WEBVTT 00:10.300 --> 00:13.700 WAI CHEE DIMOCK: And this is actually the historic end of the 00:13.700 --> 00:15.370 Spanish Civil War. 00:15.367 --> 00:19.497 Obviously, the Republicans lost. They were 00:19.500 --> 00:20.930 on the losing side. 00:20.933 --> 00:27.733 And the winner gets to appear on the cover of Time Magazine. 00:27.733 --> 00:33.773 March 27, 1939, General Franco there. 00:33.767 --> 00:38.927 So even though it actually ended slightly later than 00:38.933 --> 00:42.033 that, but already at that point it was clear that there 00:42.033 --> 00:45.003 was no way the fascists would not win. 00:45.000 --> 00:49.530 So that's why he was on the cover of Time Magazine. 00:49.533 --> 00:53.433 So what we're looking at, obviously, is some time before 00:53.433 --> 00:59.033 that, when things are still basically up in the air. 00:59.033 --> 01:01.973 And so, when you get to the end of For Whom the Bell 01:01.967 --> 01:06.967 Tolls, actually there's still hope for Robert in many ways. 01:06.967 --> 01:08.967 And so we'll be looking at that at the 01:08.967 --> 01:10.127 end of today's lecture. 01:10.133 --> 01:12.333 But I also want to call your attention to a very 01:12.333 --> 01:17.633 interesting fact about the Spanish Civil War, which is 01:17.633 --> 01:23.133 that it was very much a women's war, unlike World War 01:23.133 --> 01:27.703 I or, indeed, World War II, where there weren't a lot of 01:27.700 --> 01:31.170 women doing the actual fighting. 01:31.167 --> 01:34.297 The Spanish Civil War was one that was very proud of the 01:34.300 --> 01:39.330 fact that women were participating in a fairly 01:39.333 --> 01:40.573 significant way. 01:40.567 --> 01:46.667 So we can see that both in the posters celebrating that fact, 01:46.667 --> 01:58.297 but also in numerous photos that we have of women either 01:58.300 --> 02:01.870 training or actually in combat situations. 02:01.867 --> 02:03.527 There's one of them. 02:03.533 --> 02:09.003 They were trained just as a man would be trained, and they 02:09.000 --> 02:11.000 were in uniform. 02:11.000 --> 02:15.870 And this was a woman militia from Barcelona, I think. 02:15.867 --> 02:20.167 And, once more, women fighting. 02:20.167 --> 02:22.897 So partly I think that accounts for the fact that 02:22.900 --> 02:26.000 Pilar is such a powerful figure in For Whom the Bell 02:26.000 --> 02:30.330 Tolls, that this is one of the few Hemingway novels where 02:30.333 --> 02:34.803 there's a fairly strong woman's voice. 02:34.800 --> 02:37.870 We might think that maybe she's too good to be true, 02:37.867 --> 02:40.867 that maybe it's overly idealized, but, in any case, 02:40.867 --> 02:46.127 Pilar is a rare instance of a very powerful woman who would 02:46.133 --> 02:51.933 dare to cast her judgment, pass her judgment, on the 02:51.933 --> 02:53.773 conduct of her own side. 02:53.767 --> 02:57.597 And she thought that the revolution had begun badly, as 02:57.600 --> 02:59.100 we saw last time. 02:59.100 --> 03:02.970 A woman who's not afraid to have that opinion. 03:02.967 --> 03:05.567 So partly it had to do with the fact that the women were 03:05.567 --> 03:11.897 so important in the Spanish Civil War as soldiers, but I 03:11.900 --> 03:14.400 think that it also has something to do with the 03:14.400 --> 03:18.770 personal circumstances in Hemingway's own life. 03:18.767 --> 03:21.567 If you turn to the front of For Whom the Bell Tolls, 03:21.567 --> 03:24.067 you'll see that it's dedicated to Martha Gelhorn. 03:26.933 --> 03:30.833 Hemingway was married to Martha Gelhorn when they were 03:30.833 --> 03:32.273 writing, when they were covering the 03:32.267 --> 03:33.727 Spanish Civil War. 03:33.733 --> 03:36.603 And she very much was a very important 03:36.600 --> 03:38.970 journalist in her own right. 03:38.967 --> 03:43.397 So this is the book that she wrote, both about the Spanish 03:43.400 --> 03:48.370 Civil War, but also about World War II, and in fact 03:48.367 --> 03:51.967 about Vietnam. 03:51.967 --> 03:54.697 It went all the way to the '60s. 03:54.700 --> 03:58.800 So she really had a very long, distinguished career as a war 03:58.800 --> 04:03.200 journalist. And in recognition of the fact, there actually 04:03.200 --> 04:07.630 was a United States postage stamp celebrating her writing, 04:07.633 --> 04:12.603 with her wartime writings from Japan and China. 04:12.600 --> 04:14.370 The Chinese Revolution was a very important part of her 04:14.367 --> 04:18.097 writing, and in Normandy and Dachau, the 04:18.100 --> 04:20.470 World War II episodes. 04:20.467 --> 04:24.197 So I was tempted, actually, to read some of her writing, but 04:24.200 --> 04:28.570 there's just no room to incorporate her wartime 04:28.567 --> 04:30.597 reporting into this class. 04:30.600 --> 04:32.970 But I just want to draw your attention to the fact that she 04:32.967 --> 04:36.397 was actually a very significant companion to 04:36.400 --> 04:40.000 Hemingway in more ways than one. 04:40.000 --> 04:46.230 So today we'll be talking about basically the narrative 04:46.233 --> 04:48.233 form of Hemingway. 04:48.233 --> 04:51.833 And you guys will be getting paper topics very soon from 04:51.833 --> 04:55.973 your the teaching fellows, and one of the topics will have to 04:55.967 --> 04:59.397 do with forms of narration, the narrative structure. 04:59.400 --> 05:01.900 So I want to start talking about that, and to get you 05:01.900 --> 05:08.130 guys thinking about various experimental or well 05:08.133 --> 05:14.573 rehearsed, but nonetheless still reinvigorated, forms in 05:14.567 --> 05:16.397 this novel. 05:16.400 --> 05:20.830 So we'll be looking at questions of symmetry, and a 05:20.833 --> 05:24.833 mirror effect that already we've seen a little bit of. 05:24.833 --> 05:28.573 Last time we talked about negative mirroring, the earth 05:28.567 --> 05:33.697 moving for Robert Jordan and Maria when they made love, and 05:33.700 --> 05:37.930 that being mirrored negatively with the bombing when the 05:37.933 --> 05:42.103 earth moved under the feet of the people who were bombed. 05:42.100 --> 05:47.070 So that's one instance of negative symmetry, something 05:47.067 --> 05:50.427 being ironized retroactively. 05:50.433 --> 05:52.603 Today we'll be looking at more instances of 05:52.600 --> 05:55.100 those kinds of symmetry. 05:55.100 --> 05:57.600 So obviously, possession and dispossession, have 05:57.600 --> 05:58.300 and have not -- 05:58.300 --> 06:02.070 a longstanding paradigm that we've been looking at -- 06:02.067 --> 06:04.497 ironic and not ironic. 06:04.500 --> 06:06.570 And then, also, ending and beginning, very important in 06:06.567 --> 06:08.367 this novel. 06:08.367 --> 06:12.497 But I want to begin by looking at one particular symmetry, 06:12.500 --> 06:17.400 which is the symmetry of brutality, or brutal conduct. 06:17.400 --> 06:21.330 Execution that we saw, the execution of the fascists that 06:21.333 --> 06:24.073 we saw last time in Chapter 10. 06:24.067 --> 06:29.167 And then in Chapter 31, a similar, maybe more 06:29.167 --> 06:35.167 horrendous, episode of fascist violence, the rape that is 06:35.167 --> 06:38.067 inflicted on Maria. 06:38.067 --> 06:41.727 So it really goes back, also, to the importance of women in 06:41.733 --> 06:44.073 the Spanish Civil War as well. 06:44.067 --> 06:49.467 And because rape is such an of explosive subject, there's 06:49.467 --> 06:51.527 been lots done on rape. 06:51.533 --> 06:55.303 This is Susan Brownmiller's Against Our Will, it's one of 06:55.300 --> 06:58.730 the classic considerations of rape. 06:58.733 --> 07:03.203 There also has been lots and lots of representation of rape 07:03.200 --> 07:10.870 in painting, especially rape considered as a metaphor for 07:10.867 --> 07:16.897 the brutalities perpetrated on the defeated by the victors. 07:16.900 --> 07:21.200 So even though it's the women who are getting raped, it 07:21.200 --> 07:24.600 really is a metaphor for what happens to the 07:24.600 --> 07:27.430 losers in the war. 07:27.433 --> 07:31.973 So Poussin actually had a number of paintings. 07:31.967 --> 07:35.067 I can't even keep count of the significant number. 07:35.067 --> 07:39.927 This is one, and this is another one at the Louvre, a 07:39.933 --> 07:42.373 very well known painting. 07:42.367 --> 07:44.667 It can get monotonous after a while. 07:44.667 --> 07:47.267 They are different, but they're 07:47.267 --> 07:49.397 also quite a bit alike. 07:49.400 --> 07:55.170 So when Picasso came to redoing this theme, you can 07:55.167 --> 07:58.497 see that this is a real new departure. 07:58.500 --> 08:02.570 It looks nothing like the Poussin paintings. 08:02.567 --> 08:08.997 And so that is the twentieth century take on a very time 08:09.000 --> 08:11.130 honored theme. 08:11.133 --> 08:16.173 And I would argue that Hemingway is, in his own way, 08:16.167 --> 08:19.767 doing a novelistic rendition of the rape of the Sabine 08:19.767 --> 08:25.797 women in the rape of just one particular woman, Maria. 08:25.800 --> 08:29.000 And I would argue that it is every bit as innovative as the 08:29.000 --> 08:33.500 Picasso painting, coming out at the same time, a complete 08:33.500 --> 08:36.000 departure from tradition. 08:36.000 --> 08:39.000 So what is innovative about Hemingway, and it actually 08:39.000 --> 08:43.930 goes back to his longstanding interest in the mirror and 08:43.933 --> 08:45.603 looking at yourself in the mirror. 08:45.600 --> 08:49.930 The last time we saw that when Robert was dropping the gun, 08:49.933 --> 08:53.603 the pistol that was misused by his father, he was looking at 08:53.600 --> 08:57.570 himself his mirror image in the water, looking at himself 08:57.567 --> 08:58.897 holding the gun and dropping the gun. 08:58.900 --> 09:03.270 So we've already seen one instance of the mirror in For 09:03.267 --> 09:06.227 Whom the Bell Tolls, and this is a much more traumatic 09:06.233 --> 09:08.473 instance of that. 09:08.467 --> 09:12.127 "I saw my face in the mirror of the barbershop and the 09:12.133 --> 09:16.773 faces of three others who were leaning over me and I knew 09:16.767 --> 09:21.997 none of the faces but in the glass I saw myself and them, 09:22.000 --> 09:24.070 but they saw only me. 09:24.067 --> 09:27.567 And it was as though one were in the dentist's chair and 09:27.567 --> 09:30.667 there were many dentists and they were all insane. 09:30.667 --> 09:35.997 My own face I could hardly recognize because my grief had 09:36.000 --> 09:40.430 changed it but I looked at it and knew that it was me. 09:40.433 --> 09:44.573 But my grief was so great that I had no fear nor any feeling 09:44.567 --> 09:45.497 but my grief." 09:45.500 --> 09:48.430 So this is not actually the rape, it's just 09:48.433 --> 09:50.503 cutting off her hair. 09:50.500 --> 09:55.270 In many ways an innocuous exercise, but the rape would 09:55.267 --> 09:56.397 come after that. 09:56.400 --> 09:58.800 And Maria doesn't talk about the actual rape. 09:58.800 --> 10:02.970 So this is all as close as we can get, is the looking at 10:02.967 --> 10:05.197 herself in the mirror. 10:05.200 --> 10:13.070 And I think it is a belated rejoinder to the earlier 10:13.067 --> 10:18.267 episode of Robert looking at his own face in the water, in 10:18.267 --> 10:23.267 a sense that this is associated with trauma for 10:23.267 --> 10:24.927 some reason. 10:24.933 --> 10:30.203 To look at ones self in the mirror is a traumatic tableau 10:30.200 --> 10:30.970 for Hemingway. 10:30.967 --> 10:35.067 It's the precondition for some kind of trauma. 10:35.067 --> 10:38.197 In the case of the earlier episode with Robert looking at 10:38.200 --> 10:42.700 himself mirrored in the water, it's actually the beginning of 10:42.700 --> 10:44.200 the cleansing process. 10:44.200 --> 10:48.830 He's ridding himself of that pistol that he would want to 10:48.833 --> 10:51.373 have nothing to do with. 10:51.367 --> 10:57.227 In this case, Maria looking at herself in the mirror as the 10:57.233 --> 11:01.203 rape is about to happen is the beginning of the trauma. 11:01.200 --> 11:04.930 So let's look at the visual tableau that Hemingway is 11:04.933 --> 11:06.173 creating for us. 11:06.167 --> 11:09.227 Because of the optics, the particular optics of this 11:09.233 --> 11:14.773 scene, Maria can see herself and then the three of them. 11:14.767 --> 11:16.927 And they can look in the mirror and 11:16.933 --> 11:18.403 they see only Maria. 11:18.400 --> 11:24.370 So this is a great example of how self-consciousness is, in 11:24.367 --> 11:28.767 many ways, the burden of the person who is tortured. 11:28.767 --> 11:32.127 The people who are doing the torturing see only the object 11:32.133 --> 11:33.573 of the torture. 11:33.567 --> 11:36.127 So they get all the pleasure from being able to inflict 11:36.133 --> 11:41.903 maximum damage on the person that they are torturing. 11:41.900 --> 11:42.130 They don't see themselves doing it. 11:42.133 --> 11:44.033 That's what enables them to do it is that they don't see 11:44.033 --> 11:44.803 themselves. 11:44.800 --> 11:49.830 Maria sees herself, and she sees the three people who are 11:49.833 --> 11:53.303 able to do this to her. 11:53.300 --> 11:56.230 And what we're beginning to see is, in many ways, the 11:56.233 --> 11:59.273 beginning of the process of this procession. 11:59.267 --> 12:03.527 Maria looks at herself, but because of those three looming 12:03.533 --> 12:06.873 figures behind her, already she's not quite herself. 12:06.867 --> 12:10.427 She is herself plus those three other people. 12:10.433 --> 12:14.273 And she's also not quite herself because they're 12:14.267 --> 12:15.267 cutting off her hair. 12:15.267 --> 12:17.197 So she's losing a very 12:17.200 --> 12:19.600 important part of her identity. 12:19.600 --> 12:22.530 So she's beginning not to recognize herself. 12:22.533 --> 12:26.433 And this process of not recognizing herself would get 12:26.433 --> 12:31.233 dramatized in a way that goes back, actually, to the image 12:31.233 --> 12:33.303 of the two lines that we had talked about, and that Robert 12:33.300 --> 12:39.430 Motherwell also represented in numerous paintings. 12:39.433 --> 12:46.073 The two orderly lines that would be the utopian ideals of 12:46.067 --> 12:49.427 political ritual in the execution of the fascists. 12:49.433 --> 12:54.773 In this case it is, once again, a retroactive 12:54.767 --> 12:58.727 ironization of that earlier utopian moment. 12:58.733 --> 13:03.403 We get the same two lines, except that those two lines 13:03.400 --> 13:06.730 now have a completely different meaning. 13:06.733 --> 13:12.003 "At that time I wore my hair in two braids and I watched in 13:12.000 --> 13:16.900 the mirror one of them lifted one of the braids and pulled 13:16.900 --> 13:21.730 on it so it hurt me suddenly through my grief and then cut 13:21.733 --> 13:25.103 it off close to my head with a razor. 13:25.100 --> 13:29.800 And I saw myself with one braid and a slash where the 13:29.800 --> 13:31.570 other had been. 13:31.567 --> 13:35.197 Then he cut off the other braid but without pulling on 13:35.200 --> 13:40.170 it and the razor made a small cut on my ear and I saw blood 13:40.167 --> 13:41.197 come from it. 13:41.200 --> 13:41.830 'Cans't thou feel the scar with 13:41.833 --> 13:45.503 thy finger?' 'Yes. 13:45.500 --> 13:46.900 But would it be better not to talk of 13:46.900 --> 13:49.070 this?' 'This is nothing. 13:49.067 --> 13:52.197 I will not talk of that which is bad.' 13:52.200 --> 13:56.200 So he had cut both braids close to my head with a razor 13:56.200 --> 13:58.700 and the others laughed and I did not even feel the cut on 13:58.700 --> 14:02.530 my ear and then he stood in front of me and struck me 14:02.533 --> 14:07.673 across the face with the braids while the other two 14:07.667 --> 14:12.627 held me and he said, 'This is how we make Red nuns. 14:12.633 --> 14:15.003 This will show thee how to unite with 14:15.000 --> 14:16.900 thy proletarian brothers. 14:16.900 --> 14:19.370 Bride of the Red Christ! 14:19.367 --> 14:22.197 And he struck me again and again across the face with the 14:22.200 --> 14:26.000 braids which had been mine and then he put the two of them in 14:26.000 --> 14:30.500 my mouth and tied them tight around my neck, knotting them 14:30.500 --> 14:35.230 in the back to make a gag and the two holding me laughed." 14:35.233 --> 14:41.103 So this is the new use to which lines could be-- 14:41.100 --> 14:46.970 the two braids belonging to oneself can be used as weapons 14:46.967 --> 14:47.697 against oneself. 14:47.700 --> 14:52.000 So this is very much the same logic as the earth rising up 14:52.000 --> 14:56.430 and hitting the men that have been rushing up to this point. 14:59.267 --> 15:04.427 So it's really the complete reversal of the meaning of 15:04.433 --> 15:08.733 something that really is a part of you, and radical 15:08.733 --> 15:15.973 alienation of that thing, and the instrumentalization of 15:15.967 --> 15:19.067 that thing into a weapon. 15:19.067 --> 15:24.897 But even then, I think it's less traumatic than the effect 15:24.900 --> 15:29.070 of looking at the mirror and watching yourself losing first 15:29.067 --> 15:33.027 one braid and then the other, and then watching the 15:33.033 --> 15:38.603 transformation of your face when that is happening. 15:38.600 --> 15:44.330 It is not only inflicting that on Maria, but also making her 15:44.333 --> 15:48.373 watch herself undergo this transformation, that she's 15:48.367 --> 15:53.167 becoming an alien being even to her own eyes. 15:53.167 --> 15:57.997 So this is the conclusion of that act of dispossession. 15:58.000 --> 16:01.730 "Then the one who had gagged me ran a clipper all over my 16:01.733 --> 16:04.003 head; first from the forehead all the way to the back of the 16:04.000 --> 16:07.470 neck and then across the top and then all over my head and 16:07.467 --> 16:10.927 close behind my ears and they held me so I could see into 16:10.933 --> 16:13.703 the glass of the barber's mirror all the time that they 16:13.700 --> 16:17.700 did this and I could not believe it as I saw it done 16:17.700 --> 16:21.270 and I cried and cried but I could not look away from the 16:21.267 --> 16:25.467 horror that my face made with the mouth open and the braids 16:25.467 --> 16:31.097 tied it in and my head coming naked under the clippers." 16:31.100 --> 16:38.370 So this is the closest that Hemingway will get to giving 16:38.367 --> 16:42.597 us an image of Maria being rendered completely 16:42.600 --> 16:47.200 defenseless, because all the things that shelter ourselves 16:47.200 --> 16:49.970 are being taken away from her. 16:49.967 --> 16:57.067 Hair might not be the most powerful form of shelter, but 16:57.067 --> 17:01.967 it is a form of shelter in the sense that without it we 17:01.967 --> 17:06.527 really look very naked, naked in a psychological sense. 17:06.533 --> 17:12.703 And Maria will become naked in more than that sense. 17:12.700 --> 17:19.500 But it also has to do with what kind of object Maria 17:19.500 --> 17:23.200 would be in the world. 17:23.200 --> 17:27.900 Before this happens, she would never be an object to herself. 17:27.900 --> 17:31.500 She should always be a subject to herself, in a sense that 17:31.500 --> 17:35.900 she would never actually see herself as she's seeing 17:35.900 --> 17:37.100 herself right now. 17:37.100 --> 17:43.070 So it is really taking away her relation to herself. 17:43.067 --> 17:44.927 That is being taken away from her. 17:44.933 --> 17:49.633 It's not even just the hair, which is nothing, which will 17:49.633 --> 17:52.103 grow back, although we can also see that Hemingway is 17:52.100 --> 17:55.800 quite obsessed with hair and the cutting off of hair, just 17:55.800 --> 18:00.900 as Fitzgerald is in "Bernice Cuts Her Hair." But the 18:00.900 --> 18:05.870 physical removal of the hair is really nothing compared 18:05.867 --> 18:11.427 with the destruction of a longstanding relation that one 18:11.433 --> 18:12.703 has to oneself. 18:12.700 --> 18:20.700 And I think that we see a similar operation when someone 18:20.700 --> 18:24.730 would insult you to the point where you don't actually 18:24.733 --> 18:27.333 recognize the person who has been insulted. 18:27.333 --> 18:30.003 It might not ever have happened to you, and very 18:30.000 --> 18:34.900 rarely it happens to anyone, but Zora Neale Hurston talks 18:34.900 --> 18:38.670 about that in an essay called, "How I Became the Colored Me." 18:38.667 --> 18:41.797 It was then when she was growing up in a black 18:41.800 --> 18:45.900 community in Florida, but she never saw herself as black 18:45.900 --> 18:49.030 until she was made to feel herself as black. 18:49.033 --> 18:53.333 So it's losing one kind of identity to oneself. 18:53.333 --> 18:57.373 And what is happening here is a similar kind of situation, 18:57.367 --> 19:01.027 that suddenly she sees herself as something that she's never 19:01.033 --> 19:03.203 seen herself as before. 19:03.200 --> 19:08.000 So it is both that operation, but also the additional horror 19:08.000 --> 19:13.170 that she cannot take her eyes away from the mirror. 19:13.167 --> 19:16.497 She could easily have shut her eyes. 19:16.500 --> 19:21.570 So the psychological atrocity of this scene is that the 19:21.567 --> 19:27.997 dynamics of the scene is such that she cannot take her eyes 19:28.000 --> 19:31.230 away from this thing that she cannot bear to watch. 19:31.233 --> 19:35.903 It is the gluing of her eyes to something that she would 19:35.900 --> 19:39.900 want to do everything to remove her eyes from. 19:39.900 --> 19:44.400 It is that gluing that is also part of the atrocity. 19:44.400 --> 19:47.930 So it is the way that Hemingway chooses to talk 19:47.933 --> 19:55.003 about rape, not the very, completely recognizable 19:55.000 --> 19:59.730 scenario that Poussin has made classic in his classic 19:59.733 --> 20:01.473 compositions. 20:01.467 --> 20:06.327 And not even the Picasso representation, which still 20:06.333 --> 20:11.403 has to do much more with someone crying out in protest. 20:11.400 --> 20:15.700 We can almost hear the sound in the Picasso representation. 20:15.700 --> 20:22.170 In the Maria episodes there is absolutely no sound, because 20:22.167 --> 20:23.897 her mouth has been gagged. 20:23.900 --> 20:29.030 So it's the absolute silencing of Maria, and the complete 20:29.033 --> 20:34.873 reduction of that scenario into a visual scenario without 20:34.867 --> 20:39.397 sound in both the Poussin and the Picasso painting. 20:39.400 --> 20:42.500 What makes it slightly bearable is that we can 20:42.500 --> 20:45.530 imagine those women as crying out. 20:45.533 --> 20:49.103 And it is that crying out that makes them human and registers 20:49.100 --> 20:51.500 the resistance to what is being done to them. 20:51.500 --> 20:54.300 In the case of Maria, because it is strictly a mirror 20:54.300 --> 20:58.330 effect, and because it is a strictly visual tableau, and 20:58.333 --> 21:01.603 because her mouth is gagged, it is completely soundless. 21:01.600 --> 21:05.670 So it is the deprivation of voice, along with the cutting 21:05.667 --> 21:10.467 of the hair, it's those two things that work to create the 21:10.467 --> 21:12.597 maximum effect of 21:12.600 --> 21:15.500 victimization in the rape scenes. 21:15.500 --> 21:21.070 So we can see that, for Maria, dispossession is a central 21:21.067 --> 21:22.297 narrative fact. 21:22.300 --> 21:27.670 And it is registered with full dramatic effect as 21:27.667 --> 21:32.167 unforgettable, an instance of rape as any in American 21:32.167 --> 21:35.597 literature, but actually representing the act itself. 21:35.600 --> 21:38.170 So that is part of the innovation as well, is that 21:38.167 --> 21:42.227 you don't actually go anywhere near the actual deed. 21:42.233 --> 21:45.133 Given the fact that dispossession is so important 21:45.133 --> 21:47.903 for Maria, I think that we have to 21:47.900 --> 21:50.570 ask a related question. 21:50.567 --> 21:52.397 To what extent is 21:52.400 --> 21:55.930 dispossession central for Robert? 21:55.933 --> 21:57.433 I think it is an open question. 21:57.433 --> 22:00.303 I hope that you guys will talk about it in section. 22:00.300 --> 22:04.370 It's whether or not Maria actually gets to recover from 22:04.367 --> 22:06.127 that act of dispossession. 22:06.133 --> 22:12.403 Has she recovered fully from that rape, or is she still 22:12.400 --> 22:14.830 living in the shadow of that rape? 22:14.833 --> 22:19.073 How long does it take for that shadow to go away? 22:19.067 --> 22:24.267 Is she still within the narrative of dispossession all 22:24.267 --> 22:26.527 the way through For Whom the Bell Tolls? 22:26.533 --> 22:29.173 So that's an open question for Maria. 22:29.167 --> 22:33.497 For Robert it's a slightly different question, and it has 22:33.500 --> 22:38.500 to do with two possible trajectories for Robert. 22:38.500 --> 22:46.230 And so what I would like to do here is to give you a 22:46.233 --> 22:51.803 demonstration of one way to write your final paper, which 22:51.800 --> 22:59.400 is to write half of the paper as dedicated to one argument, 22:59.400 --> 23:02.470 and the other half as dedicated to 23:02.467 --> 23:04.097 the opposite argument. 23:04.100 --> 23:07.700 So this would be an interesting experiment to do. 23:07.700 --> 23:09.000 Basically you're trying to be a lawyer. 23:09.000 --> 23:11.930 Lawyers are supposed to argue either side of a case. 23:11.933 --> 23:14.203 It's an intellectual exercise. 23:14.200 --> 23:17.100 Usually it takes, for most of us, it takes a little 23:17.100 --> 23:17.770 bit more that that. 23:17.767 --> 23:20.697 We actually have to have some kind of emotional investment 23:20.700 --> 23:25.330 in something to argue, to make a very convincing case. 23:25.333 --> 23:30.373 But supposedly someone who's trained as a lawyer should be 23:30.367 --> 23:31.867 able to argue either side. 23:31.867 --> 23:36.897 So what I'm offering you as one possibility in the final 23:36.900 --> 23:43.230 paper is to make an argument one way and then in exactly 23:43.233 --> 23:44.873 the opposite way. 23:44.867 --> 23:48.467 And in this case it's not even a stretch for me to argue of 23:48.467 --> 23:50.797 both sides of the case, because actually I'm 23:50.800 --> 23:53.030 completely torn in my mind. 23:53.033 --> 23:55.673 So actually, there is the emotional investment on my 23:55.667 --> 23:58.727 part, in both sides of the argument. 23:58.733 --> 24:07.103 So the two opposing arguments, obviously one would be that 24:07.100 --> 24:12.900 For Whom the Bell Tolls is a narrative about dispossession, 24:12.900 --> 24:20.400 that what Robert ends up with at the end of the novel is as 24:20.400 --> 24:24.770 a "have not." That he starts out with something, and by the 24:24.767 --> 24:27.727 end of the novel everything is taken away from him. 24:27.733 --> 24:31.303 He is completely empty handed at the end of the novel. 24:31.300 --> 24:35.530 A very harsh reading of the novel. 24:35.533 --> 24:40.133 The other, and I like to end with that, is to argue that it 24:40.133 --> 24:43.403 actually is a narrative of repossession. 24:43.400 --> 24:47.630 Yes, that a lot has been taken away from him, but that maybe 24:47.633 --> 24:52.233 we could still make a case that he's not totally empty 24:52.233 --> 24:54.503 handed at the end of the novel. 24:54.500 --> 24:58.830 And so I hope I'll be able to make a compelling case for 24:58.833 --> 25:03.503 both, but let's start with trajectory one. 25:03.500 --> 25:09.200 And, obviously, in order to make a case for Robert as a 25:09.200 --> 25:15.530 have not I think that we have to put an ironic spin on the 25:15.533 --> 25:21.773 word "to have," especially a memorable line, "Roberto, what 25:21.767 --> 25:26.197 hast thou?" And I want to bring back, actually to a 25:26.200 --> 25:29.800 similar use, ironic use, of the word 25:29.800 --> 25:32.100 "have" in As I Lay Dying. 25:32.100 --> 25:35.030 And following from that, we can look at the narrative 25:35.033 --> 25:39.573 structure of For Whom the Bell Tolls, and look at it as a 25:39.567 --> 25:42.997 narrative enactment in terms of the formal structure of the 25:43.000 --> 25:45.070 novel, as a narrative enactment of the act of 25:45.067 --> 25:48.767 dispossession, that Robert is losing 25:48.767 --> 25:50.197 control of the narrative. 25:50.200 --> 25:55.000 That an arm and a leg has been cut off from him and taken 25:55.000 --> 25:58.630 over by someone else, and comparing that with maybe a 25:58.633 --> 26:02.973 similar situation in To Have and Have Not. 26:02.967 --> 26:06.797 So first, to have as an ironic word. 26:06.800 --> 26:11.230 This is at the very end of the novel. 26:11.233 --> 26:14.473 "Maria was kneeling by him and saying, 'Roberto, what hast 26:14.467 --> 26:20.627 thou?' He said, sweating heavily, 'The left leg is 26:20.633 --> 26:24.733 broken, guapa.' The sweat-streaked, bristly face 26:24.733 --> 26:28.633 bent down by him and Robert Jordan smelt the 26:28.633 --> 26:31.333 full smell of Pablo. 26:31.333 --> 26:35.073 'Let us speak,' he said to Pilar and Maria, 'I have to 26:35.067 --> 26:38.167 speak to Pablo.' 26:38.167 --> 26:41.097 'Does it hurt much?' Pablo asked. 26:41.100 --> 26:43.070 He was bending close over Robert Jordan. 26:43.067 --> 26:45.597 'No, I think the nerve is crushed. 26:45.600 --> 26:45.800 Listen. 26:45.800 --> 26:46.600 Get along. 26:46.600 --> 26:48.130 I am mucked, see? 26:48.133 --> 26:50.273 I will talk to the girl for a moment.' 'Clearly, there's not 26:50.267 --> 26:50.927 much time.' 26:50.933 --> 26:55.273 'Clearly.' 'I think you would do better in the Republic,' 26:55.267 --> 26:55.797 Robert Jordan said. 26:55.800 --> 26:59.430 'Nay, I am for Grados.' 'Use thy head.' 'Talk with her 26:59.433 --> 27:00.673 now,' Pablo said. 27:00.667 --> 27:02.497 'There is little time. 27:02.500 --> 27:08.500 I am sorry thou hast this, Ingles.' 'Since I have it,' 27:08.500 --> 27:11.430 Robert Jordan said, 'let us not speak of it. 27:11.433 --> 27:13.433 But use thy head. 27:13.433 --> 27:15.273 Thou hast much head. 27:15.267 --> 27:17.197 Use it.'" 27:17.200 --> 27:22.670 It is very hard to not to notice the way that the key 27:22.667 --> 27:29.397 player in this passage is the word to have. It begins with 27:29.400 --> 27:34.430 Maria asking Robert, innocently, "What hast thou," 27:34.433 --> 27:36.873 because, in fact, she doesn't know whether the 27:36.867 --> 27:38.927 leg is really broken. 27:38.933 --> 27:40.533 But he knows. 27:43.467 --> 27:46.167 And it's at this point -- 27:46.167 --> 27:52.967 it's the switching of Pablo for Maria that, for me, 27:52.967 --> 27:58.067 represents one of the cruel decisions on Hemingway's part. 27:58.067 --> 28:02.827 That, instead of having Maria still bending over him, the 28:02.833 --> 28:06.233 person who's now bent over Robert is Pablo, and what he 28:06.233 --> 28:09.773 smells is the full smell of Pablo. 28:09.767 --> 28:14.097 It's a very, very significant detail in the sense that 28:14.100 --> 28:17.900 Robert still doesn't really know Pablo. 28:17.900 --> 28:22.330 He remains a mysterious figure all the way through. 28:22.333 --> 28:24.973 I mentioned last time that a lot of things happen. 28:24.967 --> 28:27.397 Pablo does a lot of things. 28:27.400 --> 28:31.400 He thinks lots of things when we're not privy to what is 28:31.400 --> 28:33.600 going on in the narrative. 28:33.600 --> 28:36.300 And, likewise for Robert, he simply doesn't know what's 28:36.300 --> 28:39.330 going on inside Pablo's head, or what Pablo is doing. 28:39.333 --> 28:42.203 He's executing other people when Robert isn't looking. 28:42.200 --> 28:45.330 So all this we suspect might be happening, but we just 28:45.333 --> 28:46.773 never know. 28:46.767 --> 28:51.297 So Pablo is, from beginning to end, he's always an opaque 28:51.300 --> 28:53.630 character both to Robert and to us. 28:53.633 --> 28:56.973 But all that Robert can get at this moment is the 28:56.967 --> 28:58.227 full smell of Pablo. 29:00.867 --> 29:04.927 It is that overwhelming odor, almost like the smell of 29:04.933 --> 29:12.003 honeysuckle that is coming to Robert at the end of his life. 29:12.000 --> 29:17.030 That is about the most that he will ever get, it's not a 29:17.033 --> 29:21.473 cerebral understanding of Pablo, it's just an animal 29:21.467 --> 29:26.097 apprehension of how powerful a man this is, smells in an 29:26.100 --> 29:26.930 animal sense. 29:26.933 --> 29:30.803 And it's an animal's fear and apprehension, but also a 29:30.800 --> 29:34.300 recognition of what kind of a man Pablo is. 29:34.300 --> 29:38.930 So Pablo asks an innocent enough question, "Does it hurt 29:38.933 --> 29:43.133 much?" But he knows that there's no 29:43.133 --> 29:44.603 way Robert can travel. 29:44.600 --> 29:46.900 There's no way he can go with the rest of the people. 29:49.533 --> 29:51.673 He knows perfectly well how much time, 29:51.667 --> 29:53.027 really, is left to Robert. 29:59.267 --> 30:02.927 And there is an up front, cruelly, I think, in the last 30:02.933 --> 30:08.433 thing that Pablo says to Robert, "I'm sorry thou hast 30:08.433 --> 30:15.233 this, Ingles." From beginning to end, the refusal of 30:15.233 --> 30:19.403 recognition that Robert is American and English, that he 30:19.400 --> 30:22.600 has a name, even. 30:22.600 --> 30:28.070 For Pablo, Robert is just like Kashkin someone with a rare 30:28.067 --> 30:31.197 name who comes in, who destroys the bridge, destroys 30:31.200 --> 30:33.230 something, works the explosive, is killed. 30:33.233 --> 30:35.073 He is another of those. 30:35.067 --> 30:38.097 A whole string of foreigners coming though with totally 30:38.100 --> 30:40.630 forgettable names, and not even getting 30:40.633 --> 30:42.103 the nationality right. 30:42.100 --> 30:46.900 So this is the ultimate insult inflicted by Pablo on Robert 30:46.900 --> 30:48.530 at the very end of his life. 30:48.533 --> 30:51.903 And Robert is absolutely defenseless. 30:51.900 --> 30:54.700 He's defenseless physically, he's defenseless 30:54.700 --> 30:57.070 psychologically and emotionally. 30:57.067 --> 31:02.767 All he can say is, in fact, this admission of defeat 31:02.767 --> 31:06.597 really, giving the last bit of advice, 31:06.600 --> 31:08.400 telling Pablo to go back. 31:08.400 --> 31:11.530 They are behind their enemy's lines so they are actually in 31:11.533 --> 31:15.933 Fascist nationalist territory, and he advises Pablo to go 31:15.933 --> 31:17.573 back to the Spanish Republic. 31:17.567 --> 31:21.127 But Pablo says no, I'm actually going to go further 31:21.133 --> 31:24.173 away from the Spanish Republic. 31:24.167 --> 31:25.867 I'm for Grados. 31:25.867 --> 31:30.627 And actually, it turns out to be a really smart decision, 31:30.633 --> 31:34.003 because if they had gone back to the Spanish Republic they 31:34.000 --> 31:36.230 would actually all have been killed. 31:36.233 --> 31:40.873 So Robert is actually right to end with the last line, "Thou 31:40.867 --> 31:44.127 hast much head." 31:44.133 --> 31:51.673 The symmetry here is between Robert having a broken leg and 31:51.667 --> 31:55.267 Pablo having much head. 31:55.267 --> 31:56.997 He's the brainy one. 31:57.000 --> 32:03.370 This is the ultimate rewriting of the power dynamics in For 32:03.367 --> 32:03.997 Whom The Bell Tolls. 32:04.000 --> 32:06.800 We've been going along on the assumption that it's the 32:06.800 --> 32:09.870 person with the knowledge or the technology, the person 32:09.867 --> 32:11.867 with the knowledge of the world, the person who can 32:11.867 --> 32:14.997 speak several languages, we've been going on the assumption 32:15.000 --> 32:20.330 that that person is going to be on top, that the future 32:20.333 --> 32:21.673 belongs to him. 32:21.667 --> 32:27.067 The ultimate irony of this novel is, in fact, this is the 32:27.067 --> 32:31.197 person who's going to lose out, who has no future at all. 32:31.200 --> 32:35.500 So in many ways we can either say it is a very brutal 32:35.500 --> 32:41.270 undoing of everything that Robert has believed in, or we 32:41.267 --> 32:46.827 can say it actually is a kind of inverted, utopian vision, 32:46.833 --> 32:50.303 that there is still a future for the Spanish peasants, even 32:50.300 --> 32:53.230 though they seem so disadvantaged in a modern 32:53.233 --> 32:57.033 world, even though they seem completely incapable of 32:57.033 --> 33:00.503 functioning outside of their very limited environment. 33:00.500 --> 33:03.200 Because they are capable of functioning within their very 33:03.200 --> 33:04.470 limited environment. 33:04.467 --> 33:06.497 Actually, they have a chance to survive, at least that's 33:06.500 --> 33:10.270 the narrative that Hemingway's giving us. 33:10.267 --> 33:15.097 So a negative utopia for Robert and a positive utopia 33:15.100 --> 33:19.100 for Pablo, and it is ironic, but I don't think that it 33:19.100 --> 33:19.670 actually is. 33:19.667 --> 33:23.967 It's fully ironic that Pablo should be the embodiment of 33:23.967 --> 33:27.697 some kind of utopian hope at the end of the novel. 33:27.700 --> 33:32.830 And just to give you a comparison for similar use of 33:32.833 --> 33:35.573 the verb to be in As I Lay Dying, 33:35.567 --> 33:37.127 almost exactly the same. 33:37.133 --> 33:39.203 "Cash has a broken leg. 33:39.200 --> 33:40.730 He has had two broken legs. 33:40.733 --> 33:43.803 He lies on the box with a quilt rolled under his head 33:43.800 --> 33:46.000 and a piece of wood under his knee. 33:46.000 --> 33:47.600 "'I reckon we ought to have left him at 33:47.600 --> 33:48.730 Armstid's,' pa says. 33:48.733 --> 33:53.803 'I haven't got a broken leg and pa hasn't and Darl hasn't 33:53.800 --> 33:56.200 and 'It's just the bumps,' Cash says. 33:56.200 --> 33:56.700 'It kind of grinds together a little on a bump. 33:56.700 --> 33:59.370 It don't bother none.'" 33:59.367 --> 34:00.567 So exactly. 34:00.567 --> 34:04.227 Hemingway and Fitzgerald have the same intuition about the 34:04.233 --> 34:08.173 extent to which the word to have can be ironized. 34:08.167 --> 34:15.567 So given the fact that Robert has arrived at his 34:15.567 --> 34:19.627 destination, which is this state of dispossession at the 34:19.633 --> 34:24.003 end of the novel, we should not be surprised that that 34:24.000 --> 34:30.830 destination is well prepared for, some ways, before that. 34:30.833 --> 34:35.073 So I just want to call your attention to the narrative 34:35.067 --> 34:38.797 innovation in For Whom the Bell Tolls, which is the 34:38.800 --> 34:43.770 removal of the narrative from Robert Jordan. 34:43.767 --> 34:46.367 He doesn't get to tell the story. 34:46.367 --> 34:52.827 There are four chapter told by someone else, quite literally 34:52.833 --> 34:56.603 cutting off the narrative from Robert. 34:56.600 --> 35:00.830 And those four chapters are the chapters when Andres, who 35:00.833 --> 35:04.033 is charged with the mission to go and deliver this very 35:04.033 --> 35:12.673 important message to the central command, that actually 35:12.667 --> 35:15.327 the enemy knew that they were going to launch this attack, 35:15.333 --> 35:17.733 that very important information that was going to 35:17.733 --> 35:24.873 be conveyed by Andres is told in four chapters that have 35:24.867 --> 35:28.397 absolutely nothing to do with Robert. 35:28.400 --> 35:32.030 So let me just give you one instance of that removal of 35:32.033 --> 35:34.773 the narrative from Robert. 35:34.767 --> 35:38.867 Chapter 40, he's a non protagonist, he's a non 35:38.867 --> 35:43.227 participant, he doesn't show up at all in that chapter. 35:43.233 --> 35:46.903 "During the time that Robert Jordan had slept through, the 35:46.900 --> 35:50.470 time he had spent planning the destruction of the bridge and 35:50.467 --> 35:52.997 the time that he had been with Maria, Andres 35:53.000 --> 35:56.130 had made slow progress. 35:56.133 --> 35:58.433 Until he had reached the Republican lines he had 35:58.433 --> 36:01.633 travelled across country and through the fascist lines as 36:01.633 --> 36:05.073 fast as a countryman in good physical condition who knew 36:05.067 --> 36:07.897 the country well could travel in the dark. 36:07.900 --> 36:11.770 But once inside Republican lines it went very slowly." 36:11.767 --> 36:16.627 So there's irony right here, that we detect, that for 36:16.633 --> 36:20.903 Andres, this is very dramatic, because actually it takes so 36:20.900 --> 36:24.330 much more time to travel through, supposedly, your own 36:24.333 --> 36:27.503 side, because he's questioned and detained by everyone. 36:27.500 --> 36:31.100 Whereas it's much faster to go through enemy terrain because 36:31.100 --> 36:34.530 it's just traveling as someone who is physically fit can 36:34.533 --> 36:36.573 travel, which is very fast. 36:36.567 --> 36:42.227 So those four chapters, 34, 36, 40, and 42, those four 36:42.233 --> 36:47.433 chapters are devoted to the irony of how slow it is and 36:47.433 --> 36:50.873 how impossible it is for Andres to deliver 36:50.867 --> 36:54.127 that crucial message. 36:54.133 --> 37:01.333 But the other additional irony is that Robert is fast 37:01.333 --> 37:07.173 becoming a non-protagonist in his own narrative, which is 37:07.167 --> 37:09.597 very much a prelude to the end. 37:09.600 --> 37:12.700 At the end of For Whom the Bell Tolls he will be a non 37:12.700 --> 37:16.270 player in the future of the Spanish Republic. 37:16.267 --> 37:19.597 He will be a non-player in Maria's life, in Pablo's life, 37:19.600 --> 37:22.470 in everyone's life. 37:22.467 --> 37:27.367 And Hemingway has already paved the way for Robert being 37:27.367 --> 37:29.797 a non-player much earlier. 37:29.800 --> 37:33.470 So we can think back to many other instances of someone 37:33.467 --> 37:34.997 being a non player. 37:35.000 --> 37:38.870 In "Soldier's Home" in In Our Time, Krebs being a 37:38.867 --> 37:43.827 non-player, his sister playing basketball and Krebs being on 37:43.833 --> 37:45.933 the sideline, being a non-player. 37:45.933 --> 37:50.003 So Hemingway has given a lot of thought for what it means 37:50.000 --> 37:54.200 for a man who once used to be an important player to be 37:54.200 --> 37:57.970 relegated to the sidelines and to suffer the fate of being a 37:57.967 --> 37:58.897 non-player. 37:58.900 --> 38:03.000 And he is enacting that one more time in For 38:03.000 --> 38:05.030 Whom the Bell Tolls. 38:05.033 --> 38:09.603 So I just wanted to highlight the interconnections among 38:09.600 --> 38:11.930 Hemingway's works. 38:11.933 --> 38:15.473 This is not the first time when he has removed the 38:15.467 --> 38:20.927 narrative from the supposed protagonist of that narrative. 38:20.933 --> 38:26.803 In To Have and Have Not a similar fate has been visited 38:26.800 --> 38:28.500 upon Harry Morgan. 38:28.500 --> 38:31.970 So in chapters one to five, told from Harry Morgan's point 38:31.967 --> 38:35.067 of view, chapter six, all of a sudden, he's 38:35.067 --> 38:38.127 referred to as a man. 38:38.133 --> 38:40.173 "'You ain't gonna fix me up,' the nigger said. 38:40.167 --> 38:43.397 The man, whose name was Harry Morgan, said nothing back, 38:43.400 --> 38:45.430 because he liked the nigger and there was nothing to do 38:45.433 --> 38:47.603 now but hit him, and he couldn't hit him." 38:47.600 --> 38:49.830 When we were talking about this passage we said that 38:49.833 --> 38:54.873 suddenly Harry becomes Harry Morgan, someone looked at 38:54.867 --> 38:59.067 completely from the outside, and who is, in fact, put in 38:59.067 --> 39:01.867 the same position as the black person. 39:01.867 --> 39:04.867 They've both lost something. 39:04.867 --> 39:12.627 And in a more abstract way, we can also just go back to that 39:12.633 --> 39:17.303 moment at the very end of For Whom the Bell Tolls. 39:17.300 --> 39:20.400 Robert is still Robert Jordan. 39:20.400 --> 39:23.470 He never gets to the stage where he 39:23.467 --> 39:25.627 can simply be a Robert. 39:25.633 --> 39:30.203 He's still referred to in that alienating form. 39:30.200 --> 39:35.200 So that, too, the structure is very much similar to the 39:35.200 --> 39:37.300 alienating device in To Have and Have Not. 39:39.800 --> 39:47.130 I think that I've done everything that I can to make 39:47.133 --> 39:51.533 a case for To Have and Have Not as a novel of 39:51.533 --> 39:52.873 dispossession. 39:52.867 --> 39:57.167 That basically Robert emerges as completely empty handed at 39:57.167 --> 39:59.397 the end of the novel. 39:59.400 --> 40:03.130 He's lost his leg, he's lost Maria, he's 40:03.133 --> 40:05.373 about to lose his life. 40:05.367 --> 40:08.867 He's lost even a novel that is supposedly his. 40:08.867 --> 40:14.627 So it is a loss, almost completely equal, to the loss 40:14.633 --> 40:18.933 of Darl at the end of As I Lay Dying. 40:18.933 --> 40:24.933 And it really is possible read both Hemingway and Faulkner as 40:24.933 --> 40:29.673 authors who have dedicated to the bleakest vision possible 40:29.667 --> 40:31.997 of human possibilities. 40:32.000 --> 40:38.600 But I want to, now, make the opposite case, which is that 40:38.600 --> 40:40.470 it's not quite as bleak as that. 40:40.467 --> 40:42.567 That maybe there's a way in which we can think about the 40:42.567 --> 40:49.397 verb to have as a somewhat non-ironic word. 40:49.400 --> 40:53.970 And also, that there's a way to read the narrative not as 40:53.967 --> 40:59.467 one that highlights or maybe passes the damning verdict 40:59.467 --> 41:03.167 that there really is nothing at the end for Robert. 41:03.167 --> 41:05.827 So trying to recover something for Robert at 41:05.833 --> 41:08.403 the end of the narrative. 41:08.400 --> 41:12.770 So it turns out that Hemingway is also quite self conscious 41:12.767 --> 41:19.327 about using to verb to have as a non-ironic verb. 41:19.333 --> 41:22.673 This is a little earlier, so it has the disadvantage of 41:22.667 --> 41:26.227 coming before that final very ironic moment, but it's still 41:26.233 --> 41:28.933 a moment we should look at. 41:28.933 --> 41:29.303 "And another thing. 41:29.300 --> 41:32.930 Don't ever kid yourself about loving someone. 41:32.933 --> 41:35.833 It is just that most people are not lucky enough 41:35.833 --> 41:37.703 ever to have it. 41:37.700 --> 41:41.570 You never had it before and now you have it. 41:41.567 --> 41:44.897 What you have with Maria, whether it last just through 41:44.900 --> 41:48.700 today and a part of tomorrow, or whether it lasts for a long 41:48.700 --> 41:52.430 life, is the most important thing that can happen to a 41:52.433 --> 41:53.733 human being. 41:53.733 --> 41:57.003 There will always be people who say it does not exist 41:57.000 --> 41:58.930 because they cannot have it. 41:58.933 --> 42:03.303 But I tell you it is true that you have it and that you are 42:03.300 --> 42:07.200 lucky even if you die tomorrow." 42:07.200 --> 42:14.870 So this is, relatively speaking, an instance where we 42:14.867 --> 42:20.797 have the verb to have in an unironic, non-ironic mode, 42:20.800 --> 42:25.570 that it's affirming the privacy and the durability of 42:25.567 --> 42:31.597 what he had, or has, or continues to have with Maria. 42:31.600 --> 42:36.870 But we also know that, even in this non-ironic moment, the 42:36.867 --> 42:40.567 verb to have is very precarious. 42:40.567 --> 42:45.567 It is precarious because it is so much dependent on being 42:45.567 --> 42:50.097 able to refute other people who would not credit you with 42:50.100 --> 42:51.600 having that thing. 42:51.600 --> 42:55.230 So it is this consciousness that there will always be 42:55.233 --> 42:58.633 people who say it does not exist because 42:58.633 --> 43:00.573 they cannot have it. 43:00.567 --> 43:05.667 Because what you have here, what Robert has here, is so 43:05.667 --> 43:10.327 intangible, because there's really no material way to 43:10.333 --> 43:11.173 demonstrate it. 43:11.167 --> 43:15.267 It is there, it simply is not a physical 43:15.267 --> 43:17.497 object in the world. 43:17.500 --> 43:21.800 There's no material evidence that it is a 43:21.800 --> 43:25.130 thing in the world. 43:25.133 --> 43:28.973 All you have is your subjective intuition that you 43:28.967 --> 43:31.827 did have it, that you continue to have it. 43:31.833 --> 43:34.603 And then having it makes all the difference. 43:34.600 --> 43:37.570 It is only a subjective conviction. 43:37.567 --> 43:42.997 It doesn't carry the weight of objective demonstrability. 43:43.000 --> 43:46.700 And so that is one strike against it, that other people 43:46.700 --> 43:49.600 will not be persuaded by the fact that you did have it. 43:49.600 --> 43:52.100 They will continue to tell you that you didn't. 43:52.100 --> 43:56.730 The other thing, which I think actually plays out on a formal 43:56.733 --> 43:58.473 level, has to do with the switch of 43:58.467 --> 44:00.967 pronouns in this passage. 44:05.367 --> 44:07.797 All the way through this passage the pronouns are 44:07.800 --> 44:09.400 already switched. 44:09.400 --> 44:12.830 Even though Robert has been just talking in the first 44:12.833 --> 44:18.703 person singular, I, in this critical moment he's actually 44:18.700 --> 44:22.500 referring to himself as you. 44:22.500 --> 44:27.400 "You never had it before and now you have it." 44:27.400 --> 44:31.970 And even more powerfully in the last line, where we see 44:31.967 --> 44:36.297 both the pronoun I and the pronoun you, "But I tell you 44:36.300 --> 44:40.470 it is true that you have it and that you're lucky even if 44:40.467 --> 44:44.867 you die tomorrow." The co-presence of the pronoun I 44:44.867 --> 44:48.867 and the pronoun you suggest that it is an effort. 44:48.867 --> 44:51.397 It takes some real power to convince himself 44:51.400 --> 44:52.930 that he did have it. 44:52.933 --> 44:55.073 I'm telling you that you did have it. 44:55.067 --> 44:56.267 It's not just that other people are not persuaded, but 44:56.267 --> 45:00.467 Robert himself has to be convinced, he has to be beaten 45:00.467 --> 45:06.527 over the head by this other I to believe that, yes, that 45:06.533 --> 45:10.303 what he did have with Maria does make a difference and 45:10.300 --> 45:12.400 does make him a "have." 45:12.400 --> 45:14.930 So because of those two considerations I would say 45:14.933 --> 45:19.773 that this is a non-ironic use of the word "to have," but 45:19.767 --> 45:22.767 heavily circumscribed with other possibilities looming 45:22.767 --> 45:24.027 heavily on the horizon. 45:26.567 --> 45:33.427 And it's replayed in the very last moment of the novel. 45:33.433 --> 45:36.573 "He looked down the hill slope again and he thought, I hate 45:36.567 --> 45:37.897 to leave it, is all. 45:37.900 --> 45:41.030 I hate to leave it very much and I hope I have done some 45:41.033 --> 45:41.903 good in it. 45:41.900 --> 45:45.200 I have tried to with what talent I had. 45:45.200 --> 45:46.400 Have, you mean. 45:46.400 --> 45:50.330 All right, have. I have fought for what I believed 45:50.333 --> 45:51.733 in for a year now. 45:51.733 --> 45:53.973 If we win here we will win everywhere. 45:53.967 --> 45:57.127 The world is a fine place and worth the fighting for and I 45:57.133 --> 45:59.433 hate very much to leave it. 45:59.433 --> 46:02.873 And you had a lot of luck, he told himself, to have had such 46:02.867 --> 46:03.897 a good life. 46:03.900 --> 46:06.630 You've had just as good a life as grandfather's 46:06.633 --> 46:08.003 though not so long. 46:08.000 --> 46:11.400 You've had just as good a life as any one because of these 46:11.400 --> 46:11.870 last days." 46:11.867 --> 46:16.867 So once again, non-ironic use of the verb to have, but 46:16.867 --> 46:21.497 taking an effort of the will to convince himself. 46:21.500 --> 46:25.330 He has to be told you've had as good a life as your 46:25.333 --> 46:25.533 grandfather. 46:25.533 --> 46:29.703 You've had as good a life as anyone. 46:29.700 --> 46:34.530 It has to be a command issued by part of himself. 46:34.533 --> 46:43.103 And so it takes that form, that it is not a natural or 46:43.100 --> 46:45.730 unselfconscious conviction. 46:45.733 --> 46:49.733 It's a conviction arrived at through some struggle and with 46:49.733 --> 46:51.333 quite a bit of effort. 46:51.333 --> 46:59.133 So Robert, I think, is actually a very fragile 46:59.133 --> 47:05.903 vehicle as a representative of a narrative of repossession, 47:05.900 --> 47:08.130 just because he's so vulnerable at 47:08.133 --> 47:09.973 the end of the novel. 47:09.967 --> 47:14.697 But I think that Hemingway actually has stepped in and 47:14.700 --> 47:19.870 provided one form of authority or intervention that allows 47:19.867 --> 47:24.767 us, possibly, to read the novel as affirming something 47:24.767 --> 47:28.367 about Robert, so that he's not totally a loser at 47:28.367 --> 47:29.697 the end of the novel. 47:29.700 --> 47:34.770 And that has to do with a very stylized, very deliberate 47:34.767 --> 47:38.597 narrative structure of For Whom the Tolls. 47:38.600 --> 47:44.000 You notice that the first line of the novel reads, "He lay 47:44.000 --> 47:45.300 flat on the brown, pine-needled floor of the 47:45.300 --> 47:52.230 forest, his chin on his folded arms, and high over head the 47:52.233 --> 47:56.833 wind blew in the top of pine trees." And the very last of 47:56.833 --> 48:00.973 the novel, "He could feel his heart beating against the pine 48:00.967 --> 48:03.627 needle floor of the forest." 48:03.633 --> 48:09.803 So Robert's totally alone, but in the end is the beginning. 48:09.800 --> 48:16.230 And so it is that impersonal narrative structure 48:16.233 --> 48:17.703 that he's not dead. 48:17.700 --> 48:21.200 It's almost as if he were beginning all over again, that 48:21.200 --> 48:24.800 the story is going to begin anew. 48:24.800 --> 48:32.530 It is that formal structure, the formal mirror effect, that 48:32.533 --> 48:37.333 allows us to entertain the illusion that not all is over, 48:37.333 --> 48:40.673 even though we know that physically it is over, that 48:40.667 --> 48:43.297 there's no way it could have a different ending or that 48:43.300 --> 48:44.770 things could go on. 48:44.767 --> 48:47.997 But nonetheless, the form of the narrative is such, it 48:48.000 --> 48:50.970 feels like the beginning rather than the end. 48:50.967 --> 48:55.397 And maybe this is really the best that Hemingway can do for 48:55.400 --> 48:59.130 Robert, is for the reader to want this to be a new 48:59.133 --> 49:01.473 beginning, and for the reader to feel that 49:01.467 --> 49:03.227 this isn't the end. 49:03.233 --> 49:04.503 This is the best that we can do for Robert.