ty; they have life and death in common, and they meet there. It is evident that in bullfighting Hemingway has met a symbolic world that reaches very deeply into the whole subconscious which drives him on so violently. It is in this realm, which is clearly divided from his conscious being by a very thin layer, that all of the terrified sensitivity, which has been his innermost torment, becomes obvious.Among the other themes, Hemingway was almost addicted to describing the act of sex. It is seen in many of his works to be a symbolic core; there are, however, no central women in his books! His descriptions of the sexual encounter are knowingly brutal, and in his later works they appear to be unintentionally comical. This comedy is found in Hemingways lack of success in making his female characters human. The Hemingway female is often associated with an animal, a thing, or a wet dream. Hemingway could only really find his comfort in dealing with men without women. The male to male relationships that he has invented in his works moves him to simplicity and truth. Yet even when Hemingway feels an obligation to introduce women into his more ambitious fictions, he can not further elaborate their parts beyond being taken to bed (Fiedler 143).In his writings, the rejection of the sentimental happy ending of marriage involves the acceptance of the sentimental happy beginning of innocent and inconsequential sex. This also allows to the camouflage the rejection of maturity and of fatherhood itself. Typically he aspires not to be the Father, but more so the man of the girl with whom he is sleeping (Fiedler 143). Hemingway often presents childbirth as a catastrophe. He sees it as an accident, which forces a leave of friends at the greatest moment of pleasure as in his short story Cross Country Snow. At worst, childbirth becomes that horror which drives the tenderhearted husband of Indian Camp to suicide, or which takes Catherine away from Lieuten...
