WEBVTT 00:11.200 --> 00:13.670 WAI CHEE DIMOCK: So let's start by talking a 00:13.667 --> 00:19.097 little bit about the film, those of you who were there. 00:19.100 --> 00:22.700 We realize that the film was very, very 00:22.700 --> 00:26.070 different from the book. 00:26.067 --> 00:32.997 But it's great screenwriting on the part of Faulkner, in 00:33.000 --> 00:37.670 fact, as there are really many clever transformations as 00:37.667 --> 00:39.267 Leslie pointed out. 00:39.267 --> 00:45.697 The lawyer, Bee-lips, in the novel becomes the occasion for 00:45.700 --> 00:49.900 a little joke about a dead bee, and how a dead bee can 00:49.900 --> 00:55.070 really sting you, really can be a really powerful sting. 00:55.067 --> 01:00.067 That joke then was repeated throughout the movie. 01:00.067 --> 01:03.627 So it's a very clever transformation. 01:03.633 --> 01:08.173 I would urge you to see the movie on your own just to see 01:08.167 --> 01:13.097 what kind of a screenwriter Faulkner is. 01:13.100 --> 01:18.030 It's actually very impressive to know that he could write 01:18.033 --> 01:22.233 something like The Sound of Fury, but he could also write 01:22.233 --> 01:24.773 the screenplay for To Have and Have Not. 01:24.767 --> 01:28.527 So it's almost two sides of the 01:28.533 --> 01:32.103 spectrum in terms of writing. 01:32.100 --> 01:40.170 So this is just to alert you to the existence of the film. 01:40.167 --> 01:46.027 But I also wanted to use this as an occasion to talk about a 01:46.033 --> 01:52.903 remark that Howard Hawks made about the book, To 01:52.900 --> 01:55.400 Have and Have Not. 01:55.400 --> 01:57.530 in many ways adding insult to injury. 01:57.533 --> 02:00.903 There he was completely changing the plot line of the 02:00.900 --> 02:07.670 novel, but he also had some ungenerous things to say about 02:07.667 --> 02:11.127 the novel and about Hemingway. 02:11.133 --> 02:13.533 Because he was working with Hemingway, and Hemingway 02:13.533 --> 02:16.773 really was on record as being quite unhappy with the way 02:16.767 --> 02:19.467 that his novel was transformed. 02:19.467 --> 02:23.197 So Howard Hawks claimed to have heard from Hemingway that 02:23.200 --> 02:27.370 To Have and Have Not was a bunch of junk, and apparently 02:27.367 --> 02:30.027 that was the excuse for his completely 02:30.033 --> 02:33.803 changing the novel around. 02:33.800 --> 02:36.670 It started out being really good for nothing, no good. 02:36.667 --> 02:41.797 Then he suddenly should have the freedom to change it as he 02:41.800 --> 02:47.270 saw fit, which he did to a staggering degree. 02:47.267 --> 02:53.767 But Howard Hawks really began a tradition of people saying 02:53.767 --> 02:58.997 negative things about To Have and Have Not, and we can look 02:59.000 --> 03:03.930 at a few other instances of people expressing a lot of 03:03.933 --> 03:05.473 doubts about the novel. 03:05.467 --> 03:09.827 This is one of the most extreme Delmore Schwartz. 03:09.833 --> 03:15.103 "To Have and Have Not is a stupid and foolish book, a 03:15.100 --> 03:20.400 disgrace to a good writer, a book which should never have 03:20.400 --> 03:22.200 been printed. 03:22.200 --> 03:27.370 It contains passages of golden writing, and the parts of 03:27.367 --> 03:29.667 three good short stories -- 03:29.667 --> 03:33.367 when one of these parts appeared in Esquire as a short 03:33.367 --> 03:38.427 story, it was much better there, and not broken up by 03:38.433 --> 03:44.903 the interposition of a chapter." So about as hostile 03:44.900 --> 03:47.470 a review as one could get. 03:47.467 --> 03:50.667 Although, I should also say that book reviews are a genre 03:50.667 --> 03:55.197 in themselves, and quite often book reviewers feel the need 03:55.200 --> 03:57.100 to be critical. 03:57.100 --> 04:02.600 So it is completely within the convention of book reviewing. 04:02.600 --> 04:11.100 Here's another, to my mind, much more perceptive and much 04:11.100 --> 04:15.830 truer to the spirit of To Have and Have Not from a great 04:15.833 --> 04:19.303 critic, Alfred Kazin. 04:19.300 --> 04:21.070 "A new Hemingway? 04:21.067 --> 04:22.827 Not altogether. 04:22.833 --> 04:28.203 There are passages and passages in which the old icy 04:28.200 --> 04:32.270 brilliance comes through with the slippery rhythm, the 04:32.267 --> 04:36.827 virtual assonance, the artful grade of phrases fused with 04:36.833 --> 04:41.373 such laborious cleverness that the click-clack of the beat is 04:41.367 --> 04:42.927 like a hiss... 04:42.933 --> 04:46.533 (but also) an unusual awkwardness, for this is a 04:46.533 --> 04:51.233 Hemingway who is rather less sure of himself than usual, 04:51.233 --> 04:54.303 but a good deal more intense." 04:54.300 --> 04:59.100 So this, to my mind, catches very well both what is good 04:59.100 --> 05:02.200 about the novel, and what makes it worth 05:02.200 --> 05:04.600 reading in my mind. 05:04.600 --> 05:09.730 But also, obviously, it points to some very clear defects 05:09.733 --> 05:10.773 about the novel. 05:10.767 --> 05:14.097 It's also a very good characterization of Hemingway 05:14.100 --> 05:18.730 in terms of the old icy brilliance and the assonance 05:18.733 --> 05:23.433 in Hemingway's prose that makes it almost like poetry at 05:23.433 --> 05:24.373 many moments. 05:24.367 --> 05:28.067 So it's just a very good overall account of Hemingway. 05:28.067 --> 05:34.967 But also a special take and very, I think very true to the 05:34.967 --> 05:38.227 spirit of Hemingway in thinking that it's both less 05:38.233 --> 05:43.673 well-crafted, but maybe closer to Hemingway's heart. 05:43.667 --> 05:48.597 One more quote from another critic, and very 05:48.600 --> 05:53.770 understandable given the subject matter of To Have and 05:53.767 --> 05:56.497 Have Not, saying that Hemingway was "one of the 05:56.500 --> 06:00.630 least overtly political writers of his generation." I 06:00.633 --> 06:02.633 think it's a very interesting statement. 06:02.633 --> 06:05.573 He was one of the least overtly political. 06:05.567 --> 06:08.227 Does that mean that even though he's not overtly 06:08.233 --> 06:12.033 political, that actually there's a kind of a deep 06:12.033 --> 06:15.773 politics in the novel? 06:15.767 --> 06:19.597 Not overt, but something that once we look deeper, further, 06:19.600 --> 06:21.530 into the novel, we'll get to see that there's 06:21.533 --> 06:23.433 some politics there. 06:23.433 --> 06:28.603 So I would like to take that as a starting point to as 06:28.600 --> 06:34.000 whether or not To Have and Have Not is a political novel. 06:34.000 --> 06:37.270 And as is the custom in this class, I would like to think 06:37.267 --> 06:41.497 about it on two different scales. 06:41.500 --> 06:45.330 One is through the macro history, that is the 06:45.333 --> 06:50.573 background to the novel, and we know that because Harry 06:50.567 --> 06:53.967 Morgan had so much to do with Cubans who are trying to get 06:53.967 --> 06:56.697 to the United States in part one, and then the Cubans 06:56.700 --> 07:00.600 wanted to get back to Havana in part three -- 07:00.600 --> 07:05.270 we know that the Cuban politics is very much there. 07:05.267 --> 07:08.297 Along with that and parallel of that, there is also the 07:08.300 --> 07:10.800 Great Depression in the United States. 07:10.800 --> 07:14.470 So this is very much a novel of the 1930s. 07:14.467 --> 07:18.027 These are the macro politics that make up the 07:18.033 --> 07:21.633 context of the novel. 07:21.633 --> 07:25.033 Moving to a somewhat different scale on the scale of 07:25.033 --> 07:27.973 character, the trail of character 07:27.967 --> 07:30.067 and narrative technique. 07:30.067 --> 07:32.767 I like to think about the novel has different 07:32.767 --> 07:36.897 permutations of "have" and 'have not,' so in that sense 07:36.900 --> 07:40.000 its really themes and variations 07:40.000 --> 07:43.000 on the title itself. 07:43.000 --> 07:49.100 I'll be talking about Harry as a Have Not in several ways, 07:49.100 --> 07:52.700 linking back to the macro history of the novel. 07:52.700 --> 07:57.070 But then what I really would like to make the case for in 07:57.067 --> 08:01.627 the rest of the lecture is Harry as a special kind of 08:01.633 --> 08:06.373 "have," what I would call a mediated kind of "have." That 08:06.367 --> 08:07.767 is, he becomes -- 08:07.767 --> 08:11.027 even though he so obviously a "have not" -- 08:11.033 --> 08:17.103 he becomes a "have" through the presence of somebody else. 08:17.100 --> 08:21.030 So this is what I mean by mediated "have," through the 08:21.033 --> 08:26.473 presence of another person, either it could be Marie or it 08:26.467 --> 08:33.467 could be somebody like Richard Gordon, Harry gets to become a 08:33.467 --> 08:34.297 "have." 08:34.300 --> 08:40.300 So this is an argument about Harry not being a "have" on 08:40.300 --> 08:47.100 his own, but becoming a "have" by virtue of either a 08:47.100 --> 08:50.570 channeling process by way of Marie. 08:50.567 --> 08:54.427 And he is channeled through Marie both because of the way 08:54.433 --> 08:57.933 she thinks about him, and also because of the way he looks at 08:57.933 --> 09:01.133 her, and he is contrasted with Richard Gordon, both because 09:01.133 --> 09:04.133 of the way Richard looks at Marie, and because of the way 09:04.133 --> 09:06.603 Richard Gordon talks to his own wife, Helen. 09:06.600 --> 09:11.100 So it's very much a permutation, kind of a dance 09:11.100 --> 09:15.470 really, among the characters in order for Harry to emerge 09:15.467 --> 09:18.097 as a "have" at the very end. 09:18.100 --> 09:23.530 But first of all, let's go back to the macro history of 09:23.533 --> 09:26.533 Cuba in the 1930s. 09:26.533 --> 09:31.903 As you can see, the politics of Cuba was incredibly 09:31.900 --> 09:33.870 complicated in the '30s. 09:33.867 --> 09:39.997 There were six presidents in three years, so you are under 09:40.000 --> 09:43.030 no obligation to remember the names of the presidents. 09:43.033 --> 09:45.003 I won't even pronounce the names. 09:45.000 --> 09:48.030 So I just wanted to give you a sense of how long they were 09:48.033 --> 09:49.473 presidents. 09:49.467 --> 09:52.827 Most of the presidents were presidents for just a few 09:52.833 --> 09:59.973 months, in this case, less than a month, less than just a 09:59.967 --> 10:03.567 few months in the case of Ramon Grau. 10:03.567 --> 10:09.097 Just for three days in the case of Carlos Hevia. 10:09.100 --> 10:10.770 This beats everything. 10:10.767 --> 10:15.497 He was president for just one day, Manuel Marquez Sterling. 10:15.500 --> 10:21.130 And then slightly longer, a few months-- that's a record-- 10:21.133 --> 10:23.503 and a few months. 10:23.500 --> 10:28.100 So I think that it's just really clear just from looking 10:28.100 --> 10:35.670 at the list of presidents of Cuba between 1933 and 1936 10:35.667 --> 10:40.367 that the politics was just incredibly hard to figure out. 10:40.367 --> 10:43.597 As I mentioned last time, Hemingway was actually not in 10:43.600 --> 10:45.770 Cuba when he was writing To Have and Have Not. 10:45.767 --> 10:47.727 He was in the Bahamas. 10:47.733 --> 10:54.203 So it's highly improbable that he would have been able to 10:54.200 --> 10:59.670 figure out the politics in Cuba in any intimate way. 10:59.667 --> 11:02.527 He would have been looking at it very much from the outside. 11:02.533 --> 11:04.573 He probably understood the politics of the Spanish Civil 11:04.567 --> 11:09.167 War that he was covering much, much better than the actual 11:09.167 --> 11:12.527 politics in Cuba that was his setting. 11:12.533 --> 11:17.573 So as a consequence, the presidents of 11:17.567 --> 11:18.997 Cuba were never mentioned. 11:19.000 --> 11:23.230 We don't even know who was president then. 11:23.233 --> 11:28.573 Instead, what Hemingway gives us is a generic type. 11:28.567 --> 11:34.227 This is the young boy, Emilio, who is one of the passengers 11:34.233 --> 11:38.833 that has to be carried back to Havana after the bank robbery. 11:38.833 --> 11:45.033 So this is the very dangerous trip for Harry. 11:45.033 --> 11:49.303 But he gets to talk to the boy quite a bit and liked him, but 11:49.300 --> 11:52.900 also kills him, but this is a generic type of the 11:52.900 --> 11:57.070 revolutionary, marked by his speech pattern. 11:57.067 --> 11:59.767 "'We are the only true revolutionary 11:59.767 --> 12:01.927 party,' the boy said. 12:01.933 --> 12:05.303 'We want to do away with all the bold politicians, with all 12:05.300 --> 12:09.270 the American imperialism that strangles us, with the tyranny 12:09.267 --> 12:10.467 of the army. 12:10.467 --> 12:14.467 We want to start clean and give every man a chance. 12:14.467 --> 12:17.467 We want to end slavery of the guajiros, 12:17.467 --> 12:19.297 you know, the peasants. 12:19.300 --> 12:22.670 We just raise money for the fight," the boy said. 12:22.667 --> 12:25.897 "To do that, we have to use means that later 12:25.900 --> 12:28.000 we would never use. 12:28.000 --> 12:32.500 Also we have to use people we would not employ later. 12:32.500 --> 12:35.430 But the end is worth the means.'" 12:35.433 --> 12:38.103 Emilio is a young boy. 12:38.100 --> 12:41.430 But he talks like a much older person. 12:41.433 --> 12:44.973 There's actually a lot of authority, and I don't think 12:44.967 --> 12:50.997 that Hemingway is just giving this to us as a caricature. 12:51.000 --> 12:55.570 This certain kind of authority that comes from a certain 12:55.567 --> 12:58.497 vocabulary, a certain speech pattern. 12:58.500 --> 13:01.900 The boy almost didn't have to think in order to say all 13:01.900 --> 13:05.800 those things because he's so familiar with that kind of 13:05.800 --> 13:08.630 phrasing, that kind of idiom. 13:08.633 --> 13:13.033 He's completely conditioned in that idiom, so that it really 13:13.033 --> 13:16.533 is second nature to him. 13:16.533 --> 13:19.303 We can think a little bit about what it means to have 13:19.300 --> 13:21.400 that kind of second nature. 13:21.400 --> 13:25.500 I think that most of us tend to think that it is not good 13:25.500 --> 13:29.430 to have that kind of language grilled into us so that it's 13:29.433 --> 13:32.033 almost a kind of reflex action for it to come 13:32.033 --> 13:33.673 out just like that. 13:33.667 --> 13:37.197 I think we tend to be very suspicious of people who talk 13:37.200 --> 13:43.070 in this kind of very dogmatic and generic kind of language, 13:43.067 --> 13:45.827 that you can hear two sentences and you know that 13:45.833 --> 13:50.003 this man is a radical, and he's wearing his radicalism on 13:50.000 --> 13:51.030 his sleeve. 13:51.033 --> 13:56.803 So this is a man who, in many ways, we don't even know if 13:56.800 --> 13:59.530 his true name is Emilio. 13:59.533 --> 14:04.333 He just says to Harry, you can call me Emilio. 14:04.333 --> 14:08.333 Going back to that famous line in Moby Dick, "call me 14:08.333 --> 14:10.703 Ishmael." Many, many characters in American 14:10.700 --> 14:13.530 literature would say to another character, "Call me 14:13.533 --> 14:16.703 something." This is a very, very minor local instance of 14:16.700 --> 14:20.470 this, but we don't know his true name. 14:20.467 --> 14:23.167 He's just known by the name Emilio. 14:23.167 --> 14:25.467 That in itself is emblematic of the kind of 14:25.467 --> 14:28.397 character that he is. 14:28.400 --> 14:31.470 But I want to go back to the point about what it means to 14:31.467 --> 14:36.897 have a second nature, and second linguistic nature. 14:36.900 --> 14:41.170 Even though our instinct, our gut reaction, is to be very 14:41.167 --> 14:45.367 suspicious of someone like that, I actually want to make 14:45.367 --> 14:51.367 the point that having a second nature like that is probably 14:51.367 --> 14:56.927 not the worst thing a human being can have. It is probably 14:56.933 --> 15:01.403 not the best thing a human being can have, but it 15:01.400 --> 15:05.330 probably is not the worst thing. 15:05.333 --> 15:11.573 Because it is a sort of religious faith that is cast 15:11.567 --> 15:14.027 in secular language. 15:14.033 --> 15:18.103 To the extent that we think that human beings need some 15:18.100 --> 15:19.370 kind of faith. 15:19.367 --> 15:23.227 It actually is very, very good to have that second nature. 15:23.233 --> 15:28.973 So I think that Hemingway is partly caricaturing that style 15:28.967 --> 15:29.967 of talking. 15:29.967 --> 15:34.097 But he's showing us what it means to have your being 15:34.100 --> 15:36.170 within that kind of language. 15:36.167 --> 15:39.867 It's a problematic kind of being, most of us would reject 15:39.867 --> 15:44.027 it, but it is a kind of a viable kind of being. 15:44.033 --> 15:47.903 In contrast, we can look at Harry -- 15:47.900 --> 15:51.170 and this is the first instance when I would like to make a 15:51.167 --> 15:54.297 case for Harry as a "have not" -- 15:54.300 --> 15:57.630 is that he just doesn't have that kind of political 15:57.633 --> 15:58.473 conviction. 15:58.467 --> 16:02.527 He doesn't have the second nature that is second nature 16:02.533 --> 16:05.273 to Emilio, and as a consequence, 16:05.267 --> 16:08.167 that's how he talks. 16:08.167 --> 16:10.867 "I want a drink, Harry was thinking. 16:10.867 --> 16:14.467 What the hell do I care about his revolution, f-word his 16:14.467 --> 16:15.667 revolution. 16:15.667 --> 16:19.497 To help the working man who robs a bank and kills a fellow 16:19.500 --> 16:22.670 works with him, and then kills that poor damned Albert that 16:22.667 --> 16:24.767 never did any harm. 16:24.767 --> 16:26.727 That's a working man he kills. 16:26.733 --> 16:29.703 He never thinks of that with a family. 16:29.700 --> 16:33.470 It's the Cubans run Cuba they are double-cross each other, 16:33.467 --> 16:35.227 they sell each other out. 16:35.233 --> 16:36.973 They get what they deserve. 16:36.967 --> 16:38.967 To hell with their revolutions. 16:38.967 --> 16:42.127 All I got to do is make a living for my family and I 16:42.133 --> 16:43.473 can't do that. 16:43.467 --> 16:45.927 Then he tells me about his revolution. 16:45.933 --> 16:49.473 To hell with his revolution." 16:49.467 --> 16:53.827 It's a reaction that probably most of us would have. The 16:53.833 --> 16:57.903 Cubans, especially in the '30s, that sort of revolution 16:57.900 --> 17:02.530 would feel that way to most people who were outside of it. 17:02.533 --> 17:06.573 But the point remains that feeling that way about the 17:06.567 --> 17:14.427 revolution gives Harry no alternative moral grounding. 17:14.433 --> 17:20.533 This speech is almost completely empty of any kind 17:20.533 --> 17:26.473 of moral foundation, any kind of political conviction. 17:26.467 --> 17:33.167 All he can say is I want a drink at this moment, and that 17:33.167 --> 17:36.967 I want to make a living for my family and I can't do that. 17:36.967 --> 17:41.997 So it is almost a kind of total admission of defeat 17:42.000 --> 17:47.400 without having this dubious saving grace of some sort of 17:47.400 --> 17:52.400 political conviction that can point to some sort of exit 17:52.400 --> 17:55.970 from this horrible condition that you're in. 17:55.967 --> 18:00.727 I'm not saying that Emilio represents a superior 18:00.733 --> 18:02.573 alternative to Harry. 18:02.567 --> 18:04.197 Quite the contrary. 18:04.200 --> 18:05.630 He's deluded. 18:05.633 --> 18:08.373 I think that Hemingway is not leaving a lot 18:08.367 --> 18:09.627 of doubt about that. 18:09.633 --> 18:15.103 Emilio is deluded, but at certain points in one's life, 18:15.100 --> 18:19.170 a certain degree of willful delusion is actually a very 18:19.167 --> 18:25.667 necessary fiction that lost human beings need. 18:25.667 --> 18:29.367 It is probably better for Emilio to die still clinging 18:29.367 --> 18:31.797 to that political conviction. 18:31.800 --> 18:35.900 This is what happens to Harry when he cannot cling, when 18:35.900 --> 18:38.430 there's really nothing for him to cling to. 18:38.433 --> 18:44.903 When he's relying completely on his own mental resources, 18:44.900 --> 18:47.600 and there's not a whole lot for him to cling to. 18:47.600 --> 18:52.800 He's a pretty empty person left his own devices. 18:52.800 --> 18:56.570 So I would argue that this is the first instance of Harry as 18:56.567 --> 18:59.597 a "have not" only in the sense that he doesn't have that 18:59.600 --> 19:05.300 dubious, but redeeming kind of second nature. 19:05.300 --> 19:09.130 We also know that the Cuban revolutions, such as they 19:09.133 --> 19:14.633 were, were not the only reference point for the novel. 19:14.633 --> 19:18.133 To Have and Have Not is very much about Key West and Key 19:18.133 --> 19:20.503 West during the Great Depression. 19:20.500 --> 19:23.500 So this is Hemingway's house, a very beautiful house, in Key 19:23.500 --> 19:26.930 West that he spends a lot of time in later, actually much, 19:26.933 --> 19:29.733 much later, not at this point. 19:29.733 --> 19:34.803 But this would have been what people in Key West would have 19:34.800 --> 19:40.100 seen in during the Great Depression, the bread lines. 19:40.100 --> 19:42.230 This is one that is actually from the 19:42.233 --> 19:44.873 Florida historical archives. 19:44.867 --> 19:50.427 Most likely Key West, because Key West, which is a very 19:50.433 --> 19:53.203 prosperous city before the Great Depression, was 19:53.200 --> 19:55.770 especially hard hit by the depression. 19:55.767 --> 19:58.767 So the unemployment rate was 80%-- 19:58.767 --> 20:02.967 80%, of the citizens were actually on relief, and we see 20:02.967 --> 20:05.797 that Albert is someone who was on relief. 20:05.800 --> 20:10.870 So this is about the most acute case study of the Great 20:10.867 --> 20:14.967 Depression that we'll get in American literature, except 20:14.967 --> 20:17.697 that Hemingway is not really talking about the Great 20:17.700 --> 20:19.900 Depression in a frontal way. 20:19.900 --> 20:23.530 We can look at the way in which even the word Great 20:23.533 --> 20:28.833 Depression, without even the great, suggested to us that 20:28.833 --> 20:32.503 that is an illusion to that historical context. 20:32.500 --> 20:35.230 So this is how the Great Depression is 20:35.233 --> 20:38.733 registered by Harry. 20:38.733 --> 20:42.903 "On the booze boat, Harry had the last sack over. 20:42.900 --> 20:46.030 'Give me the fish knife,' he said to the nigger. 20:46.033 --> 20:51.273 'It's gone.' Harry pressed the self-starter and started the 20:51.267 --> 20:52.697 two engines. 20:52.700 --> 20:56.530 He put a second engine in her when he went back to running 20:56.533 --> 21:02.303 liquor when the depression had put charter boat fishing on 21:02.300 --> 21:03.670 the bum." 21:03.667 --> 21:10.897 So there are at least two ways in which Harry, as a smuggler 21:10.900 --> 21:15.200 of liquor, two ways in which that is contextualized. 21:15.200 --> 21:18.130 First we don't know about it. 21:18.133 --> 21:21.403 We can only conjecture in part one. 21:21.400 --> 21:29.830 In part two, Harry is both review to us as a smuggler, 21:29.833 --> 21:32.673 but we just think that maybe that's just something he 21:32.667 --> 21:34.527 chooses to do. 21:34.533 --> 21:39.173 But then it comes out in the context of the Great 21:39.167 --> 21:45.327 Depression that he goes back to it, because the Great 21:45.333 --> 21:50.703 Depression has made the much more profitable charter boat 21:50.700 --> 21:53.570 fishing impossible. 21:53.567 --> 21:57.297 In part one he was still doing the charter boat fishing when 21:57.300 --> 22:01.430 he was cheated out of $825 by Mr. Johnson. 22:01.433 --> 22:03.933 That was still the charter boat fishing. 22:03.933 --> 22:06.303 That is no longer operative. 22:06.300 --> 22:09.600 The only way he could make a living is by smuggling liquor 22:09.600 --> 22:11.070 into the United States. 22:11.067 --> 22:16.927 So right then, that is the way this very oblique, very 22:16.933 --> 22:22.873 elusive way is the way Hemingway indexes the Great 22:22.867 --> 22:23.397 Depression. 22:23.400 --> 22:27.200 I think that it's really useful to think of the 22:27.200 --> 22:30.470 technique that Hemingway is using as a kind of indexing. 22:30.467 --> 22:33.897 It's not a frontal, a full dressed description of the 22:33.900 --> 22:40.800 Great Depression, it's just a cameo appearance that puts the 22:40.800 --> 22:44.670 depression in the index of the state of the novel. 22:44.667 --> 22:47.267 But if it doesn't engage it or put it in the foreground. 22:50.167 --> 22:52.597 I hope that you guys will talk about it in section, and why 22:52.600 --> 22:55.330 he chooses to talk about the depression in that way, in 22:55.333 --> 22:57.803 this very oblique fashion. 22:57.800 --> 23:05.070 But in this passage we can also see that Harry is a "have 23:05.067 --> 23:09.167 not" for at least three reasons. 23:09.167 --> 23:12.867 One is that he's lost his original occupation, although 23:12.867 --> 23:14.227 there's also the reference that he's 23:14.233 --> 23:16.833 going back to running. 23:16.833 --> 23:19.273 So he must have been doing that at some earlier point. 23:19.267 --> 23:20.567 We don't know why he was doing it. 23:20.567 --> 23:23.767 All we know is that he had been law abiding for quite a 23:23.767 --> 23:28.927 while as an owner of a charter boat, and now he's doing 23:28.933 --> 23:31.103 something that is illegal because of the Great 23:31.100 --> 23:31.430 Depression. 23:31.433 --> 23:35.203 So he loses his legal occupation. 23:35.200 --> 23:39.030 Right now we also know that he's losing, actually, all his 23:39.033 --> 23:45.273 liquor, because the customs are on him so he has to get 23:45.267 --> 23:49.927 rid of all his liquor that cost a lot of money. 23:49.933 --> 23:53.933 But not only that, even that small detail about this fish 23:53.933 --> 23:56.403 knife, even that is gone. 23:56.400 --> 24:02.370 So in many ways To Have and Have Not is very detailed from 24:02.367 --> 24:06.627 the macro to the micro catalog of all the things that are 24:06.633 --> 24:09.573 being taken away from Harry. 24:09.567 --> 24:11.727 It really is adding insult to injury. 24:11.733 --> 24:14.803 You lose in a big way; you also lose in a very small way. 24:14.800 --> 24:20.000 That's really the landscape of loss that Hemingway has 24:20.000 --> 24:21.300 created for Harry Morgan. 24:24.367 --> 24:30.527 Just one another portrait of him as a "have not," and this 24:30.533 --> 24:39.303 is Harry thinking about he knows that those Cubans want 24:39.300 --> 24:41.970 to be taken back to Havana. 24:41.967 --> 24:45.127 He knows that they're going to rob a bank, because every time 24:45.133 --> 24:47.703 he walks by a bank, he doesn't want to look at the bank. 24:47.700 --> 24:50.470 So he actually knows that that's what's going to happen. 24:50.467 --> 24:57.127 He's not so gullible as not to know the purpose of that trip. 24:57.133 --> 25:03.473 But he is not in a position to make any other 25:03.467 --> 25:05.327 choices at that point. 25:05.333 --> 25:10.373 So I would say that this is the ultimate measure of Harry 25:10.367 --> 25:14.527 as a "have not" is knowing that he should not be doing 25:14.533 --> 25:18.303 it, but having no other choice open to him. 25:18.300 --> 25:21.670 "I could stay here now and I'll be out of it, but what 25:21.667 --> 25:23.327 the hell would they eat on. 25:23.333 --> 25:26.333 Where's the money coming from to keep Marie and the girls? 25:26.333 --> 25:31.133 I've got no boat, no cash, I've got no education. 25:31.133 --> 25:33.973 What can a one-armed man work at? 25:33.967 --> 25:38.197 All I've got is my cojones to peddle." 25:38.200 --> 25:43.600 So this is kind of the ultimate blow against someone 25:43.600 --> 25:49.070 who would like to operate as an individual is to be able at 25:49.067 --> 25:53.067 least to make a decision based on your own judgment. 25:53.067 --> 25:58.367 Everything in Harry's judgment tells him that this is not 25:58.367 --> 26:00.227 something to do. 26:00.233 --> 26:03.203 His judgment is not at fault. 26:03.200 --> 26:05.500 His hands are tied. 26:05.500 --> 26:09.770 He has to go against his judgment and do something that 26:09.767 --> 26:15.397 everything in him would recoil against and warn him against. 26:15.400 --> 26:20.770 So this is the ultimate emptying out of -- 26:20.767 --> 26:26.497 every decisional process has been taken away from Harry. 26:26.500 --> 26:29.300 He loses material objects like the boat. 26:29.300 --> 26:33.400 The boat was confiscated by customs after he was found to 26:33.400 --> 26:38.030 be illegally smuggling liquor that was confiscated, so taken 26:38.033 --> 26:39.673 away from him. 26:39.667 --> 26:41.997 Now we know that he has no money, and obviously no 26:42.000 --> 26:45.630 education, and missing one arm. 26:45.633 --> 26:49.833 So it's at this moment, this is the absolute low point, I 26:49.833 --> 26:52.673 would say, for Harry. 26:52.667 --> 26:59.497 And now I want to go to a slightly different trajectory. 26:59.500 --> 27:04.270 What I like to suggest is actually the beginning of an 27:04.267 --> 27:06.067 outward trajectory. 27:06.067 --> 27:09.527 The beginning of this outward trajectory is going to be 27:09.533 --> 27:11.073 very, very stark. 27:11.067 --> 27:18.267 It is Harry as an ironic "have." This is the moment 27:18.267 --> 27:20.167 when we know that Harry is dying. 27:20.167 --> 27:22.127 He's been wounded. 27:22.133 --> 27:24.773 All the Cubans were killed by Harry. 27:24.767 --> 27:27.967 And Harry was also fatally wounded by 27:27.967 --> 27:30.427 Roberto, the big Cuban. 27:30.433 --> 27:34.973 So all of them were dying on the boat, but Harry was the 27:34.967 --> 27:37.767 last to die. 27:37.767 --> 27:41.127 This is the moment before his death, and what 27:41.133 --> 27:44.533 he has at that moment. 27:44.533 --> 27:48.803 "He was on his back now with his knees drawn up 27:48.800 --> 27:50.400 and his head back. 27:50.400 --> 27:55.130 The water of the lake, that was his valley, was very cold. 27:55.133 --> 27:59.633 So cold that when he stepped in to its edge in numbed him. 27:59.633 --> 28:03.903 And he was extremely cold now, and everything tasted of 28:03.900 --> 28:07.630 gasoline, as though he had been sucking on a hose to 28:07.633 --> 28:09.773 siphon a tank. 28:09.767 --> 28:14.497 He knew there was no tank, although he could feel a cold 28:14.500 --> 28:18.030 rubber hose that seemed to have entered his mouth, and 28:18.033 --> 28:22.933 now was coiled, big, cold, and heavy all down through him. 28:22.933 --> 28:27.173 Each time he took a breath the hose, coiled, colder, and 28:27.167 --> 28:31.897 firmer in his lower abdomen, and he could feel it like a 28:31.900 --> 28:37.670 big, smooth moving snake in there about the sloshing of 28:37.667 --> 28:39.567 the lake." 28:39.567 --> 28:41.427 This is in chapter 20. 28:41.433 --> 28:44.973 Chapter 20, I urge you to read that chapter at 28:44.967 --> 28:46.327 least a couple of times. 28:46.333 --> 28:49.673 It is great, great writing. 28:49.667 --> 28:55.727 When the critics admitted to having really impressive prose 28:55.733 --> 28:58.873 in To Have and Have Not, they must have been thinking of 28:58.867 --> 28:59.897 Chapter 20. 28:59.900 --> 29:04.170 It's just a great chapter, and it's about a boat with dead 29:04.167 --> 29:10.327 men and the fish coming to fish on the drippings from the 29:10.333 --> 29:12.603 wounds on the dead man. 29:12.600 --> 29:18.430 But it's a great description of human mortality against a 29:18.433 --> 29:20.333 sea of very vibrant, and 29:20.333 --> 29:23.533 obviously, living sea creatures. 29:23.533 --> 29:29.103 But the passage right here is a description, and I think 29:29.100 --> 29:32.600 that it maybe is a challenge from Hemingway -- although I 29:32.600 --> 29:37.170 wouldn't want to push this too much -- 29:37.167 --> 29:42.697 a challenge to us think about what it means to die, and what 29:42.700 --> 29:48.800 exactly do we have at the moment of death. 29:48.800 --> 29:51.970 Harry actually does have something, although it's not 29:51.967 --> 29:55.167 anything that anyone would want to have. He has this 29:55.167 --> 29:58.167 rubber hose that is inside him that's making 29:58.167 --> 30:01.327 him colder and colder. 30:01.333 --> 30:06.873 It is not a possession that we would volunteer for. 30:06.867 --> 30:09.297 It's a possession that most of us would like to have 30:09.300 --> 30:11.770 taken out of us. 30:11.767 --> 30:15.767 But it's a possession nonetheless. 30:15.767 --> 30:21.997 So I would like to at least put forth the possible 30:22.000 --> 30:27.700 argument that because of the kind of life 30:27.700 --> 30:30.170 that Harry has lived. 30:30.167 --> 30:33.627 Even though there's so many strikes against him, even 30:33.633 --> 30:37.733 though all the odds are against him, the moment of 30:37.733 --> 30:42.833 death actually is his own moment in the sense that he's 30:42.833 --> 30:49.633 living his physicality to his fullest. But this is not dying 30:49.633 --> 30:52.173 without knowing that you were dying, although he does lose 30:52.167 --> 30:54.427 consciousness after that. 30:54.433 --> 30:59.873 It is experiencing that to its fullest extent. 30:59.867 --> 31:08.967 And just having that register on every fiber of your being. 31:08.967 --> 31:14.127 I don't know how much we want to push on this point, but I 31:14.133 --> 31:17.803 like to see this as the beginning of a kind of upward 31:17.800 --> 31:20.670 swing of the narrative. 31:20.667 --> 31:26.127 That this is the moment when we can begin to stop thinking 31:26.133 --> 31:31.333 of Harry as a "have not," and to start thinking of him as a 31:31.333 --> 31:36.303 "have," although a "have" in a very ironic sense, having a 31:36.300 --> 31:40.370 possession that most of us would much rather not have. 31:40.367 --> 31:46.467 But from this point, I like to make a much more systematic 31:46.467 --> 31:51.327 argument about Harry as a "have," and I do think that 31:51.333 --> 31:54.073 this is something that Hemingway is doing in a very 31:54.067 --> 31:55.027 deliberate fashion. 31:55.033 --> 31:57.903 So I would very much want to argue that this is actually 31:57.900 --> 32:02.570 the basic structure of To Have and Have Not is to show Harry 32:02.567 --> 32:04.867 as a "have" through the mediated 32:04.867 --> 32:06.127 presence of other people. 32:06.133 --> 32:09.503 So we'll be looking at him through the Marie, and looking 32:09.500 --> 32:12.470 at him through Richard Gordon. 32:12.467 --> 32:17.467 So what Marie thinks about Harry. 32:17.467 --> 32:19.797 "I'm lucky, she was thinking. 32:19.800 --> 32:22.530 Those girls, they don't know what they'll get. 32:22.533 --> 32:26.003 I know what I've got and what I've had. 32:26.000 --> 32:28.170 I've been a lucky woman. 32:28.167 --> 32:30.527 I've been a lucky woman. 32:30.533 --> 32:32.533 There ain't no other man like that. 32:32.533 --> 32:34.533 People ain't never tried them, don't know. 32:34.533 --> 32:36.273 I've had plenty of them. 32:36.267 --> 32:44.797 I've been lucky to have him." It's suggested to us that 32:44.800 --> 32:48.370 Marie was a sporting woman. 32:48.367 --> 32:50.827 That was her profession. 32:50.833 --> 32:54.633 So she's had lots of men in her professional capacity. 32:57.933 --> 33:02.973 It is from that wealth of knowledge of men that she can 33:02.967 --> 33:11.067 say that Harry is, at that point, is the best. That she's 33:11.067 --> 33:14.667 tried them all, and there's just no one like Harry. 33:14.667 --> 33:17.067 So it's a dubious kind of compliment. 33:17.067 --> 33:21.897 You don't want to have a prostitute testifying to the 33:21.900 --> 33:24.400 fact that you are the best when that 33:24.400 --> 33:26.370 happens to be your wife. 33:26.367 --> 33:29.997 So once again, Hemingway is really taking away with one 33:30.000 --> 33:32.470 hand what he's giving with another. 33:32.467 --> 33:41.227 But there is no question that Harry has made Marie's life 33:41.233 --> 33:43.873 the life that she's enjoying that moment. 33:43.867 --> 33:46.067 That she's having a good life. 33:46.067 --> 33:49.797 She's having a good life only because of him. 33:49.800 --> 33:57.130 He is the thing that gives her a good life and that is the 33:57.133 --> 34:00.203 measure of what Harry has. 34:00.200 --> 34:02.900 So it's a much more complicated mediated kind. 34:02.900 --> 34:06.530 He has something because of the good life that Marie has 34:06.533 --> 34:07.673 because of him. 34:07.667 --> 34:12.067 And without Marie, we wouldn't have been able to say that. 34:12.067 --> 34:16.527 So this is the first upward swing of that trajectory 34:16.533 --> 34:21.833 towards Harry as a possible Have. I would like to add that 34:21.833 --> 34:25.903 is not just because of the way that he's treated Marie, and 34:25.900 --> 34:28.800 the way that Marie is now having a good 34:28.800 --> 34:29.970 life because of him. 34:29.967 --> 34:33.367 But also because of the way he looks at Marie. 34:33.367 --> 34:35.867 So there is action coming from him as well. 34:35.867 --> 34:40.867 We can sort of understand why Marie is having a good life 34:40.867 --> 34:46.727 now, and why he has made all the difference to her life. 34:46.733 --> 34:50.403 So here, Harry is going on this dangerous trip with the 34:50.400 --> 34:53.200 Cubans when he knows that it's the bank 34:53.200 --> 34:55.430 robbery that is at stake. 34:55.433 --> 34:59.273 Marie wanted to go with him just to take care of the jugs, 34:59.267 --> 35:01.127 because he has only one arm at this point. 35:01.133 --> 35:04.273 She wants to do something for him on the boat and she wanted 35:04.267 --> 35:05.267 to come along. 35:05.267 --> 35:08.397 So he said, "All right," he told her, And she got in 35:08.400 --> 35:14.630 beside him, a big woman, long-legged, big-handed, big 35:14.633 --> 35:19.373 hip, still handsome, a hat pulled down over her 35:19.367 --> 35:20.897 bleach-blonde hair. 35:20.900 --> 35:23.230 "What are you worried about, Harry? 35:23.233 --> 35:23.973 I don't know. 35:23.967 --> 35:24.997 I'm just worried. 35:25.000 --> 35:28.000 Listen, are you letting your hair grow out? 35:28.000 --> 35:28.900 I thought I would. 35:28.900 --> 35:30.400 The girls have been asking me. 35:30.400 --> 35:31.670 To hell with them. 35:31.667 --> 35:32.967 You keep it like it is. 35:32.967 --> 35:34.827 Do you really want me to? 35:34.833 --> 35:36.633 Yes, he said, that's the way I like it. 35:36.633 --> 35:38.203 You don't think I look too old? 35:38.200 --> 35:40.570 You look better than any of them. 35:40.567 --> 35:41.727 So that's why. 35:41.733 --> 35:45.603 That's why Marie has a good life is because of the way 35:45.600 --> 35:51.170 Harry treats her, and we see exactly how he treats her that 35:51.167 --> 35:56.827 he likes the way she is, and he tells her that he's 35:56.833 --> 35:59.573 worried, but he doesn't want to tell her full 35:59.567 --> 36:01.497 extent of his worry. 36:01.500 --> 36:05.800 So he changes the subject when she wants to find out more. 36:05.800 --> 36:09.870 All this make Marie's life a good life. 36:09.867 --> 36:16.267 And it is all encapsulated in this one small passage. 36:16.267 --> 36:21.597 The contrast of that comes out in that previous passage. 36:21.600 --> 36:24.770 We know that Marie is probably a big woman. 36:24.767 --> 36:29.697 She is long-legged, big hands, big hips, and so on. 36:29.700 --> 36:38.100 We don't know exactly how big she is until we get to see her 36:38.100 --> 36:41.170 through the eyes of Richard Gordon. 36:41.167 --> 36:46.267 Then it's kind of a shock to see this passage coming 36:46.267 --> 36:51.727 through the eyes of a neutral or hostile observer, although 36:51.733 --> 36:54.033 not really hostile, it's really neutral. 36:54.033 --> 36:57.973 But a very unkind neutral observer. 36:57.967 --> 37:02.697 "Riding his bicycle he passed a heavy-set, big, blue-eyed 37:02.700 --> 37:06.170 woman with bleached-blond hair showing under her old man's 37:06.167 --> 37:09.167 styled hat, hurrying across the road, her 37:09.167 --> 37:11.097 eyes red from crying. 37:11.100 --> 37:14.100 Look at that big ox, he thought. 37:14.100 --> 37:16.900 What do you suppose a woman like that thinks about? 37:16.900 --> 37:19.870 What do you suppose she does in bed? 37:19.867 --> 37:23.327 What does her husband feel about her when she gets that 37:23.333 --> 37:24.473 size?" 37:24.467 --> 37:28.327 "In today's chapter, he was going to use the big woman 37:28.333 --> 37:32.773 with the tear-reddened eyes he had just seen on the way home. 37:32.767 --> 37:36.667 Her husband, when he came home at night, hated her, hated the 37:36.667 --> 37:41.297 way she had coarsened and grown heavy, was repelled by 37:41.300 --> 37:44.030 her bleached hair, the two big breasts. 37:44.033 --> 37:49.173 He has seen in a flash of perception, the whole inner 37:49.167 --> 37:52.467 life of that type of woman." 37:52.467 --> 37:57.597 So Hemingway is both dramatizing the process of 37:57.600 --> 38:04.330 labeling people, the making of social types, and showing 38:04.333 --> 38:09.673 considerable doubt whether that is a good practice, to 38:09.667 --> 38:13.427 say the least. It is really interesting that Richard 38:13.433 --> 38:17.703 Gordon is a writer, so I think that Hemingway is probably 38:17.700 --> 38:21.770 thinking about himself as well and whether it's an entirely 38:21.767 --> 38:24.927 ethical practice even to populate his 38:24.933 --> 38:26.973 novel with social types. 38:26.967 --> 38:30.567 I mean right now he's actually creating another social type 38:30.567 --> 38:33.597 of writer who doesn't care about his subject and the only 38:33.600 --> 38:37.330 wants to use them to write novels to his own 38:37.333 --> 38:39.003 satisfaction. 38:39.000 --> 38:40.630 So this is -- 38:40.633 --> 38:45.433 he's both talking about Richard Gordon, and maybe 38:45.433 --> 38:48.573 expressing a little bit of worry about himself as well. 38:48.567 --> 38:52.427 But in any case, if we move away from Hemingway's own 38:52.433 --> 38:57.173 investment and his psychology, possible psychology in 38:57.167 --> 39:00.927 creating someone like Richard Gordon, we can say that this 39:00.933 --> 39:08.833 is a direct affirmation of what a kind man 39:08.833 --> 39:10.673 Harry Morgan is. 39:10.667 --> 39:14.527 And it's not just kindness that enables him to look past 39:14.533 --> 39:16.233 the bigness of Marie. 39:16.233 --> 39:18.373 It's probably not just kindness, and 39:18.367 --> 39:19.727 understating the case. 39:19.733 --> 39:21.373 It's something else. 39:21.367 --> 39:25.897 That it truly doesn't bother him that she's so big. 39:25.900 --> 39:28.100 When it's probably what most of the women 39:28.100 --> 39:30.770 notice that about her. 39:30.767 --> 39:37.197 So it says something about that relationship, whatever we 39:37.200 --> 39:40.270 call it, it is one that turns a big woman 39:40.267 --> 39:42.467 into a beautiful woman. 39:42.467 --> 39:47.127 And to the extent that Harry is able to do that, he is kind 39:47.133 --> 39:49.673 of a magician of sorts. 39:49.667 --> 39:56.297 He has a kind of emotional magic that changes Marie into 39:56.300 --> 39:58.700 something else. 39:58.700 --> 40:03.600 In a process of that transformation, he also 40:03.600 --> 40:05.700 acquires an identity. 40:05.700 --> 40:09.730 He is the person who's able to do this to Marie 40:09.733 --> 40:11.703 and do this for Marie. 40:11.700 --> 40:14.930 This is the ultimate measure of someone who has 40:14.933 --> 40:17.403 magic in his hands. 40:17.400 --> 40:22.330 It is the lack of magic that makes Richard Gordon the 40:22.333 --> 40:24.703 washed-out writer that he is. 40:24.700 --> 40:28.130 Richard Gordon was probably once a very, very good writer. 40:28.133 --> 40:32.033 He has admirers, as we see, who are thrilled to meet him. 40:32.033 --> 40:36.273 But at the point we're meeting him, the craft of writing 40:36.267 --> 40:38.967 seems to be on the wane. 40:38.967 --> 40:44.327 We begin to see this, what a bad writer he is in this 40:44.333 --> 40:48.133 supposedly neutral portrait of Marie. 40:48.133 --> 40:51.173 It's that all he notices is the size of this woman. 40:51.167 --> 40:55.097 He doesn't notice the most important fact about Marie, is 40:55.100 --> 40:57.270 that her eyes are red from crying. 40:57.267 --> 40:59.727 He is solely through curiosity, solely through 40:59.733 --> 41:03.573 imagination, that he misses the central fact. 41:03.567 --> 41:07.797 This is when Marie knows that Harry is dead, and that was 41:07.800 --> 41:10.770 why her eyes are tear-reddened. 41:10.767 --> 41:14.727 Richard Gordon is such a poor writer that he cannot see the 41:14.733 --> 41:21.373 most obvious thing about Marie in his eagerness to turn her 41:21.367 --> 41:24.897 into a social type. 41:24.900 --> 41:29.230 In this exchange with his own wife, we see the fact that 41:29.233 --> 41:34.173 he's a bad writer almost seems to spill out, and has a kind 41:34.167 --> 41:38.727 of an analogy in his relation with his wife, Helen, who is 41:38.733 --> 41:40.033 leaving him. 41:40.033 --> 41:43.673 And this is actually one of the great moments. 41:43.667 --> 41:48.167 I'm not quoting you the full extent of Helen's speech, but 41:48.167 --> 41:53.297 go and look at page 185 when this long, long 41:53.300 --> 41:56.030 speech about love. 41:56.033 --> 42:00.433 It's dripping with irony about what she feels about love 42:00.433 --> 42:02.173 coming from Richard Gordon. 42:02.167 --> 42:04.527 But that is the end of that conversation. 42:04.533 --> 42:06.973 "All right, I'm through with you, and I'm 42:06.967 --> 42:08.297 through with love. 42:08.300 --> 42:10.100 Your kind of pick-nose love. 42:10.100 --> 42:12.070 You writer. 42:12.067 --> 42:14.327 You little mick slut. 42:14.333 --> 42:16.003 Don't call me names. 42:16.000 --> 42:17.130 I know the word for you. 42:17.133 --> 42:18.403 All right. 42:18.400 --> 42:19.470 No, not all right. 42:19.467 --> 42:21.367 All wrong and wrong again. 42:21.367 --> 42:24.467 If you were just a good writer, I could stand for all 42:24.467 --> 42:25.997 the rest of it maybe. 42:26.000 --> 42:29.070 But I've seen you bitter, jealous, changing your 42:29.067 --> 42:33.027 politics to suit the fashion, sucking up to people's faces 42:33.033 --> 42:35.433 and talking about them behind their backs. 42:35.433 --> 42:39.173 I've seen you until I'm sick of you." 42:39.167 --> 42:43.797 So what kind of a person Richard Gordon is can only be 42:43.800 --> 42:47.330 registered in the full by someone who is by his 42:47.333 --> 42:49.173 side all the time. 42:49.167 --> 42:52.527 That is the most accurate picture of Richard Gordon, and 42:52.533 --> 42:53.773 that's the kind of person he is. 42:53.767 --> 42:56.997 So it is a portrait that completely cleans out 42:57.000 --> 42:59.900 everything, that removes everything. 42:59.900 --> 43:04.400 His claim to fame, his claim to craftsmanship, his claim to 43:04.400 --> 43:08.100 writerly genius, his claim to being a great romantic lover, 43:08.100 --> 43:11.670 all of those things have been emptied out by 43:11.667 --> 43:13.527 Helen in this moment. 43:13.533 --> 43:19.273 If we think about the symmetry between Harry channeled 43:19.267 --> 43:24.227 through Marie, and Richard Gordon channeled through 43:24.233 --> 43:29.933 Helen, it is very hard not to come to the conclusion that we 43:29.933 --> 43:34.003 need to have an alternative definition of what it means to 43:34.000 --> 43:38.800 be a "have," and what it means to be a "have not." It's not 43:38.800 --> 43:47.830 so easy to add a label to what the criteria might be for 43:47.833 --> 43:52.633 someone to count as a "have." The criteria probably much too 43:52.633 --> 43:55.433 complicated to be captured just by one word, and that's 43:55.433 --> 43:57.073 really the point. 43:57.067 --> 44:02.297 The simplest way to put it is that in order to be a "have," 44:02.300 --> 44:06.930 you have to make somebody else a "have." Marie has a good 44:06.933 --> 44:11.503 life because of Harry, and Harry has something because 44:11.500 --> 44:13.300 Marie has a good life. 44:13.300 --> 44:18.300 This is the symmetrical construction of "have" in 44:18.300 --> 44:20.770 Hemingway's novel. 44:20.767 --> 44:24.497 So I would say that, actually Hemingway is quite often 44:24.500 --> 44:30.600 criticized for being a very poor writer when it comes to 44:30.600 --> 44:32.130 women, and that is true. 44:32.133 --> 44:36.473 In most of his novels he has no imagination for what it 44:36.467 --> 44:38.497 might feel to be a woman. 44:38.500 --> 44:41.000 But this is actually an exception. 44:41.000 --> 44:44.300 This is an exceptionally powerful depiction of the 44:44.300 --> 44:48.270 human condition from the woman's point of view. 44:48.267 --> 44:55.367 So in conclusion, I would like to bring up one celebrated 44:55.367 --> 44:59.597 passage from Modernist writing told from the standpoint of 44:59.600 --> 45:01.300 the woman's point of view. 45:01.300 --> 45:04.100 Now, this is just a little anecdote that Hemingway 45:04.100 --> 45:06.470 actually has great admiration for James Joyce. 45:06.467 --> 45:10.867 He saw James Joyce in Paris, he saw Joyce eating with his 45:10.867 --> 45:14.167 family and they were all speaking Italian in Paris. 45:14.167 --> 45:17.397 Hemingway was very, very impressed. 45:17.400 --> 45:22.570 So it is not unfitting to compare him with Joyce in this 45:22.567 --> 45:27.867 most famous passage in Joyce Molly's soliloquy at the very 45:27.867 --> 45:30.027 end of Ulysses. 45:30.033 --> 45:34.673 "And I thought well, as well him as another. 45:34.667 --> 45:38.497 And then I ask him with my eyes to ask again, yes. 45:38.500 --> 45:42.270 And then he asked me, would I yes to say 45:42.267 --> 45:44.697 yes, my mountain flower. 45:44.700 --> 45:48.570 And so as I put my arms around him, yes, and drew him down to 45:48.567 --> 45:52.067 me so he could feel my breasts, all perfume. 45:52.067 --> 45:53.027 Yes. 45:53.033 --> 45:55.103 And his heart was going like mad. 45:55.100 --> 45:57.470 And yes, I said yes, I will. 45:57.467 --> 45:58.127 Yes." 45:58.133 --> 46:00.533 So this is Molly Bloom thinking about-- 46:00.533 --> 46:01.933 it was a long time ago. 46:01.933 --> 46:05.203 The marriage has really gone sour in many ways, 46:05.200 --> 46:06.470 affairs and so on. 46:06.467 --> 46:11.167 But thinking back to that moment when she agrees to 46:11.167 --> 46:16.667 marry Leopold Bloom, and Joyce obviously wants to end Ulysses 46:16.667 --> 46:21.597 on that note, that very early romance between two of them. 46:21.600 --> 46:25.570 A woman's love for a man, and a man's love for a woman. 46:25.567 --> 46:30.497 This is not quite that. 46:30.500 --> 46:32.730 It's the opposite of that. 46:32.733 --> 46:35.103 But I would argue it's just as powerful, even though it's not 46:35.100 --> 46:40.270 as well-known as Molly's soliloquy is Marie's. 46:40.267 --> 46:43.767 "How do you get through nights if you can't sleep. 46:43.767 --> 46:46.797 I guess you find out, let you find out out how it feels to 46:46.800 --> 46:48.030 lose your husband. 46:48.033 --> 46:49.673 I guess you find out all right. 46:49.667 --> 46:51.067 I guess you find out everything in 46:51.067 --> 46:52.467 this goddamn life. 46:52.467 --> 46:53.627 I guess you do all right. 46:53.633 --> 46:56.833 I guess I'm probably finding out right now you just go dead 46:56.833 --> 46:59.003 inside and everything is easy. 46:59.000 --> 47:02.330 You just get dead like most people are most of the time. 47:02.333 --> 47:03.633 I guess that's how it's all right. 47:03.633 --> 47:06.673 I guess that's just about what happens to you. 47:06.667 --> 47:08.497 Well, I've got a good thought. 47:08.500 --> 47:11.370 I've got a good thought if that's what you have to do. 47:11.367 --> 47:13.497 I guess that's what you have to do all right. 47:13.500 --> 47:14.530 I guess that's it. 47:14.533 --> 47:15.933 I guess that's what it comes to. 47:15.933 --> 47:16.833 All right. 47:16.833 --> 47:18.303 I've got a good start then. 47:18.300 --> 47:22.770 I'm way ahead of everybody now." 47:22.767 --> 47:25.997 Hemingway almost sounds like Gertrude Stein, another of his 47:26.000 --> 47:28.100 favorite people. 47:28.100 --> 47:30.730 And then it also sounds a little bit like Hemingway. 47:30.733 --> 47:32.473 Tremendous admiration for Gertrude Stein. 47:32.467 --> 47:34.497 He really does sound like Gertrude Stein. 47:34.500 --> 47:36.900 This is a kind of senseless repetition. 47:36.900 --> 47:39.270 This is not eloquent at all. 47:39.267 --> 47:44.597 It is compulsive repetition on the part of Marie, and that is 47:44.600 --> 47:50.130 the compulsive repetition that comes to his own wife where 47:50.133 --> 47:54.033 she's had a good life and that good life has been 47:54.033 --> 47:56.433 taken away from her. 47:56.433 --> 48:02.673 So both in fact that she's had a good life, and in the fact 48:02.667 --> 48:05.327 that she's going hysterical when that is 48:05.333 --> 48:06.533 taken away from her. 48:06.533 --> 48:12.433 In both instances, Marie attests to what kind of a man 48:12.433 --> 48:16.703 Harry Morgan is and he definitely is not a social 48:16.700 --> 48:18.100 "have not."