BOOK REVIEW
FOR WHOM THE BELLS TOLL, ERNEST HEMINGWAY
AS THE 70TH ANNIVERSARY OF THE BEGINNING OF THE SPANISH CIVIL WAR APPROACHES THE WRITER IS REVIEWING BOOKS ON AND ABOUT THIS SUBJECT WHICH SHOULD BE OF INTEREST TO TODAY’S MILITANTS
I have been interested, as a pro-Republican partisan, in the Spanish Civil War since I was a teenager. What initially perked my interest, and remains of interest, is the passionate struggle of the Spanish working class to create its own political organization of society, its leadership of the struggle against Spanish Fascism and the romance surrounding the entry of the International Brigades, particularly the American Abraham Lincoln Battalion of the 15th Brigade, into the struggle.
Underlying my interests has always been a nagging question of how that struggle could have been won by the working class. The Spanish proletariat certainly was capable of both heroic action and the ability to create organizations that reflected its own class interests i.e. the worker militias and factory committees. Of all modern working class uprisings after the Russian revolution Spain showed the most promise of success. Russian Bolshevik leader Leon Trotsky noted in one of his writings on Spain that the Spanish proletariat at the start of its revolutionary period had a higher political consciousness than the Russian proletariat in 1917.
That understanding of the political consciousness of the Spanish proletariat calls into question the strategies put forth by the parties of the Popular Front, including the Spanish Communist Party- defeat Franco first, and then make the social transformation of society. Ernest Hemingway in his novel For Whom the Bells Toll weighs in on that question here. Whatever value the novel had or has as a narrative of a small slice of the Spanish events one must look elsewhere to discovery the causes of the Republican defeat.
Ernest Hemingway most definitively was in love with Spain and always, lurking just below, the surface was his love affair with death. That combination placed in the context of the Spanish Civil War of 1936-39 makes for an explosive, dramatic tale. The hero is an American, Robert Jordan, aka Ernest Hemingway, of fizzy politics but a desire to help the Spanish people. Additionally Jordan, if expediency demands it, is willing to face danger and death at the command of the Communist-dominated International Brigades (although it is not always clear whether he is an American Lincoln Brigade volunteer or a freelancer). Hemingway's critique of the Stalinist domination of the military command and therefore authors of the military strategy that led to defeat at times overwhelms the story. His skewering of Andre Marty, leader of the International Brigades, also has that same effect. In short, Hemingway believed that 'outside forces’ meddling in Spanish affairs led to death for Jordan and disaster for the Spanish people. Well, nobody expects nor is it mandatory for a novelist to be politically astute or correct. Here Hemingway joins that crowd.
The one subject that Ernest Hemingway seemed consistently to excel at was the telling of war stories. And whatever else might be true of For Whom the Bell Tolls it is preeminently a war story. A classic war romance if you have also seen the movie treatment of the book starring Gary Cooper and Ingrid Bergman. It might be a male thing, it might be a Hemingway thing, or it might be that the nature of war lends itself to dramatic tension that holds a story together. Today, in some literary circles, it is not considered politically correct to laud works by such dead, white males as Hemingway but the flat out truth is that the man could write. If his work stands outside the current canon of American literary efforts then something is wrong with the new canon.
To make matters worst the current leftist-oriented literary establishment, grizzled, hard-bitten academic warriors that they are, has not been the only force that has taken aim at Hemingway's head. At the time of publication in 1940 the Veterans of the Abraham Lincoln Battalion, those who actually fought in Spain, and the various Communist Parties throughout the world were unhappy with the novel. Why? Hemingway was too harsh on the deficiencies of the Communists, the International Brigades and the Republican forces in general. Above I mentioned that writers were not expected to be politically astute. That is one thing. But to say that Hemingway was essentially sabotaging the exiled Republican efforts to aid the refugees by the thrust of his novel is also politically wrong. The man did materially and militarily aid the Republican side (financially aiding volunteers and supplying ambulances). That accrues to his honor. In short, Hemingway's writings-yes. Hemingway's politics-no.
FOR WHOM THE BELLS TOLL, ERNEST HEMINGWAY
AS THE 70TH ANNIVERSARY OF THE BEGINNING OF THE SPANISH CIVIL WAR APPROACHES THE WRITER IS REVIEWING BOOKS ON AND ABOUT THIS SUBJECT WHICH SHOULD BE OF INTEREST TO TODAY’S MILITANTS
I have been interested, as a pro-Republican partisan, in the Spanish Civil War since I was a teenager. What initially perked my interest, and remains of interest, is the passionate struggle of the Spanish working class to create its own political organization of society, its leadership of the struggle against Spanish Fascism and the romance surrounding the entry of the International Brigades, particularly the American Abraham Lincoln Battalion of the 15th Brigade, into the struggle.
Underlying my interests has always been a nagging question of how that struggle could have been won by the working class. The Spanish proletariat certainly was capable of both heroic action and the ability to create organizations that reflected its own class interests i.e. the worker militias and factory committees. Of all modern working class uprisings after the Russian revolution Spain showed the most promise of success. Russian Bolshevik leader Leon Trotsky noted in one of his writings on Spain that the Spanish proletariat at the start of its revolutionary period had a higher political consciousness than the Russian proletariat in 1917.
That understanding of the political consciousness of the Spanish proletariat calls into question the strategies put forth by the parties of the Popular Front, including the Spanish Communist Party- defeat Franco first, and then make the social transformation of society. Ernest Hemingway in his novel For Whom the Bells Toll weighs in on that question here. Whatever value the novel had or has as a narrative of a small slice of the Spanish events one must look elsewhere to discovery the causes of the Republican defeat.
Ernest Hemingway most definitively was in love with Spain and always, lurking just below, the surface was his love affair with death. That combination placed in the context of the Spanish Civil War of 1936-39 makes for an explosive, dramatic tale. The hero is an American, Robert Jordan, aka Ernest Hemingway, of fizzy politics but a desire to help the Spanish people. Additionally Jordan, if expediency demands it, is willing to face danger and death at the command of the Communist-dominated International Brigades (although it is not always clear whether he is an American Lincoln Brigade volunteer or a freelancer). Hemingway's critique of the Stalinist domination of the military command and therefore authors of the military strategy that led to defeat at times overwhelms the story. His skewering of Andre Marty, leader of the International Brigades, also has that same effect. In short, Hemingway believed that 'outside forces’ meddling in Spanish affairs led to death for Jordan and disaster for the Spanish people. Well, nobody expects nor is it mandatory for a novelist to be politically astute or correct. Here Hemingway joins that crowd.
The one subject that Ernest Hemingway seemed consistently to excel at was the telling of war stories. And whatever else might be true of For Whom the Bell Tolls it is preeminently a war story. A classic war romance if you have also seen the movie treatment of the book starring Gary Cooper and Ingrid Bergman. It might be a male thing, it might be a Hemingway thing, or it might be that the nature of war lends itself to dramatic tension that holds a story together. Today, in some literary circles, it is not considered politically correct to laud works by such dead, white males as Hemingway but the flat out truth is that the man could write. If his work stands outside the current canon of American literary efforts then something is wrong with the new canon.
To make matters worst the current leftist-oriented literary establishment, grizzled, hard-bitten academic warriors that they are, has not been the only force that has taken aim at Hemingway's head. At the time of publication in 1940 the Veterans of the Abraham Lincoln Battalion, those who actually fought in Spain, and the various Communist Parties throughout the world were unhappy with the novel. Why? Hemingway was too harsh on the deficiencies of the Communists, the International Brigades and the Republican forces in general. Above I mentioned that writers were not expected to be politically astute. That is one thing. But to say that Hemingway was essentially sabotaging the exiled Republican efforts to aid the refugees by the thrust of his novel is also politically wrong. The man did materially and militarily aid the Republican side (financially aiding volunteers and supplying ambulances). That accrues to his honor. In short, Hemingway's writings-yes. Hemingway's politics-no.
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