good workers,
Con formato
against w/those who went to war (Men civilized btw 18 & 25 & soldiers missed that civilizing experience). They were, une génération perdue. ... [115]
___ When Hemingway heard it, he used the IP You are all a lost generation (attributing it to Stein) as epigraph to his novel, The Sun Also Rises.
___ It was lost also bc it was pulled away from attachment to any tradition, bc they try to live in exile, bc it accepted noCon formato
guides to conduct ... [90]
♦ PARIS was the capital city of TLG & specifically around the boulevard Montparnasse. The city had a double attractionCon for writers.
formato
___ Its artistic reputation had never been higher. It was the home of all modernity. Gertrude Stein said that Paris was where the 20 C was.
th ... [116]
- The writers of the Lost Generation:
- Scott Fitzerald: The Author & his time. Con formato ... [118]
♦ ToJoyceThe
- James understand F. S.
term T Fitzgerald,
HE L OST G the man & the writer,
ENERATION (TLG): youG must begin
ERTRUDE S with
TEIN the idea
coined this of doubleness. Everything about himCon
label: is touched
formato by this idea
___ 1.
HeThings
___ Like both commonly
loved &hero,
hated believed
money; in are false. ___rich
2. The atartist is isolatedhefrom the restfalseness
of society.: ... [119]
♦♦ his fictional Stephen in he was
A Portrait attracted
of the to the as
Artist lifeaofYoungthe very Man, the&young the same
Joycetime hated
felt repressed their by the narrow & hypocrisy.
interests,
___ He was
religious disciplined,
pressures, andbut he wasquarrels
political often unable to exercise it; he loved
of turn-of-the-century Ireland.his He
wifewasZELDA & yet he
to remain awayhated
from her for destroying
Ireland for the rest Con
his formato
oftalent.
his life. ... [125]
___
-♦
JamesFitzgerald
Joyce JoyceThe seemed
did achieve Tgenetically
term his HE LOSTgoal
literary GENERATION
destinedin exile. The(TLG):
for doubleness:
artistic His mother
GERTRUDE
climate grandpa
S TEIN coined
of continental (M CQthis
Europe label:
UILLAN ) was a self-made
encouraged experiment. man Hewho created
laboured for a successful
ten years on
♦♦ Like
business
Portrait offrom
the zero; His
his fictional
Artist, hero,
the father,
Stephenwas in
fictionalized a handsome,
A Portrait
account charming
ofof
his the Artist
youth. man,as but one who
a Young seemed
Man, the youngmoreJoyce interested in the family
felt repressed by thename narrowthan interests,
in hard work.
♦ Education:
♦ In 1911,
religiousofpressures, Artisthe andenrolled
politicalat the NEWMAN
quarrels SCHOOL in New
of turn-of-the-century but Jersey, a popular
don'tIreland. He wasRoman
heto remainCatholic
away school
from among
Ireland forMidwestern
the Con
rest of families.
formato
Dhis life. .
Portrait the is usually read as an autobiography, assume that was exactly like his sober hero, STEPHEN EDALUS ... [93]
___
___♦Princeton
AJoyce didUni
brief version Æ
achieve
wasFailed
histhe
rejected entrance
literary goalexams
in 1904, in
before bc
exile. wasartistic
The
JOYCE interested
left climate
Ireland. in"Iother lectures,
print whatbut
of continental
can't convinced
Europe
I can't encouraged
understand,"Admissions
experiment.
wrote the Committee
He laboured
British & accepted
editor for refused
who him.it on
ten years
___
She In 1917,
Portrait
baptized ofhis
theclass
sm graduated
Artist,
writers & he
the fictionalized
who began to was left
writeaccount behind
in the of to
1920s hiscomplete
use it tohis
&youth. senior year
describe (he was
the 1920's ill – Malaria-).
people who rejected He neverAmerican did, aspost Con
he enlisted formato
WWI values.. in the army. ... [92]
♦ Her's
♦ ♦ Portrait
During hiswas
staying
of the at repaired
Camp
Artist Sheridan
is usually
by a read (1918) heautobiography,
asmechanic
an met ZELDA
(very S AYREbut(his don'twife). The 1war
assume that ended
he was before
exactlyhelike
could even
sobermove
histhese hero,to Europe.
SCon DEDALUS .
car been young efficient young man). Stein’s friend replied that boys madeTEPHEN formato
good workers,
... [127]
♦ 1920
against Æbrief
___ Aw/thoseThis side
version of
who wentwasParadise
rejected
to war (Menwas published
in 1904,
civilized & made
before
btw JOYCE
18 & 25him & famous.
left Ireland. Itmissed
soldiers "I also
can'tmade
print ZELDA
what
that civilizing change
I can't her mind
understand,"
experience). They again
wrote
were, &une
the they geteditor
British married
génération who inrefused
NY.
perdue. it
♦ Within
___She
When two
baptized yearssmthey
Hemingway became
writers
heard who theused
began
it, he most
tothenotorious
write IP in
You young
theare
1920sall couple
a&lost itintoAmerica,
use generation symbolizing
the 1920'sit what
describe(attributing people
to Stein)Fitzgerald
who calledAmerican
as rejected
epigraph THE
to hisJnovel,
AZZ A Con
post
GE
The formato
(1918-20)
WWI
Sun values..
Also Rises. ... [126]
___
___♦ It was
ItHer's
was cara period
lost also when
was been the pulled
bc it was younger
repaired by ageneration
away young
frommechanic were rebelling
attachment (very against
efficient
to any young
tradition, thebcvalues
man).
they 1try and
Stein’s customs
to live friend of their
replied
in exile, itparents
bc that these and
accepted nograndparents.
boys made good
guides workers,
to conduct
___ Havewas a good time! The Tabla con formato ... [120]
♦ Pagainst
ARIS w/those who went
the capital citysaxophone
toofwar
TLG (Men replaced
civilized the
& specifically btw violin;
18 & the
around skirts
25 & went short;
soldiers
boulevard missedwomen started
that civilizing
Montparnasse. The smoking;
city had&aProhibition
experience). They were,
double reshaped it into
une génération
attraction for secret
writers. fun.
perdue.
___
___ The
___ public
Its When
artistic saloon
Hemingway (illegal)
reputation hadwas
heard replaced
it, he
never used
beenthe by IP
theYou
higher. private
are cocktail
It was all
theahomelostparty.
of allScott
generation and Zelda
(attributing
modernity. Gertrudenot
it toonly chronicled
Stein)
Stein as that
said epigraph theto
Paris age,
was they
hiswhere Con
novel, lived
The
the 20it!
formato
th
SunC Alsowas.Rises. ... [121]
♦ 1925
______ ItÆ
It was wasThelost
also Great
cityGatsby
aalso bc it was
where ispulled
published,
Americans away though
could from sales were little
attachment
live on very low,
to anythe
$$. criticism
tradition,
Even was
young positive
bcwriters
they (Elive
tryw/nothing
to DITHin Wtoexile,
showbc
HARTON , T.it S.
could ELIOT
accepted
live like&boulevardiers.
GERTRUDE
no guides S toTEIN )
conduct
♦ 1921
♦ 1930 Æ ÆE ZELDA
ZRA Pbecame
OUND, the more
22yo&Emore RNESTdepressed
HEMINGWAY& &had theaalready
complete wellbreakdown
known SCOTT & had to be hospitalized;
FITZERALD among othersDied had inthe1940.
baseCon in formato
THE QUARTER. ... [122]
___ THE QUARTES are the 4 large cafés that dominate the Montparnasse crossroads: The Coupole , the Rotonde, the Dôme & the Sélect .
Conugliness
formato
- Scott Fitzerald: The Great Gatsby. Through the eyes of NICK CARRAWAY (narrator) we can see both the glamour & the moral
___ Perhaps it was a reaction to Prohibition back home or a natural side effect of café life, but the writers took to alcohol with gusto.
of the 20s ... [128]
♦ Nick’s neighbor is J AY GATSBY, a rich & successful man (& possibly a criminal), but Gatsby is also a true romantic.
Con formato
___ 1. Things commonly believed in are false ___ 2. The artist is isolated from the rest of society: ... [94]
♦ The Great Gatsby is a symbolist tragedy. The hero tries & fails to change the world of materialistic people into the ideal world of his fantasy.
♦ The most important themes of the novel are: Con formato ... [95]
___ 1. The corruption of the American dream, which was the idea that every person could succeed in life by her own efforts [= self-made man]
> The A. dream in the 1920s has been corrupted by the vulgar pursuit of wealth. This critique is developed thru the 5 cntrl characters:
> A. Nick (Narrator) > B. Gatsby (Lives the pure A. Dream) > C. Tom, Daisy & Jordan (examples of the corruption Con formato
of the A. Dream)
... [214]
___ 2. Sight & Insight: As you read the novel, you will come across images of blindness; is this bc anyone seems to see what Con is really going on?
formato ... [96]
> Gatsby lacks the insight to understand what is happening. He never truly sees DAISY, so blinded is he by his dream.
> The only character who sees, in the sense of understand, is NICK. Con formato ... [131]
___ 3. The meaning of the past: The past holds something that both Gatsby and Nick seem to long for: a simpler, better, nobler time.
> A time when people believed in the importance of the family and the church. TOM, DAISY & JORDAN are creatures of the Con formato
present. ... [132]
___ 4. The education of a young man: The Great Gatsby is the story of NICK's initiation into life. His trip East educates himCon
& makes him grow up
formato ... [97]
- Ernest Hemingway: His life. Hemingway was born on 1899 in Illinois. His life can run some parallels to SANTIAGO in the Old Con formato
man & the sea.
... [133]
♦ Individualism blossomed when he graduated from high school & showed no interest in college (he was a good student). He refused college.
Con
___ He was interested in war, but he met rejection Æ His father didn’t let him enlist. Later the armed forces rejected him bc of formato
poor sight in 1 eye. ... [134]
___ Enlisting w/the ITALIAN RED CROSS as an ambulance driver, he made his way to the front lines (while carrying a wounded Con soldier
formatoto safety,
he was wounded. He became a hero and was even given a decoration from the Italian government) ... [135]
♦ When 21, his parents through him out bc they wanted him to found a real job. Hemingway wanted to become a writer. Con formato ... [98]
___ He did get out and find a real job, married a girl named Hadley Richardson, and moved to Paris as correspondent for the TORONTO STAR.
___ Books: In Our Time (1925); The Sun Also Rises (1926); Men Without Women (1928) Æ Well received by the critics except Con formato
his parents. ... [136]
___ He reconciliates w/his parents (1928), but his father killed himself (Dic.) & Hemingway moves to Florida to write A Farawell
Contoformato
Arms.
... [200]
♦ 1930s: 1933 Æ he undertook an African safari but contracted dysentery. He was told to postpone the hunt until recovered, but he said no.
___ 1936-38 Æ He loved war; the closer to the action, the better. He covered the Spanish Civil War as a correspondent w/the Con Republican.
formato ... [137]
♦ WW2 Æ He accompanied the Royal Air Force & crossed the English Channel with American troops on 1944 as a correspondent.
♦ 1952 Æ He wrote The Old Man and the Sea, won the Pulitzer & the Nobel Prize.
♦ 1961 Æ He killed himself. His health had been deteriorating. Nothing seemed able to return him to the masculine vigor heCon formato
so enjoyed. ... [138]
- Ernest Hemingway: His most imp novels. Con formato ... [202]
♦ FOR WHOM THE BELL TOLLS (Themes):
___ 1. Relationship of the individual to mankind: Hemingway's choice of JOHN DONNE’s poem for the novel's title emphasizes a major theme:
No person can exist separate from the lives of others, even others living in far-away countries. Con formato ... [215]
> It is shown by ROBERT JORDAN actions’. He has fought actively for a cause: antifascism. As the novel progresses, his involvement with
the guerrilla band, and particularly his love for Maria, teach him the value of the individual as he or she affects aCon formato
larger society. ... [203]
> His decision not to commit suicide at the end of the novel represents his ultimate understanding that he must fight for the people
whose lives are affected by the cause, not purely for the cause as a generalized ideology.
___ 2. Nature of the Spanish Civil War: Who wants the Spanish Civil War? The novel suggest that the common people are Contired
formato
of the war. ... [99]
> Hemingway wrote For Whom the Bell Tolls to show his disgust at the way in which the civil war had betrayed the Spanish people.
> Despite his pro-Republicanism Hemingway carefully points out that both sides are capable of savage behaviour. Con formato ... [216]
___ 3. Love: There are diff kinds of love in the novel: Romantic love (Jordan & Maria); Love for the land & love among comrades.Con formato
___ 4. In Hemingway's novels, heroes are often involved in activities that risk death. ... [204]
___ 5. An Ex. of hypocrisy are the incompetent Loyalist leaders, who exploit their positions to attain a level of comfort in theCon
midstformato
of war. ... [140]
> JORDAN admits that he doesn't really believe all the things he says he believes in order to justify his involvement in the war.
6. Religion does not come across favorably: Characters like LTNT BERRENDO order atrocities & utter prayers almost Con
in formato
the same breath. ... [217]
Topic 55: Brief summary 42 Con formato ... [222]
♦ THE OLD MAN AND THE SEA (Themes): As often happens in a great piece of literature, there is more than one possible theme.Con formato ... [234]
___ 1. Man the Saint: Santiago is filled with a simple, honest goodness. He loved his wife & loves Manolin.
> As Christ, he suffers undergoes defeat (his own type of crucifixion). His acceptance of suffering inspires & frees Manolin.
___ 2. Stoicsm: Greek philosophers taught that the glory of a human being is to accept suffering & misfortune w/out complaint. Con formato
Santiago did ... [235]
___ 3. The CODE HERO was, for Hemingway, a man who lives correctly, following the ideals of honor, courage & endurance in a world that
is sometimes chaotic, often stressful, and always painful. Con formato ... [237]
> The hero acts honourably in the midst of what will be a losing battle. In doing so he finds fulfilment: he becomes a man or proves his worth.
___ 4. Man triumphant: SANTIAGO comes ashore w/only the skeleton of his fish, but he has not truly been defeated.
> He has achieved a spiritual victory, something far more meaningful than having 500 pounds of marlin meat to bring toCon formato
market. ... [240]
___ 5. Suffering is both common and unavoidable throughout the story. Santiago suffers from hunger & general poverty.
___ 6. Good and evil: Santiago can be seen both as saint & as sinner. The destructive forces of evil are readily symbolized Conbyformato
the sharks. ... [239]
> If you see Santiago's losing the fish as losing the entire battle, then evil has triumphed.
> If you see Santiago's endurance and survival as the true victory, then evil has brought tragedy but has not actually conquered.
- John Steinbeck: He didn't know it, but he started getting ready for The Grapes of Wrath when he was a Con formato ... [242]
12th formato
- His Live: Although the Steinbecks weren't wealthy, they lived in a comfortable Victorian house. He even got a pony for hisCon birthday ... [243]
small ♦
boy
Hisinfather
California.
& eventually his mother encouraged him to become a writer.
Con formato
___ His family may have served as a model for the JOADS in The Grapes of Wrath, as both families understood well the meaning of unity. ... [244]
♦ 1915-19 Æ During high-school he worked as a hand on nearby ranches. There he saw migrant workers breaking their backs Con formato
all day for
... [226]
miserable wages & at night throwing away their cash in card games and cantinas. Out of this experience came the novel Of Mice and Men.
___ He also developed a profound respect for the inner strength of many of these laborers. Con formato ... [245]
♦ Steinbeck's success as a writer coincided with the coming of the GREAT DEPRESSION.
___ He started to travel bc he wanted to collect material for his writing. The country was heavy w/frustration.
___ 1937 Æ driving his car, he & his wife travelled Route 66 from Oklahoma to California (He saw the roadside camps, diners Con&formato
gas stations) ... [247]
___ He spent 4 weeks with workers in California, working with them in the fields & living in their camps to collect more information for his novel.
♦ The Grapes of Wrath: Title chosen from the words of "The Battle Hymn of the Republic," a song, both religious & patriotic. Con formato ... [248]
___ STEINBECK expected the book to be a failure. His publisher urged him to soften the book & make it more acceptable, Con but he refused.
formato
___ It was evidently a wise decision. The Grapes of Wrath is considered Steinbeck's greatest novel. (PULITZER PRIZE). ... [249]
___ The book was rarely attacked on artistic grounds, but some people called it a distortion of the truth, a piece of CommunistCon formato
propaganda. ... [250]
♦ Steinbeck died in 1968.
- Steinbeck’s The Grapes of Wrath major themes:
♦ 1. Unless you depend on the land for your livelihood, you'll probably never fully understand how strongly a man can be bound Con formato
to his land. ... [252]
___ For the tenant farmers, to be torn away from their land is a devastating experience, akin to death itself.
___ That's why MULEY GRAVES stays behind and GRAMPA dies shortly after the start of the westward journey. Con formato ... [253]
♦ 2. The effects of technology: Even though the novel takes place in the 20th C, the tenant farmers rely on growing methods
Con formato
of past days.
... [254]
___ That's the reason why the farmers are poor, bc machines can make land profitable, landowning banks send in tractors and dozers.
♦ 3. Abandoning the old ways: When the JOADS change from farm people to road people, they have to abandon their habits Con and
formato
customs. ... [255]
___ GRAMPA refuses to do it & MA agonizes over throwing her family letters & clippings into the fire.
___ It's a painful time for most of them, but the promise of a better tomorrow drives them forward.
♦ 4. The human family: There are many examples of people helping people in the novel Æ Ma gave smthing to eat to the children
Con formato
in the 1st camp. ... [257]
♦ 5. Only at WEEDPATCH do the migrant people find safety. It's the federal, not the state government that provides refuge.
♦ 6. Grapes of Wrath: Anger in many guises dominates the book. Con formato ... [258]
___ The tenant farmers are angry at the landowners. Californians' fear of the migrants turns to anger. Con formato ... [260]
___ Most of all, the migrants are angry. In a land of plenty, they are starving.
Con
♦ 6. The pursuit for $$ is a legitimate activity in our society. However, what happens when, in this quest, human values areformato
forgotten? ... [259]
- William Faulkner: Con formato ... [262]

- The Author and his times: Born in Oxford (MISSISSIPPI) Con formato ... [263]
♦ Family, place, and past: These things were most important to W. FAULKNER.
♦ The war still affected everyone in Oxford. Its most imp effect was on relations btw blacks and whites. Con formato ... [264]
___ As a result of the Civil War, black slaves were freed. They generally could find work only in white people's fields or as Con formato
servants in white homes.
... [246]
___ Segregation laws were passed only a few years before Faulkner was born Æ no share schools, railroad, churches or stores.
nd
Con formato
___ The only blacks young Faulkner knew were his family's servants: The housekeeper, CAROLINE BARR, was his 2 mother, and his brothers. ... [265]
___ She served as the model for DILSEY in The Sound and the Fury.
♦ 1917 Æ Faulkner joined the army after her beloved Estelle Oldham married other man (following her parent’s wishes), but was rejected.
___ Pretending to be British FAULKNER talked his way into the ROYAL AIR FORCE. The war ended before he even flew a Con formato
plane. ... [267]
♦ Faulkner dropped out of college & took odd jobs to support himself while he wrote poetry. Many of his poems were about ESTELLE.
___ Faulkner sent his poems to magazines, and they began to be published. He lived briefly in NY, but the city he liked Con formato
best was N. Orleans. ... [268]
♦ 1920s Æ Many American writers went to live in Paris, as James Joyce (pioneered the technique STREAM-OF-CONSCIOUSNESS ) did.
___ Joyce's approach had great influence on FAULKNER, who spent 1925-6 in Paris & traveling around Europe, returning to N. Orleans in 1928.
th
___ 1929 Æ ESTELLE gets divorced and marries FAULKNER. The Sound and the Fury, his 4 novel, was published later Coninformato
the year. ... [270]
♦ Faulkner's novels had good reviews, but he couldn't make enough $ to support his family.
___ So he became a script writer in Hollywood, though he has never liked Hollywood (He made enough $ to pay her rent).
___ Faulkner's reputation continued to grow. In 1950 he won the Nobel Prize for Literature, probably the highest award for Con formato
a writer.
... [229]
♦ 1950s Æ Black Americans stepped up their struggle for the civil rights. At 1st , Faulkner supported them, bc Faulkner respected black people.
___ As the civil rights mov achieved success, Faulkner backed away. He said blacks deserved = rights but needed time to Con formato
prepare for them. ... [274]
___ He advised black leaders to move slowly. Integration was right, but forcing schools to admit black children will make thinks worst.
___ Faulkner died in 1962, following a fall from a horse, although the long-term cause of death was his lifelong alcoholism.
- The sound & the Fury’s title is taken from Shak’s Macbeth. Macbeth believed that life was w/out meaning, & that time brought only defeat.
♦ 1. The passing time: From the frequent mention of watches & clocks, its characters are as concerned about the passage Conof formato
time as Macbeth. ... [277]
___ BENJY, opening the book, lives outside of time. For him, Time does not exist bc he lives only in his senses.
___ JASON is always finding out what time it is, always hurrying to do something. Iván Matellanes’ Notes Con formato ... [278]
___ DILSEY is aware of both past & present. When she hears the clock (not set correctly) in the COMPSON’S, only she knows Con what
formato
time really is.
... [279]
♦ 2. The fall of the family: The COMPSONS are a family on the decline. What has gone wrong with them? Lack of love.
___ Mrs. Compson is self-absorbed & doesn't care about her children. Mr. Compson is not able to express his feeling for them. Con formato ... [280]
♦ 3. The fall of the south: the fall of the COMPSONS is also the story of the fall of the South as a region. Con formato
th st
___ The only COMPSON who can cope with the 20 C is JASON: He allows 1 a boarding house & then a housing development. ... [281]
♦ 4. The Modern world: JASON is not the only one who adopts modern values. CADDY marries a Hollywood executive &Con formato
divorces him. ... [282]
st th
___ The emptiness of modern life was a frequent topic for writers in the 1 decades of the 20 C(F.Ex.: T. S. ELIOT's The Waste Land)
Con formato
♦ 5. Learning the truth: This is a story told from 4 points of view. Bc of the unusual structure, figuring out what is going on absorbs the reader. ... [271]
♦ 6. The war btw good and evil. Con formato ... [283]
Topic 55: Brief summary 43 Con formato: Fuente: 8 pto
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Fuente: (Predeterminado) Arial, Sin Negrita, Sin subrayado, Sin Versales

Fuente: (Predeterminado) Arial, 15 pto, Sin Negrita, Sin subrayado, Sin Versales


Interlineado: 1,5 líneas, Punto de tabulación: 12,84 cm, Izquierda










Página 41: [103] Con formato Madhatter 4/14/2005 12:02:00 PM

Fuente: (Predeterminado) Arial, Sin Negrita, Sin subrayado

Fuente: (Predeterminado) Arial, 12 pto, Inglés (Reino Unido)


Sangría: Primera línea: 1,25 cm, Interlineado: 1,5 líneas



Fuente: 8 pto, Sin Negrita, Sin subrayado







Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Negrita, Cursiva

Fuente: Sin Negrita, Sin subrayado

Color de fuente: Blanco, Versales, Resaltar

Superíndice
Fuente: Negrita





Fuente: Negrita, Color de fuente: Blanco, Versales, Resaltar


Fuente: Negrita
Página 41: [120] Cambio Madhatter 4/14/2005 11:06:00 AM
Tabla con formato

Fuente: Negrita
Fuente: Negrita
Sangría: Izquierda: 0,5 cm, Primera línea: 0 cm

Sangría: Izquierda: 0 cm, Primera línea: 0 cm

Fuente: 10 pto, Negrita, Subrayado

Sangría: Izquierda: 0,5 cm

Color de fuente: Blanco, Resaltar

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita, Subrayado





Fuente: Sin Negrita

Fuente: Sin Negrita



Fuente: Negrita
Fuente: Negrita








Fuente: (Predeterminado) Arial, 8 pto









Fuente: Negrita, Cursiva, Subrayado



Fuente: Negrita, Versales


Subrayado
Fuente: Sin Negrita


Subrayado
Subrayado
Subrayado
Subrayado
Subrayado
Tabla con formato
Versales
Versales
Versales
Versales
Versales
Versales
Versales

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita

Versales



Fuente: Negrita
Fuente: Negrita




Sangría: Izquierda: 0,5 cm, Interlineado: 1,5 líneas

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita





Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita
Fuente: Sin Negrita

Fuente: Sin Negrita

Versales
Versales
Versales











Sin subrayado, Color de fuente: Blanco, Resaltar




Sangría: Izquierda: 0,5 cm, Interlineado: 1,5 líneas




Fuente: Negrita, Subrayado, Versales

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita

Versales

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Sin subrayado

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita

Fuente: Sin Negrita, Versales



Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Versales
Versales











Fuente: Sin Negrita
Fuente: Sin Negrita




Superíndice
Fuente: Negrita







Fuente: Negrita
Tabla con formato

Fuente: Negrita
Fuente: Negrita









Fuente: Sin Negrita

Fuente: Sin Negrita




Tabla con formato



Fuente: 8 pto
Centrado, Borde: Inferior: (Línea continua sencilla, Automático, 0,5 pto Ancho de
línea)
Fuente: 8 pto
Derecha



Fuente: 11 pto










Fuente: 9 pto




Fuente: Sin Negrita


Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita






Fuente: Negrita
Fuente: Negrita
Fuente: Negrita

Sin subrayado
Sin subrayado

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita



Sangría: Izquierda: 0 cm
Fuente: 10 pto, Sin Versales

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita



















Sin subrayado, Versales


Subrayado, Resaltar
Sin subrayado
Fuente: 10 pto, Negrita



Fuente: Negrita
Versales
Versales
Fuente: Negrita
Fuente: Negrita


Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Sin Negrita

Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Inglés (Reino Unido)





Subrayado
Subrayado
Subrayado
Subrayado
Subrayado
Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Versales
Versales
Versales
Versales
Fuente: Sin Negrita

Fuente: Sin Negrita




Subrayado
Subrayado
Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita





Fuente: Negrita

Fuente: 10 pto, Negrita, Cursiva, Subrayado






















Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Fuente: Sin Negrita

Resaltar
Resaltar
Resaltar
Resaltar
Versales
Versales
Versales
Versales
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Sin subrayado
Sin subrayado
Sin subrayado
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Fuente: Negrita
Inglés (Reino Unido)



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1. The Lost generation. _________________________________________________ 4

Iván Matellanes’ Notes

1. The Lost generation. Con formato: Fuente: 8 pto

With the WW1 Armistice of 1918, the peacemaking of 1919 and

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

2. The writers of the Lost generation.

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

2.1.2. Fitzgerald works: The Great Gatsby and Babylon revisited.

Iván Matellanes’ Notes

Iván Matellanes’ Notes

to show us what he has learned. Con formato: Fuente: 8 pto, Negrita,

Iván Matellanes’ Notes

2.2. Ernest Hemingway

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Con formato: Derecha

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

In this phrase, "CODE" means a set of rules or guidelines for conduct. In

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

Iván Matellanes’ Notes

because he lives only in his senses.

is, always hurrying to do something or yelling at other people for being

Iván Matellanes’ Notes

3. The fall of the south. Con formato ... [71]

He allows first a boarding house and then a housing development to be built on

Iván Matellanes’ Notes

integrity is represented by innocent BENJY, idealistic QUENTIN, and

Con formato: Derecha

Iván Matellanes’ Notes

Con formato: Derecha

Iván Matellanes’ Notes

Con formato: Derecha

Iván Matellanes’ Notes

Con formato o: Fuente: 12 pto,

- William Faulkner: Con formato ... [262]

Con formato: Fuente: 12 pto, Inglés

Con formato: Derecha

Iván Matellanes’ Notes

Fuente: 8 pto, Negrita, Color de fuente: Gris 25%

Fuente: Negrita, Color de fuente: Gris 25%