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Bookstore: Hemingway
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Plot
Summary
By
Michael J. Cummings...©
2004
.......Eighty-four
days pass and still Santiago has not caught a fish in the familiar waters
of the Gulf of Mexico north of his seacoast village in Cuba. Has old age
robbed him of his once-great skill? Is he just having bad luck? Will his
scarred hands ever again pull in a prize catch?
.......His
boat is empty not only of fish but also of his little friend, Manolin.
Santiago had taught the boy to fish, beginning when the boy was just five.
He showed Manolin all the subtleties of the art, and Manolin was deeply
grateful. More than that, he loved the old man. Often, he would take food
to Santiago, and they would talk baseball, usually discussing the exploits
of the great Yankee center fielder, Joe DiMaggio, who played magnificently
even when bothered by a physical ailment. (DiMaggio was operated on in
1947 to remove a bone spur from the heel of his left foot. He also developed
a bone spur in his right foot and sometimes dislocated his shoulder during
games.) Whenever Santiago went out to fish, Manolin would go with him,
happily and excitedly. But after the first 40 days of Santiago’s 84-day
slump, the boy’s parents ordered him to go out with one of the other fishing
boats; Santiago was bad luck, a defeated old man.
.......So
Santiago–sun-wrinkled and gaunt–would go out alone, in his single-masted
skiff, to catch wind and, eventually, a great fish. But Manolin was always
there in the morning to help him load his gear and in the evening to greet
him and help him unload.
.......During
the night before the 85th day, Santiago, sleeping in his dirt-floor hovel,
dreams of Africa, which he had once visited while serving on a ship. In
his dream, he sees native boats, hears the roar of the surf, and watches
young lions frolicking on the beach. The lions seem to represent Santiago’s
youth, in all of its feral vigor. In the morning, before sunrise, Manolin
helps him load his gear as usual and gives him small fish to use as bait.
Then the old man rides the wind and the waves into deep water, beyond the
pale of his earlier expeditions.
.......He
catches a small tuna and thinks perhaps it is an omen of good fortune.
Later, he feels a strong pull on his line, suggesting that a great fish,
a marlin, is on the other end. The fish nibbles, then nibbles again. Finally,
it bites down and the war is on. The marlin hauls the skiff effortlessly
through the Gulf waters while Santiago lets out the line when necessary,
then holds fast to it, sometimes wrapping it around his shoulders. The
give and take goes on and on. Santiago’s left hand cramps up, but he is
determined to stay with the fish, which he respects as a worthy opponent
even though he has only the tuna and his water bottle to sustain him. As
the sun sets, the fish heads farther out to sea.
.......When
it finally surfaces, Santiago beholds the fish, a gigantic marlin that
is longer than his boat. The struggle reminds the old man of an arm-wrestling
match he won; it lasted through an entire day and night. He eats part of
the tuna he caught, wraps the line around himself, and sleeps awhile, dreaming
of Africa and those lions on the beach. But the sleep is brief, a mere
wink of his heavy eyelids.
.......The
struggle goes on all through the next day and night and into the following
day. Santiago’s body aches, and his raw hands sting under the tug of the
hot, slicing rope. He thinks often of the great DiMaggio, who played frequently
in pain. If DiMaggio could succeed under the stress of suffering, why couldn't
Santiago? And then comes a hopeful sign: The marlin, which has been
traveling northwest, slows and turns eastward, riding a current. He is
tired. The end is near. When the big fish swims close to the boat, Santiago
harpoons it; the fight is over.
.......After
lashing the fish’s head and tail to the back and front of his boat, Santiago
heads for home, toward the glow of the Havana lights. However, the blood
from the harpoon wound attracts a shark. Santiago kills it with the harpoon,
but is unable to retrieve his weapon. There will be more sharks, he knows,
so he ties a knife to an oar and waits. When the sharks eventually arrive--in
a brutal hungry horde--he stabs some of them and clubs others with his
tiller. But there are too many, and they eat away all of the flesh, leaving
only the head, the tail, and the skeleton.
.......Santiago
has won, and he has lost.
.......After
arriving onshore in the morning, he drags his aching body across the beach,
bearing the mast on his back and collapsing under its weight--then picking
himself up, and the mast, and completing the journey to his home, where
he falls into bed. While he sleeps, fishermen gather and stand in awe at
the size of the fish, at 18 feet the largest seen in local waters. Manolin,
who has been terribly worried about the old man, is happy to find him home
and in bed. When Santiago awakes, they have coffee and discuss baseball.
Later, they agree to become partners again, and that afternoon Santiago
falls asleep again and dreams of the two young lions.
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Main
Characters
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Santiago
A proud old fisherman who refuses to yield to old age and bad luck. He
is an expert fisherman who knows well the sea and its creatures.
Manolin
A boy who loves the old man and never loses his faith in him. .
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Settings
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On land, the action takes
place in a small village on the northern coast of Cuba, not far from the
capital city of Havana. At sea, the action takes place north of Cuba in
the Gulf of Mexico. The time is the late 1940's.
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Type
of Work
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The Old Man and the Sea
is a short novel (novella). It was published in 1952.
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Writing
Style
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Hemingway's style–developed
when he worked as a newspaper reporter and correspondent early in his career–is
simple and compact, with short sentences and paragraphs devoid of verbosity.
However, this straightforward style often conveys complex themes. In the
The Old Man and the Sea, Hemingway uses the third-person-limited
point of view in some sections and third-person omniscient in others. The
book won Hemingway a Pulitzer Prize and later helped win him a Nobel Prize.
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Theme
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What ennobles a man and
makes him a success is his perseverance against overwhelming odds. Whether
the central character, Santiago, wins or loses his battle with the great
fish is less important than waging a good and honorable fight. Critics
have interpreted this theme in many ways, seeing Santiago as a Ulysses
or a Jason accepting a formidable challenge and seeing it through to the
end–or as Hemingway himself fighting back against literary critics. Santiago's
struggle has also been interpreted as the struggle of every human being
against an inscrutable universe–the same struggle as Ahab in Moby Dick.
However one describes the theme, there can be no gainsaying that Hemingway
wished to compare Santiago with Christ in His struggle to redeem fallen
man. Santiago, weighted down with the “sin” of 84 days of failure at sea,
undergoes a three-day ordeal–suffering piercing injury to the palms of
his hands and back, experiencing raging thirst, enduring the “gibes” of
a mob (the attacking sharks), and staggering and falling as he bears his
mast across the beach.
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Symbols
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(1) The sea: a challenge,
the universe; (2) Joe DiMaggio: the indomitability of the human
spirit; (3) the lions: youth, virility, power, the promise of a
better future; (4) the skiff: with its patched-up sails and fragile
frame, Santiago himself; (5) the mast: the cross of Christ; (6)
the marlin: a noble foe; (7) the sharks: the cruel vicissitudes
of life; (8) the lost harpoon, the loss of power, strength, virility;
(9) Manolin: faith, hope, love, loyalty.
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Author
Information
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Ernest Miller Hemingway
(1899-1961), an American writer of novels and short stories. Before turning
to fiction, he worked as a reporter for the Kansas City Star and
served as a First World War ambulance driver before enlisting with the
Italian infantry and suffering a wound. After the war, he worked for the
Toronto Star and lived for a time in Paris and Key West, Fla. During the
Spanish Civil War and the Second World War, he served as a newspaper correspondent,
then lived in Cuba until 1958 and Idaho until 1961, the year of his death
by suicide. His narratives frequently contain masculine motifs, such as
bull-fighting (Death
in the Afternoon), hunting (The
Green Hills of Africa), war (A
Farewell to Arms, For
Whom the Bell Tolls), and fishing (The
Old Man and the Sea). All of these motifs derive from Hemingway’s
own experiences as a traveler and an adventurer. Arguably, he was a better
short-story writer than a novelist, although it was his longer works that
built his reputation.
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