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The Sun Also Rises
The Authorized Edition
Table of Contents
About The Book
A poignant look at the disillusionment and angst of the post-World War I generation, the novel introduces two of Hemingway’s most unforgettable characters: Jake Barnes and Lady Brett Ashley. The story follows the flamboyant Brett and the hapless Jake as they journey from the wild nightlife of 1920s Paris to the brutal bullfighting rings of Spain with a motley group of expatriates. In his first great literary masterpiece, Hemingway portrays an age of moral bankruptcy, spiritual dissolution, unrealized love, and vanishing illusions.
“The ideal companion for troubled times: equal parts Continental escape and serious grappling with the question of what it means to be, and feel, lost.” —The Wall Street Journal
Robert Cohn was once middleweight boxing champion of Princeton. Do not think that I am very much impressed by that as a boxing title, but it meant a lot to Cohn. He cared nothing for boxing, in fact he disliked it, but he learned it painfully and thoroughly to counteract the feeling of inferiority and shyness he had felt on being treated as a Jew at Princeton. There was a certain inner comfort in knowing he could knock down anybody who was snooty to him, although, being very shy and a thoroughly nice boy, he never fought except in the gym. He was Spider Kelly's star pupil. Spider Kelly taught all his young gentlemen to box like featherweights, no matter whether they weighed one hundred and five or two hundred and five pounds. But it seemed to fit Cohn. He was really very fast. He was so good that Spider promptly overmatched him and got his nose permanently flattened. This increased Cohn's distaste for boxing, but it gave him a certain satisfaction of some strange sort, and it certainly improved his nose. In his last year at Princeton he read too much and took to wearing spectacles. I never met any one of his class who remembered him. They did not even remember that he was middleweight boxing champion.
I mistrust all frank and simple people, especially when their stories hold together, and I always had a suspicion that perhaps Robert Cohn had never been middleweight boxing champion, and that perhaps a horse had stepped on his face, or that maybe his mother had been frightened or seen something, or that he had, maybe, bumped into something as a young child, but I finally had somebody verify the story from Spider Kelly. Spider Kelly not only remembered Cohn. He had often wondered what had become of him.
Robert Cohn was a member, through his father, of one of the richest Jewish families in New York, and through his mother of one of the oldest. At the military school where he prepped for Princeton, and played a very good end on the football team, no one had made him race-conscious. No one had ever made him feel he was a Jew, and hence any different from anybody else, until he went to Princeton. He was a nice boy, a friendly boy, and very shy, and it made him bitter. He took it out in boxing, and he came out of Princeton with painful self-consciousness and the flattened nose, and was married by the first girl who was nice to him. He was married five years, had three children, lost most of the fifty thousand dollars his father left him, the balance of the estate having gone to his mother, hardened into a rather unattractive mould under domestic unhappiness with a rich wife; and just when he had made up his mind to leave his wife she left him and went off with a miniature-painter. As he had been thinking for months about leaving his wife and had not done it because it would be too cruel to deprive her of himself, her departure was a very healthful shock.
The divorce was arranged and Robert Cohn went out to the Coast. In California he fell among literary people and, as he still had a little of the fifty thousand left, in a short time he was backing a review of the Arts. The review commenced publication in Carmel, California, and finished in Provincetown, Massachusetts. By that time Cohn, who had been regarded purely as an angel, and whose name had appeared on the editorial page merely as a member of the advisory board, had become the sole editor. It was his money and he discovered he liked the authority of editing. He was sorry when the magazine became too expensive and he had to give it up.
By that time, though, he had other things to worry about. He had been taken in hand by a lady who hoped to rise with the magazine. She was very forceful, and Cohn never had a chance of not being taken in hand. Also he was sure that he loved her. When this lady saw that the magazine was not going to rise, she became a little disgusted with Cohn and decided that she might as well get what there was to get while there was still something available, so she urged that they go to Europe, where Cohn could write. They came to Europe, where the lady had been educated, and stayed three years. During these three years, the first spent in travel, the last two in Paris, Robert Cohn had two friends, Braddocks and myself. Braddocks was his literary friend. I was his tennis friend.
The lady who had him, her name was Frances, found toward the end of the second year that her looks were going, and her attitude toward Robert changed from one of careless possession and exploitation to the absolute determination that he should marry her. During this time Robert's mother had settled an allowance on him, about three hundred dollars a month. During two years and a half I do not believe that Robert Cohn looked at another woman. He was fairly happy, except that, like many people living in Europe, he would rather have been in America, and he had discovered writing. He wrote a novel, and it was not really such a bad novel as the critics later called it, although it was a very poor novel. He read many books, played bridge, played tennis, and boxed at a local gymnasium.
I first became aware of his lady's attitude toward him one night after the three of us had dined together. We had dined at l'Avenue's and afterward went to the Café de Versailles for coffee. We had several fines after the coffee, and I said I must be going. Cohn had been talking about the two of us going off somewhere on a weekend trip. He wanted to get out of town and get in a good walk. I suggested we fly to Strasbourg and walk up to Saint Odile, or somewhere or other in Alsace. "I know a girl in Strasbourg who can show us the town," I said.
Somebody kicked me under the table. I thought it was accidental and went on: "She's been there two years and knows everything there is to know about the town. She's a swell girl."
I was kicked again under the table and, looking, saw Frances, Robert's lady, her chin lifting and her face hardening.
"Hell," I said, "why go to Strasbourg? We could go up to Bruges, or to the Ardennes."
Cohn looked relieved. I was not kicked again. I said good-night and went out. Cohn said he wanted to buy a paper and would walk to the corner with me. "For God's sake," he said, "why did you say that about that girl in Strasbourg for? Didn't you see Frances?"
"No, why should I? If I know an American girl that lives in Strasbourg what the hell is it to Frances?"
"It doesn't make any difference. Any girl. I couldn't go, that would be all."
"Don't be silly."
"You don't know Frances. Any girl at all. Didn't you see the way she looked?"
"Oh, well," I said, "let's go to Senlis."
"Don't get sore."
"I'm not sore. Senlis is a good place and we can stay at the Grand Cerf and take a hike in the woods and come home."
"Good, that will be fine."
"Well, I'll see you to-morrow at the courts," I said.
"Good-night, Jake," he said, and started back to the café.
"You forgot to get your paper," I said.
"That's so." He walked with me up to the kiosque at the corner. "You are not sore, are you, Jake?" He turned with the paper in his hand.
"No, why should I be?"
"See you at tennis," he said. I watched him walk back to the café holding his paper. I rather liked him and evidently she led him quite a life.
Copyright © 1926 by Charles Scribner's Sons
Copyright renewed © 1954 by Ernest Hemingway
Reading Group Guide
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Topics and Questions for Discussion
1. Consider the novel’s first epigraph: “You are all a lost generation.” How do the characters in the novel seem lost? What can you extrapolate about the Lost Generation from Hemingway’s portrait?
2. The characters in The Sun Also Rises were based on people in Hemingway’s life. What responsibility does an author have—if any—when drawing inspiration from real people? How do you think relationships and life experiences inform the creative process?
3. Why do you think this novel is one of Hemingway’s most enduring works? What about the story continues to resonate with readers? In what ways does the novel still feel contemporary?
4. Consider Jake’s fishing trip to the Irati River. How is the natural world depicted in the novel? How does it echo and refract the larger themes of the book?
5. On page 9, Jake says: “Nobody ever lives their life all the way up except bull-fighters.” How does the novel depict bullfighting from both an aesthetic and philosophical perspective? How does Hemingway’s depiction of bullfighting function as social commentary?
6. Throughout the novel, Jake’s war injury is alluded to but never described directly. Why do you think Hemingway made this narrative choice?
7. Jake and Brett are both haunted by the atrocities of war. How do their coping mechanisms differ? In what ways do their survival strategies overlap?
8. When we first meet Brett at the dancing club (page 17), we see that she is “very much with” a group of men. How does Brett upend traditional gender roles?
9. The guiding principle of Hemingway’s writing was the “iceberg theory” or the “theory of omission,” in which deeper meaning is not stated explicitly but exists beneath the surface. How is Hemingway’s iceberg theory on display in this novel? Were there any omitted moments that you wish had been included?
10. Is The Sun Also Rises a tale of unrequited love? What does the novel have to say about the relationship between sex and intimacy?
11. On page 169, just before Pedro Romero’s bullfight, Brett says, “Funny . . . how one doesn’t mind the blood.” Why is Brett the perfect muse for Romero? What does the novel have to say about our cultural attitudes toward violence?
12. What do you make of the final scene? What glimmers of hope beckon within Jake’s and Brett’s revelations?
13. Why do you think Hemingway chose the title The Sun Also Rises?
Enhance Your Book Club
1. Read Hemingway’s short story “A Clean Well-Lighted Place.” Do you see any thematic overlap? Why is the café milieu so important to Hemingway?
2. Watch Ken Burns’s documentary miniseries Ernest Hemingway. How does learning more about his life and hearing from other novelists inform your impression of Hemingway?
3. Brett Ashley, like Daisy Buchanan in The Great Gatsby, embodies the flapper aesthetic. Read The Great Gatsby and talk about how Hemingway and Fitzgerald depict women of the era.
- Publisher: Scribner (October 17, 2006)
- Length: 256 pages
- ISBN13: 9780743297332
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Raves and Reviews
“An absorbing, beautifully and tenderly absurd, heartbreaking narrative... a truly gripping story… magnificent.”
—The New York Times
“The Sun Also Rises is a novel of great silence. Something central is hidden, which the reader discovers little by little. The characters are rich, interesting, fascinating, and a little bit tragic, as Hemingway's characters always are.”
—Mario Vargas Llosa
“Hemingway writes as if he had never read anybody’s writing, as if he had fashioned the art of writing himself.”
“The Sun Also Rises introduced me to a kind of exotica, a glamour, a life that I couldn’t believe. I was seduced by it.”
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High Resolution Images
- Book Cover Image (jpg): The Sun Also Rises Trade Paperback 9780743297332
- Author Photo (jpg): Ernest Hemingway Earl Theisen, 1953(0.5 MB)
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