Masculinity In The Great Gatsby By Ernest Hemingway

Hemingway’s male feminization allows for emotional masculinity to emerge as an opportunity for men to resign themselves to their new modern powerless societal role. Although Hemingway often presents Brett as more of a man than Jake in certain ways, despite Jake’s impotence he still remains more physically masculine. Robert Cohn, serving as a foil to Jake, is followed throughout the novel by emasculation and embarrassment. Cohn is often ridiculed by Jake and his feminization begins before the narrative as Jake indicates through Cohn’s previous relationships. Jake comments that Cohn’s first wife’s “departure was a very healthful shock;” suggesting that Cohn’s wife was the dominating force in this relationship (12). After his divorce, Cohn

begins a new relationship with Frances Clyne. However, Jake indicates that this relationship proves to be equally emasculating and that Cohn “had been moulded by the two women who had trained him” (52).

As the novel progresses, Brett becomes the driving force behind Cohn’s insecurities – much like with the other men. Cohn’s insecurities are exploited when Brett moves on to another man, Pedro Romero. In attempts to “win” Brett back, Cohn attempts to overcome his male counterparts through violence. Through this violent exchange between Cohn and Jake, Hemingway reveals another layer to his “man code;” that masculinity is expressed through violence. However, Cohn is overpowered and ends up crying on his bed in his hotel room. Thus, Cohn is forced to resign himself due to his inability to adequately perform as a man should according to Hemingway. Moreover, Cohn is overcome by his emotions and unlike Jake, completely departs from the narrative. Through the constant belittlement of Cohn, Jake makes himself appear even more powerless. Yet, Jake becomes more and more comfortable with his new social role as the novel proceeds such that by the end, he has accepted that he will never be adequately assured of his masculinity. Jake comes to understand that due to his impotence, he will never be the true physical man in all the ways Romero may be or the ways in which Brett

needs him to be. However, Jake stays committed to maintaining his emotional relationship with Brett because that is where his true power resides.

In her article, "We Could Have Had Such a Damned Good Time Together": Individual and Society in "The Sun Also Rises" and "Mutmassungen über Jakob," Sara Lennox believes that Hemingway attempts to represent a thoughtful cultural pessimism in relation to the possibility for human happiness in the society his characters find themselves immersed in. Lennox states that Hemingway demonstrates “that for Western civilization in the twentieth century, even love is no longer a successful solution to human estrangement” (83). It is through Jake’s disengagement from his male counterparts and acceptance of their power that he comes to understand himself. Lennox, however, disagrees that Hemingway’s novel explores the maturation of Jake over the course of the novel and asserts that “by linking the impossibility of Jake's and Brett's love to a specific historical event Hemingway indicates that his novel is the exploration of a particular historical development rather than an existential statement on the nature of human being” (84). Although Hemingway explores the “Lost Generation” in a post-war world, the progression of Jake’s internal thoughts reveal his self-perception as a human being in a

seemingly meaningless world.
Hemingway’s interest in the issue of masculinity surrounding a wounded soldier stems from his own experience. As an ambulance drive in World War I, Hemingway has a direct connection to his so-called “Lost Generation.” In the article, “In New York It’d Mean I Was a…”: Masculinity Anxiety and Period Discourses of Sexuality in “The Sun Also Rises,” David Blackmore maintains that this novel is a way to fulfill Hemingway’s own need to prove his masculinity through the exploration of his characters’ sexual identities. Furthermore, Blackmore asserts that “Hemingway only deconstructs the closely aligned hetero/homo, masculine/feminine dichotomies long enough to relocate the separating boundaries within each dichotomy” (65). However, Hemingway’s deconstruction and assessment of traditional social roles within this post-war world opens up the possibility to recreate or redefine gender roles, sexual identity and masculinity. Hemingway seemingly deemphasizes a man’s traditional role in society by having a woman, dominate, the interactions within the novel. There is no sense of any comradery among the men in the novel and this is the way Brett intends things to stay in order for her to sustain her powerful role. After the war, individuals’ views on gender changed dramatically. Although Hemingway enacts a clear “man code” or what it means to be a man throughout his novel, the traditional view of masculinity begins to degrade. Masculinity in its traditional sense comes to be irrelevant as soldiers came to understand that their “courage” was an emotional mask for their often feelings of helplessness. As women began to break out of their traditional roles that were constructed and forced upon them by men, the relationship between men and women transformed dramatically. Women slowly became equal to men in many facets of life, including the work sphere. Thus, there is more to being a man that what is presented on the physical level. Many men are belittled when they show emotion for men are not supposed to cry according to societal standards. However, when there is a physical barrier as in Jake’s situation, emotion becomes the motivating factor in connecting with others, especially with women even if the surrounding world seems empty. In the end, Jake and Brett reach a sort of unspoken agreement about the nature of their relationship. Similar to the first interaction at the start of the novel, Brett and Jake take a taxi ride. However, unlike the beginning, the sun is setting and the pair can no longer dance around the status or nature of their relationship. Whilst in the taxi, Brett makes the comment to Jake, “we could have had such a damned good time together” (251). Jake’s response of “Isn’t it pretty to think so?” illustrates his growth and acceptance of his new relationship with Brett (251). Although not explicitly expressed, Brett seems to feel comfortable with the status of her and Jake’s relationship as well. Ultimately, Jake ends up being the most masculine, so to speak, man remaining in the novel; even more so than Pedro Romero. This new masculinity Jake embodies is due to the fact that he has redefined what it means to be a man. Now, for Jake, a man is someone who is not confined by his physical abilities or inabilities but rather someone who has the ability to recognize his weaknesses and makes powerful moves to become the man he himself can be proud of.