AMERICAN IMAGES OF SPAIN, 1905-1936: STEIN, DOS PASSOS, HEMINGWAY A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by David Murad August, 2013 Dissertation written by David Murad B.A., Stonehill College, Easton, MA, USA 2001 M.A., Saint Louis University, Madrid, Spain, 2007 Ph.D., Kent State University, Kent, OH, USA 2013 Approved by __________________________________, Chair, Doctoral Dissertation Committee Robert W. Trogdon __________________________________, Member, Doctoral Dissertation Committee Babacar M’Baye __________________________________, Member, Doctoral Dissertation Committee Kevin Floyd __________________________________, Member, Doctoral Dissertation Committee Mary Ann Heiss __________________________________, Member, Doctoral Dissertation Committee Richard Kelly Washbourne Accepted by __________________________________, Chair, Department of English Robert W. Trogdon __________________________________, Associate Dean, College of Arts and Sciences Raymond Craig ii TABLE OF CONTENTS DEDICATION .................................................................................................................... v ACKNOWLEDGEMENTS .............................................................................................. .vi CHAPTER 1: INTRODUCTION ESPAÑA ES DIFERENTE (SPAIN IS DIFFERENT) ... 1 1.1 Rediscovering the Old World .................................................................................... 1 1.2 Nineteenth-Century Americans in Spain ................................................................... 8 1.3 The War and Disaster of 1898 ................................................................................. 16 1.4 Early Twentieth Century and World War I ............................................................. 25 1.5 The 1920s and 1930s ............................................................................................... 34 1.6 A Transnational and Cosmopolitan Approach ........................................................ 46 CHAPTER 2: STEIN AND THE MAKING OF A SPANIARD ..................................... 59 2.1 1874-1904: Wanderlust in the Pre-Picasso Years ................................................... 59 2.2 1901-1905: A Brief Visit to Spain and a Shift from America to Europe ................ 68 2.3 1905-1906: Meeting Pablo Picasso and Gertrude’s Portrait ................................... 77 2.4 1907-1911: The Picasso of Modern Writing ........................................................... 91 2.5 1911-1923: Cubism, Word Portraits, and Stein’s Spanish Period ........................ 112 2.6 The 1920s and 1930s: Revisiting Spain through Revisions .................................. 126 CHAPTER 3: DOS PASSOS, MODERN TRANSNATIONALIST ............................. 134 3.1 Early Childhood: A Transnational Upbringing with Many Homes ...................... 134 3.2 1916-1917: “Many Spains,” a “Strata of Civilization” ......................................... 141 3.3 1918-1920: Post-War and a New Beginning in Spain .......................................... 162 3.4 1920-1924: “There Remains Only Spain” with Rosinante and Pushcart ............. 186 iii 3.5 1924-1926: Hemingway, Pamplona, and Morocco ............................................... 202 3.6 The 1930s: To a New Republic ............................................................................. 217 CHAPTER 4: HEMINGWAY, STUDENT OF SPAIN ................................................. 221 4.1 Early Years: “I Was Trying to Learn… So I Went to Spain” ............................... 221 4.2 1918-1922: Before the Bullfights, Algeciras and Vigo ......................................... 233 4.3 1922-1923: “Our Objective—To See Bullfights” ................................................. 246 4.4 1923-1924: Transplanting Back to Spain .............................................................. 264 4.5 1924: Pamplona II, “The Undefeated,” and “A Lack of Passion” ........................ 273 4.6 1924-1925: A Curious Student, a Sardonic Insider ............................................... 287 4.7 1925-1926: The Sun Also Rises ............................................................................. 296 4.8 1925-1934: Nada Y Pues Nada ............................................................................. 321 CHAPTER 5: CONCLUSION “THE TIME NOW, THE PLACE SPAIN” .................. 327 BIBLIOGRAPHY ........................................................................................................... 338 iv DEDICATION For Anne and Raj Hoskote v ACKNOWLEDGEMENTS For the past few years, I have had the pleasure of working with Robert Trogdon, a true professional both in the department and in the field. I appreciate his mentoring and advice during all stages of the degree, and I thank him for chairing my dissertation committee, which includes Babacar M’Baye, Kevin Floyd, and Ann Heiss. Kelly Washbourne was the university representative. I wish to thank each member for his/her patient, helpful, and sincere attention to my project; their responses have been meaningful and productive in shaping my approach. Both inside and outside of classes, I have learned a great deal from them, as well as present and former Kent State University (KSU) faculty members, including Masood Raja, an exam committee member, and Tammy Clewell, the Graduate Coordinator. In general, the KSU English Department contains a stellar group of individuals, and I am grateful to the faculty, staff, and peers who have kept this process grounded and yet ever interesting, challenging and yet still manageable. In many ways, I am better for having passed through this program. Along the way, several organizations provided critical support, which helped me gather research, foster ideas, or present my ongoing work in a public venue. From KSU, I wish to thank the Graduate Student Senate for domestic and international travel grants and the English Department and Research and Graduate Studies for grants toward research and conferences. I also wish to thank the Hemingway Society for a Hinkle Travel Grant and a Smith-Reynolds Grant, which were used to defray costs associated with conference participation and research, respectively. Lastly, I could not have embarked upon or finished this degree without the support of my family, especially my sister Susan Murad and my parents Anne and Raj Hoskote. They have been a part of my story as I moved to Madrid, Spain for an MA in English and then to Kent, OH for this PhD. They have cheered during the good moments and heard me out during those moments of frustration and lamentation that ultimately arise during any lengthy professional endeavor. Although my step-father was not able to see the final, written outcome of this degree, I dedicate the project in his and my mother’s name. In unique ways, each has taught me much about purpose, perspective, and perseverance, and I have grown intellectually and professionally just as I have personally. David Murad 9 May 2013, Kent, Ohio vi CHAPTER 1 Introduction: España Es Diferente (Spain Is Different) 1.1 Rediscovering the Old World Spain has often served ironic and contradictory roles for Americans. On the one hand, Spain represents an idyllic or romantic land where peasants, farmers, gypsies, and flamenco dancers live in peaceful and nature-abiding harmony. The sun seems more golden, the wine more savory, the olive trees more pleasant than anywhere else on earth. On the other hand is a darker, more unpleasant streak—a literal “black legend”—where a perceived vagrancy, lawlessness, and anarchy have rendered Spain and Spaniards uncivilized or non-Western. In spirit and geography, Spain occupies an ambiguous space between Africa and Europe, where a sense of savagery, violence, and wilderness are complexly aligned with beauty, mystery, and awe. For Americans over the past few centuries, this has led to a unique fascination, one that has affected not only American receptions of Spanish culture but American conceptions of itself in a growing international and global setting. Hoping to capitalize on this fascination, the Spanish government took specific steps in the mid-twentieth century to promote Spain as essentially unique or “different,” even in relation to its European neighbors. As Afinoguénova and Martí-Olivella argue, in the 1960s the Spanish Ministry of Information and Tourism, within the Franco government and under the direction of Manuel Fraga Iribarne, issued the slogan “España es diferente” (“Spain is different”) “in order to promote a program aimed at economic 1 2 and ideological renovation of the country via tourism” (xi). Fraga and other technocrats of the era pressed for what Raymond Carr suggests was a Spanish “cultural opening” (732): they “saw that a ‘modern’ society could not be contained in the strait-jacket imposed” by the dictatorship of Francisco Franco following the end of the Spanish Civil War in 1939 and pushed for social reforms to modernize the Spanish economy and “cultural life” (731-2). The effect of this “cultural opening” led to the intended boom in tourism: 6 million tourists in 1960 became 34 million by 1972 (Shubert A Social History 209; Raymond Carr 746). In 1982, Adrian Shubert explains, “the number had risen to 42 million, more than one tourist for each Spaniard” (A Social History 209). At the turn of the twenty-first century, the importance of tourism to Spain (and, too, tourism in the world) could still not be overstated. Afinoguénova and