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By Peter Messent (auth.)

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Hemingway's stress on 'the real thing' raises problems here. The dubious nature of any appeal to unmediated 'reality' becomes instantly apparent in the fact that the above phrase has become, at the time of my writing, Coca-Cola's main advertising slogan. Who is the 'you' who experiences the emotion to which he refers above? Authorial consciousness, that of the fictional protagonist, and that of the reader seem curiously blurred here. I would suggest that there is in fact a type of double play in Hemingway's fiction whereby the reader is shuttled between the particular limited version of reality with which his protagonists are identified and a fuller version of reality that (the author knows) those protagonists cannot, but would wish to, evade.

One might claim a minimal form of renewal in the fact that Nick finds that there is 'always something new' (MWW, 132) to remember about those streams he once fished, but the mental return is only to a past which is already dosed and over. This story's close account of how Nick's consciousness works Style: Personal Impressions 31 centres on the psychology of sensation. Certain overdetermined moments are presented as resonant of meaning in a world where coherent larger narrative interconnections have been lost.

Style: Personal Impressions 27 I will examine this sequence, and the calmer (fishing) one that precedes it, in more detail. In the case of the one I have highlighted, the range and selective force of the memories recovered mark their greater significance (in terms of their meaning for, and effect on, Nick) than his earlier remembrances. For the movement and varied intensity of this sequence - as measured in narrative duration - stand in strong contrast to the long and static fishing memory previously recovered.

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