"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations

"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy

I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike

"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan

Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti


[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]


Thursday, September 4, 2025

A Lost Generation in Motion: Hemingway and Whitehead


A Lost Generation in Motion:
Hemingway and Whitehead

Ernest Hemingway - The Sun Also Rises

by R.E. Slater & ChatGPT-5

I. Publication & Historical Context

📅 1. Publication Overview

  • Title: The Sun Also Rises

  • Author: Ernest Hemingway

  • First published: 1926 by Charles Scribner’s Sons

  • Original draft title: Fiesta (still used in many European editions)

  • Critical reception: Acclaimed for its stark realism and stylistic innovation; controversial for its cynical tone, drinking culture, and depiction of aimless youth

This novel marked Hemingway’s first full-length novel, following his short story collection In Our Time (1925). It immediately established him as a central voice of the “Lost Generation” and a major innovator in modernist fiction.


🌍 2. Historical and Cultural Background

Post-World War I Europe

The novel takes place in the wake of the First World War, a conflict that had devastated much of Europe and deeply scarred a generation of young men. For many of these veterans, the old moral codes—of religion, honor, patriotism, and love—had lost their meaning.

  • Hemingway himself was wounded as a Red Cross ambulance driver in Italy.

  • Many young Americans, including Hemingway, became expatriates, disillusioned with the materialism and conformity of the United States.

  • Paris in the 1920s became a haven for artists, writers, and thinkers who found creative freedom abroad.

This cultural phenomenon was famously labeled by Gertrude Stein as the Lost Generation, a term Hemingway used as the novel’s epigraph:

“You are all a lost generation.”


The Expatriate Movement

The Sun Also Rises captures this expatriate subculture with intimate detail: Americans and Britons drinking in Paris cafés, discussing art and love, traveling through Spain, and constantly searching—for meaning, for distraction, for themselves.

  • The novel’s characters are modeled after real figures in Hemingway’s own social circle, many of whom traveled with him to Pamplona in 1925 to see the bullfights.

  • The expatriate life is portrayed as both glamorous and tragic—full of pleasure and spontaneity, but also drifting and emotionally numb.


🗡️ 3. Literary Modernism

The Sun Also Rises is a landmark modernist novel in form and content:

  • It rejects Victorian narrative conventions, emotional melodrama, and moral certainty.

  • Instead, it embraces fragmentation, ambiguous morality, understatement, and psychological realism.

  • Hemingway’s clipped dialogue and sparse narration mirror the emotional restraint and detachment of his characters.

This is a novel written after belief collapses, and its form reflects that collapse. Yet, paradoxically, the story reaches for moments of beauty, intensity, and ritual—fishing, bullfighting, drinking, walking alone at sunrise—that suggest the resilience of experience even when ideals are broken.


🕰️ 4. Biblical and Cyclical Time

The title comes from Ecclesiastes 1:5:

“The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose.”

This verse evokes a cosmic cycle that continues despite human suffering. In this context, Hemingway suggests that even in the aftermath of war and personal ruin, life persists. The sun still rises. There is no salvation, perhaps—but there is continuity, process, and endurance.


📌 Summary

The Sun Also Rises emerges at the intersection of:

  • A disillusioned generation seeking to rebuild their lives

  • A postwar Europe haunted by absence and moral erosion

  • A modernist literary revolution that broke with past forms to find new truths in fragments

In this world, Hemingway writes not to redeem the old, but to name what is left—and to honor what remains in the human will to feel, to love, to endure.


II. Plot Summary

🔁 Narrative Arc Overview

The novel follows a group of expatriate Americans and Britons as they drift through Parisian nightlife and Spanish festival culture in the 1920s, seeking stimulation, escape, and emotional resolution in the wake of World War I. Told through the detached, minimalist voice of Jake Barnes, a wounded veteran and journalist, the story is less a tightly plotted narrative than a psychological and social portrait of a disillusioned generation.


🗺️ Three-Part Journey

Part One: Paris – Emotional Detachment & Unresolved Desire

  • Setting: Montparnasse, Left Bank of Paris.

  • Narrator: Jake Barnes, emotionally subdued, socially fluent.

  • Jake introduces his circle: the insecure writer Robert Cohn, the magnetic and self-destructive Lady Brett Ashley, and others in the café scene.

  • Brett and Jake are clearly in love, but Jake’s war injury (likely impotence) makes physical intimacy impossible—creating an undertone of unresolved longing.

  • Brett is engaged to the alcoholic, bankrupt Mike Campbell, but she flirts openly and frequently moves between lovers, including Cohn.

  • Tensions build as Cohn, smitten with Brett, becomes jealous and possessive.

  • Hemingway paints the Parisian café society as both vibrant and hollow—an endless cycle of drinking, banter, and emotional evasiveness.

✍️ Key Dynamics:

  • Exposition of “Lostness”—emotional restraint, physical wounds, unfulfilled desire.

  • Cultural Dislocation—none of the characters belong, even in their friendships.

  • Emotional minimalism—dialogue rarely says what it means.


Part Two: Spain – Seeking Ritual & Meaning

  • The group leaves for Pamplona, Spain to witness the Festival of San Fermín and the running of the bulls.

  • Before that, Jake and his friend Bill Gorton go fishing in the countryside—a brief interlude of peace and communion with nature. This passage reflects Hemingway’s theme of ritual and natural rhythm as grounding forces.

  • In Pamplona, the group reunites. Brett begins a romantic relationship with the young bullfighter, Pedro Romero, whose skill and grace awaken in her a genuine reverence.

  • Tensions explode:

    • Cohn becomes violent out of jealousy, punching both Jake and Romero.

    • Mike, already jealous and drunkenly bitter, taunts everyone.

  • The bullfighting sequences are rich with symbolic weight—depicting bravery, grace under pressure, and true engagement with death and life.

  • Romero’s artistry stands in contrast to the group’s emotional chaos—he represents pure form, dignity, and intensity.

✍️ Key Dynamics:

  • Ritual vs. Spectacle—bullfighting as both brutal and transcendent.

  • Romantic crisis—Brett’s pattern of attraction and destruction climaxes.

  • Spiritual longing—Jake respects Romero but cannot be him.


Part Three: Madrid – Resignation and Closure

  • After the festival ends in emotional wreckage, Brett runs off with Romero, but later sends Jake a telegram from Madrid, asking for help.

  • Jake travels alone to meet her. In Madrid, she reveals she has ended things with Romero to avoid “ruining him.”

  • Their final conversation is both tender and tragic. They reminisce, dream, and acknowledge the love they cannot consummate.

  • The novel ends with a muted yet deeply symbolic line:

    “Isn’t it pretty to think so?”

This last sentence reflects the collapse of idealism—love, honor, future—all impossibilities now, even if they still echo in memory.


🌄 Narrative Flow Summary

  1. Paris – Dislocation, drinking, longing (false intimacy)

  2. Spain – Ritual, romance, violence (brief intensity)

  3. Madrid – Regret, realism, emotional surrender (quiet closure)


🧩 Structural Elements

  • The novel’s episodic structure mirrors the emotional aimlessness of the characters.

  • Time flows forward, but meaning never arrives—what Hemingway gives us is texture, not plot.

  • Hemingway’s restraint lets the reader feel what the characters cannot say.


✍️ Hemingway’s Comment on Plot

Hemingway famously described The Sun Also Rises as a novel in which “nothing happens,” and yet, everything happens beneath the surface: heartbreak, identity collapse, the hunger for meaning, the endurance of beauty.


III. Main Characters

Each character in The Sun Also Rises embodies a fractured identity shaped by war, loss, and longing. They are not archetypes but processual beings—struggling to define themselves in relation to each other, to their memories, and to the culture around them. Hemingway strips away sentimentality and lets their contradictions surface through behavior and clipped dialogue.


🧍‍♂️ Jake Barnes

Role: Narrator and protagonist
Occupation: American journalist in Paris
Wound: Physically (likely emasculated by war injury), emotionally (in love with Brett but cannot consummate it)

Jake is the novel’s still center. He observes more than he acts, feels deeply but rarely expresses it. His emotional restraint, war-inflicted impotence, and stoic demeanor reflect Hemingway’s “grace under pressure” ideal. He is both drawn to and alienated by the world he inhabits.

  • His love for Brett is sincere, tender, and doomed.

  • He provides emotional and financial support to nearly everyone, yet rarely receives it in return.

  • He respects Romero because Romero represents the unity of form and purpose that Jake longs for.

  • In many ways, Jake is a metaphor for modern man—injured, rootless, yearning for intensity in a world of disillusionment.

“I can’t stand it to think my life is going so fast and I’m not really living it.”


👒 Lady Brett Ashley

Role: The novel’s emotional and romantic center
Status: Divorced Englishwoman, engaged to Mike Campbell, lover of several men in the novel
Character arc: Passionate, magnetic, but emotionally restless and self-sabotaging

Brett is iconic—a literary embodiment of the “New Woman” of the 1920s. She drinks, smokes, moves freely among men, and refuses to conform to traditional gender roles. Yet beneath her fierce independence is a woman wounded by war, broken love, and internalized instability.

  • She loves Jake but cannot reconcile love with his injury.

  • She seeks affirmation in male desire but pushes away intimacy.

  • Her allure is destructive; her freedom comes at the cost of stability.

“You know it makes one feel rather good deciding not to be a bitch.”

Brett is not a villain. She’s a modern woman trapped in a world where no one—man or woman—knows how to love anymore.


✍️ Robert Cohn

Role: Outsider, romantic idealist, former boxer
Background: Jewish-American Princeton graduate; not a veteran

Cohn represents an anachronistic idealism that grates on the rest of the group. He believes in true love, heroic passion, and moral clarity—but in a postwar world where everyone else is fractured, Cohn’s certainty becomes irritating, even threatening.

  • He falls obsessively for Brett and becomes jealous and violent.

  • He cannot cope with ambiguity or rejection.

  • Though he seems “soft,” he is physically powerful and becomes aggressive when emotionally cornered.

“You can't get away from yourself by moving from one place to another.”

Cohn becomes a scapegoat for the group’s own buried emotional confusion. He is excluded for believing too much, in a world where everyone else believes too little.


🗣️ Bill Gorton

Role: Jake’s closest male friend
Traits: Witty, intelligent, emotionally balanced, provides comic relief

Bill is one of the few characters who maintains a degree of emotional coherence. He’s a companion on the fishing trip—a rare space of peace—and provides a contrast to Jake’s restraint with his humor and verbal flamboyance.

  • His joking masks insight.

  • He’s loyal, but less wounded than the others.

“You’re an expatriate. You’ve lost touch with the soil.”

Bill anchors Jake without demanding anything from him. He’s a processual friend—flexible, responsive, non-destructive.


🥃 Mike Campbell

Role: Brett’s fiancé; Scottish aristocrat turned bankrupt drunk
Traits: Bitter, insecure, drunkenly sarcastic

Mike embodies the decay of aristocratic masculinity. Once wealthy and dignified, he is now a hollowed-out figure propped up by alcohol and cynical jabs.

  • He loves Brett but cannot control her.

  • His drunken rants reveal pain masked as cruelty.

  • His financial ruin mirrors his moral unraveling.

Mike is what happens when old social roles persist but can no longer hold meaning.


🐂 Pedro Romero

Role: Young Spanish bullfighter
Symbolism: Embodiment of purity, beauty, tradition, and intensity

Romero enters late in the novel but quickly becomes its moral and aesthetic center. He represents the unbroken form—someone who acts with precision, discipline, and inner purpose.

  • His bullfighting is described as ritual art, not sport.

  • He attracts Brett not because he flatters her, but because he lives with style and integrity.

  • He is the novel’s counterpoint to emotional chaos.

Jake reveres Romero because he is what Hemingway wished modern life could be—committed, elegant, courageous, and whole.


🧠 Group Dynamic Summary

CharacterEmbodies...Represents...
Jake BarnesStoic longing + emotional restraintInjured modern man, Hemingway surrogate
Brett AshleyDesire, instability, and broken freedomPostwar femininity in crisis
Robert CohnIdealism turned obsessionOutsider unable to adapt
Bill GortonHumor, resilience, good-natured realismGrounded male friendship
Mike CampbellCollapse masked by sarcasmFailed aristocracy
Pedro RomeroPurity, dignity, unbroken formHemingway’s aesthetic ideal

IV. Major Themes


1. Disillusionment and Emptiness

At its core, The Sun Also Rises is a novel about emotional depletion in the aftermath of a cultural and moral collapse. The trauma of World War I is rarely discussed directly, but it shapes every character’s worldview. The war has robbed them not just of ideals but of the ability to feel in coherent or lasting ways.

  • Jake’s impotence becomes a symbol of metaphysical impotence—a world that can no longer consummate meaning or love.

  • Conversation is full of evasions and silences; actions (drinking, traveling, fighting) replace introspection.

  • The group lives in perpetual motion, yet they go nowhere spiritually or emotionally.

“It is awfully easy to be hard-boiled about everything in the daytime, but at night it is another thing.”


2. Exile and Rootlessness

The characters are all displaced—geographically, emotionally, culturally. They are foreigners in Europe and strangers to themselves.

  • Paris represents cosmopolitan stimulation but also moral drift.

  • Spain offers ritual and beauty but ultimately cannot transform them.

  • Their identities are not anchored by nation, religion, family, or purpose.

This is not only physical exile—it is ontological. Jake and his circle are unmoored selves, unable to attach themselves to anything lasting.


3. The Crisis of Masculinity

Masculinity is a central theme—and it is always under threat or in transition.

  • Jake’s war injury renders him sexually impotent.

  • Cohn’s masculinity is mocked for being too sentimental or reactive.

  • Mike is emasculated by financial ruin and his inability to control Brett.

  • Pedro Romero, the bullfighter, stands alone as a model of pure, composed, performative masculinity—the only one in the novel who does not apologize for his power.

Hemingway explores the postwar reconstruction of manhood—what happens when heroism is no longer possible and dominance is no longer dignified.


4. Unfulfilled Love and Emotional Disconnection

Jake and Brett’s love is perhaps the most tragic element of the novel—not because it is thwarted by society, but because it is inherently impossible.

  • Brett cannot be with Jake due to his injury, but she also cannot stay with any man.

  • Her restlessness mirrors Jake’s restraint—they orbit each other, unable to land.

  • Other relationships in the novel are equally unsatisfying: shallow, transactional, or volatile.

Love, in Hemingway’s world, is not redemptive. It is an ache without resolution, a memory of something that might have been.


5. Ritual, Art, and Bullfighting as Meaning

One of the novel’s most profound insights is that ritual—especially aesthetic ritual—offers a temporary but authentic alternative to moral collapse.

  • Bullfighting is not presented as barbarism, but as an art form: precise, ordered, full of purpose and intensity.

  • Fishing becomes a brief return to peace and clarity.

  • Watching, not acting, becomes a way of experiencing truth for characters like Jake.

Romero is not just a bullfighter—he is a symbol of metaphysical integration: body and mind, beauty and danger, performance and substance.


6. The Persistence of Time / The Cycle of Life

Despite the novel’s emotional bleakness, its title—The Sun Also Rises—offers a muted hope. Drawn from Ecclesiastes, it suggests that:

  • Even in despair, the cosmos continues.

  • Human meaning may collapse, but time does not.

  • There is something sacred in survival, even if healing remains out of reach.

In a process-theological reading, this might be seen as a quiet affirmation that life remains in motion, and motion itself is meaningful.


🧠 Thematic Table Summary

ThemeHow It's ShownPhilosophical Weight
DisillusionmentFragmented lives, lack of hope, emotional numbnessCollapse of ideals post-WWI; end of grand narratives
RootlessnessExpatriate wandering, cultural displacementOntological exile; loss of grounding
Masculinity in CrisisJake’s impotence, Cohn’s volatility, Mike’s bitternessDeconstruction of heroic manhood; fragile identity
Unfulfilled LoveJake and Brett’s doomed romance; serial loversLove without resolution; absence of relational fulfillment
Ritual as RedemptionBullfighting, fishing, travel as sacred rhythmAesthetic form replacing lost religious/moral form
Time and Endurance“The sun also rises,” Jake’s quiet resilienceProcessual becoming despite loss; survival as metaphysical grace

V. Hemingway’s Style: The Iceberg Theory


❄️ The Iceberg Theory Explained

Ernest Hemingway developed what he called the “Iceberg Theory” of writing, also known as the theory of omission. In his own words (from Death in the Afternoon):

“If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them.”

Hemingway believed that truth in fiction lies beneath the surface—just as the bulk of an iceberg remains unseen beneath water. The writer should reveal only what is necessary, letting the reader feel the weight of what is unsaid.

This minimalist style became Hemingway’s literary signature—and in The Sun Also Rises, it achieves full expression.


✍️ Key Elements of Hemingway’s Iceberg Style

Stylistic ElementDescriptionExample from the Novel
Minimalist ProseShort, declarative sentences; spare descriptions“We ate well and cheaply and drank well and cheaply and slept well.”
Understated EmotionCharacters rarely articulate deep feelings directlyJake never explicitly grieves his impotence or failed love
Omission as DepthEmotional and narrative gaps invite interpretationJake and Brett’s relationship is defined by what they don’t say
Terse DialogueSimple, quick exchanges, often ironic or circular“Would you do that?” / “I’d do anything for you. Would you do that for me?”
Objective ReportingNarration is often observational, not introspectiveJake describes bullfights or Brett’s beauty without moral judgment

🧠 Philosophical Depth Behind the Surface

Hemingway’s style is not merely about aesthetics—it reflects a postwar metaphysics of restraint. In a world where language has been cheapened by propaganda and sentimentality, Hemingway seeks authenticity through omission.

  • To speak less is to feel more truthfully.

  • The unsaid is not absence—it is presence held in tension.

In a Whiteheadian sense, Hemingway’s narration enacts prehension: the narrator gathers emotional, sensory, and historical data but does not fully verbalize it. The reader is invited to experience concrescence—assembling feeling and understanding internally, rather than being told how to feel.


🌀 Narrative Detachment and Emotional Intensity

Jake’s tone is detached but not numb. His descriptions are observational, even journalistic, but they often carry emotional weight precisely because they lack embellishment. For example:

“I was a little drunk. Not drunk in any positive sense but just enough to be careless.”

This line doesn’t explain Jake’s grief—it embodies it through tone, rhythm, and understatement.

Similarly, the bullfighting scenes are described with clinical precision—but their beauty and terror are felt viscerally. Hemingway does not editorialize—he curates reality, allowing the reader to undergo the emotional process without interference.


🛠️ Function of Style in the Novel

FunctionExample
Express trauma without sentimentJake never discusses the war directly, but his behavior reveals its impact
Reveal character indirectlyBrett’s restlessness is never explained, only enacted through decisions
Create space for interpretationCohn’s breakdown, Mike’s sarcasm, Brett’s flight—never justified, only observed
Mirror existential uncertaintyThe sparse narration matches the emotional sparseness of the characters

🧩 Aesthetic Summary

TraitDescription
ClarityLanguage is clean, unornamented
SilenceOmissions carry more weight than declarations
CompressionMuch meaning is compressed into short, quiet statements
Emotional disciplineNo indulgence, but subtle vulnerability beneath the surface
Ritual observationDetailed attention to physical ritual (drinking, fishing, bullfighting)

🖋️ Legacy

Hemingway’s style in The Sun Also Rises changed American prose. It:

  • Defined modernist realism for a generation

  • Influenced writers like Raymond Carver, Joan Didion, and Cormac McCarthy

  • Embodied the aesthetic of brokenness and endurance that typifies the Lost Generation


VI. Real-Life Inspirations (Roman à Clef)


🪞What is a Roman à Clef?

A roman à clef (French for “novel with a key”) is a work of fiction that is thinly veiled autobiography. Real people appear under fictional names, often with only slight disguise. Hemingway's The Sun Also Rises is a classic example—so closely based on actual people and events that many in the literary world immediately recognized the parallels upon its release.


🗺️ Origins of the Story: Pamplona, 1925

In July 1925, Hemingway took a trip to Pamplona, Spain, to attend the Festival of San Fermín and witness the bullfights. He went with a group of American and British expatriates, all tangled in personal and romantic tensions.

After the trip, he quickly wrote The Sun Also Rises, modeling nearly every major character after someone he had traveled with. This was not simply adaptation—it was literary transmutation. Hemingway turned lived chaos into artistic form, rendering his companions as emotional archetypes of modernist malaise.


🎭 Character Mapping: Fiction to Reality

Fictional CharacterReal-Life InspirationRelationship / Notes
Jake BarnesErnest HemingwayThe narrator; shares Hemingway’s job, war wound, temperament
Lady Brett AshleyLady Duff TwysdenBritish aristocrat; charismatic, sexually liberated, tragic allure
Robert CohnHarold LoebJewish-American writer; pursued Duff/Brett obsessively
Mike CampbellPat GuthrieTwysden’s fiancé; alcoholic, bitter, financially troubled
Bill GortonDonald Ogden StewartHumorist, screenwriter, close friend of Hemingway
Pedro RomeroActual young bullfighterPossibly inspired by Cayetano Ordóñez, a famed torero of the era

These portrayals caused controversy—Loeb, in particular, felt exposed and humiliated, as his fictional counterpart, Cohn, becomes a symbol of weakness, obsession, and exclusion.


✍️ Why Did Hemingway Do It?

Hemingway’s roman à clef serves several purposes:

  1. Emotional Processing
    He wrote the novel almost immediately after the Pamplona trip. It reads like an exorcism of confusion, jealousy, and bitterness—particularly toward Duff Twysden and Harold Loeb.

  2. Modernist Experimentation
    Rather than invent plot or character, Hemingway engages in a kind of documentary fiction—a strategy that reflects the modernist commitment to truth through direct experience, even if selectively filtered.

  3. Critique of Self and Others
    Hemingway is not gentle with any of the characters—not even Jake, his fictional surrogate. He reveals everyone's flaws without sentimentality, including his own emotional paralysis.


🧠 Ethical Questions

Using real people in fiction opens moral dilemmas:

  • Is it artistic license or betrayal?

  • Hemingway’s depictions are not caricatures, but they are unforgiving.

  • His need for emotional clarity may have come at the cost of real-world relationships.

Some critics argue that Hemingway’s use of roman à clef reflects not only his aesthetic but his psychological need for control—to reduce life to clean lines, to master the mess through narrative.


🌀 Roman à Clef as Processual Mirror

From a Whiteheadian perspective, The Sun Also Rises can be read as a field of prehension: Hemingway is absorbing real relationships, emotional intensities, disappointments, and rituals, and concrescing them into a form that feels meaningful—even if painful.

  • These characters are not just mimetic—they are relational crystallizations of an experience in flux.

  • Each person, each scene, becomes an “actual occasion” in Whitehead’s sense—grasped, transformed, and recreated with aesthetic intensity.


🔍 Summary: Fictionalization as Reality Refinement

  • Jake ≠ Hemingway, but Jake is Hemingway’s stylized presence.

  • Brett ≠ Duff, but Brett allows Hemingway to explore female desire and disillusionment with depth and constraint.

  • Cohn ≠ Loeb, but Cohn gives Hemingway a canvas for examining idealism in a cynical world.

The Sun Also Rises is a novel not just about events—it is about the shape and meaning of events, and how we form those meanings through emotional, aesthetic, and philosophical lenses.


VII. Whiteheadian Reading of The Sun Also Rises


🌊 A Processual Lens on Modernist Fiction

Alfred North Whitehead’s process philosophy centers on reality as a web of relational becoming. Nothing is static—everything is in process, constantly being shaped by prior experiences and shaping future ones. When we apply this metaphysical lens to Hemingway’s The Sun Also Rises, the novel becomes more than a modernist artifact of loss; it becomes a textual concrescence of lived experience, emotion, and social interplay.

“The art of progress is to preserve order amid change and to preserve change amid order.” — Whitehead

This summarizes both Hemingway’s stylistic minimalism and the emotional turbulence beneath his surface structure.


🔁 Eternal Recurrence as Processual Cycle

The novel opens with disillusionment and ends in unresolved longing. Jake and Brett’s final conversation—“Isn’t it pretty to think so?”—suggests a failure of closure. But from a Whiteheadian view, this non-closure is the point. The characters are not stuck in eternal despair; they are actual entities in process, adapting to new realities and new limits.

Rather than redemption, the novel offers ongoing negotiation with meaning, shaped by memory, loss, and possibility.


🔄 Prehensions & Emotional Resonance

Whitehead’s idea of prehension—how each entity grasps, includes, or excludes aspects of prior events—is echoed in Jake Barnes’ introspective narrative style. He reflects, edits, and filters past experiences to make sense of the present.

  • Jake prehends Brett with longing and realism.

  • Brett prehends Pedro Romero as youth and purity—but cannot retain him.

  • Cohn prehends love as possession, which destroys its possibility.

Each character acts on the basis of subjective aims, influenced by pain, culture, memory, and desire. They do not merely live; they concresce meaning from their situations.


⚖️ Displacement, Not Nihilism

Though the novel is saturated with malaise, a Whiteheadian reading helps us move beyond the “lostness” of the generation. It isn’t that life has lost meaning; it’s that meaning is no longer inherited from external structures like church, war, or patriarchy. Instead, meaning is:

  • improvised (as in Jake’s moral restraint),

  • aestheticized (as in bullfighting), or

  • relationally tragic (as in Brett’s desire for connection).

This aligns with Whitehead’s aesthetic cosmology—where beauty emerges through contrast, even tragedy.


🎭 Hemingway’s Style as Process

Hemingway’s Iceberg Theory (what is left unsaid is more important than what is said) parallels Whitehead’s notion that process includes both actualities and potentialities. Hemingway’s spareness does not signify emptiness; it signifies a dynamic field of potential beneath the text.

In this sense, the silences in the novel—the gaps, the absences, the things we “almost know”—become pregnant with becoming. Each pause is a lure toward new interpretation, not a dead end.


🌀 Reconstructing Identity in a Disrupted World

The characters exist within a ruptured moral cosmos. War has destroyed traditional anchors. In Whiteheadian terms, they are caught between:

  • actual worlds (suffering, impotence, betrayal),

  • and possible worlds (beauty, loyalty, love).

The tragedy is that they can imagine what might have been—but cannot inhabit it. Yet even this imagination becomes part of their ongoing self-construction.

Jake’s quiet, persistent dignity, Brett’s self-awareness, and even Cohn’s humiliations—all become part of their process of becoming, their “subjective aim” to endure and define meaning in a shifting terrain.


🧩 The Novel as Actual Entity

From a process metaphysical view, The Sun Also Rises is not merely a representation—it is itself an actual entity, composed of:

  • Emotional intensities

  • Historical realities

  • Stylistic abstractions

  • Relational tensions

It “prehends” Hemingway’s life, the lives of others, the rhythms of language, and the ache of an era, then concresces into a novel that is not finished. Every reader becomes a new occasion in its unfolding process.


✅ Conclusion: A Novel Always Becoming

Hemingway’s The Sun Also Rises, viewed through a Whiteheadian lens, becomes:

  • Not a static portrait of loss, but a rhythmic meditation on impermanence.

  • Not a closed text, but an open field of becoming.

  • Not just a tragedy of a lost generation, but a revelation of relational endurance in a changing world.

It affirms that the soul of art, like the soul of a person, lies not in certainty, but in attuned vulnerability to the process of life unfolding.

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