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Professor Wai Chee Dimock focuses on the themes of dying and not dying that reappear throughout For Whom the Bell Tolls. Marshaling Elaine Scarry’s argument on the aesthetics of killing, she reads the execution of the Fascists as a representation of both aesthetic and ethical “ugliness” in death. She then turns to a discussion of the tragic-comic dimensions of not dying as depicted in the bullfighter Finito’s refusal to die and the smell of death emanating from the old women in the Madrid marketplace. She concludes with a reading of the word cobarde–coward–as it is applied to both Robert Jordan’s suicidal father and the indomitable Pablo.

Warning: This lecture contains graphic content and/or adult language that some users may find disturbing.

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Professor Wai Chee Dimock continues her discussion of For Whom the Bell Tolls by analyzing the contrast Robert Jordan draws between “distant homes” and the on-site environment of the Spanish Civil War. She juxtaposes his invocations of Paris and Missouri to the rooted communities of the guerillas, and reads analogies of racial and ethnic conflict–specifically, the references to the Moors in Spain and persecuted blacks in America–as a point of tension, an ironic commentary on the coexistence of the distant home and the on-site environment. She concludes with a reading of the American Civil War as a temporally distant home which Jordan tries to recuperate in the present moment of European conflict.

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Professor Wai Chee Dimock begins her discussion of Hemingway’s For Whom the Bell Tolls with an overview of the Spanish Civil War, the historical event at the heart of the novel. She introduces the notion of an “involuntary foreigner” to discuss the fate of Hemingway’s American protagonist Robert Jordan, as well as the Spanish guerillas who are turned into “aliens” within their own country due to their print and technological illiteracies. Professor Dimock concludes by connecting one’s status as an involuntary foreigner to the shape of the future, arguing that these characters have a tenuous claim to a Spain dominated by the Fascists, and to a modernity increasingly dominated by technology.

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Professor Wai Chee Dimock concludes her discussion of As I Lay Dying with an analysis of its generic form. Using Nathaniel Hawthorne’s The Scarlett Letter to anchor her discussion of the American literary tradition, she argues that As I Lay Dying continually negotiates the comic and the tragic genres as we shift from one perspective to another: one character’s comic gain is often another’s tragic loss. She traces the losses and gains of Cash, Jewel, and Darl throughout the novel, showing how their new “balances” by the end reconstitute the Bundren family and draw lines of kinship around the “haves” and “have nots” among family members.

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Professor Wai Chee Dimock traces Faulkner’s appropriation of the epic genre through two conventions: the blurring of boundaries between humans and non-humans and the resurrection of the dead. She first reads Faulkner’s minor character Tull and his relation to both mules and buzzards to draw out the “nature of manhood in poor whites.” From Tull, she shifts focus to Jewel and suggests that his kinship with the snake and the horse foregrounds the narrative secrecy of Jewel’s genealogy. As Addie Bundren’s monologue reveals, Jewel’s illegitimate father, the Reverend Whitfield, is similarly identified with both the horse, as the animal he rides, and the snake, whose Edenic behavior he parallels in his affair with Addie.

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Professor Wai Chee Dimock begins her discussion of Faulkner’s As I Lay Dying by orienting the novel to the Great Depression in the South, as focalized through such famous texts as Let Us Now Praise Famous Men. Once this macro history is established, she reads the narrative techniques of As I Lay Dying through two analytic lenses. First, she draws on Bakhtin’s notion of social dialects to underscore the language that indexes poor whites as a Southern type. Second, she marshals Frank Kermode’s idea of narrative secrecy to show how two secrets in As I Lay Dying–Dewey Dell’s illegitimate pregnancy and Jewel’s illegitimate birth–are gradually revealed to the reader through Faulkner’s multiple narrators, each a speaker of a socially codified dialect, and each a practitioner of narrative secrecy in his or her own right.

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Professor Wai Chee Dimock demonstrates how four of Fitzgerald’s most famous short stories–“The Rich Boy,” “Babylon Revisited,” “The Diamond as Big as the Ritz,” and “Bernice Bobs Her Hair”–represent “social types,” generic identities that Fitzgerald explores as forms of social reality. She reads the dramatic tension in each of those stories as determined by the protagaonist’s conformity to or deviation from their idealized social type.