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  1. Farewell, my Loves
  2. A Farewell to Arms Summary and Analysis of Book Three, Chapters XXV-XXXII
  3. What are You Studying?
  4. Farewell Apathy (Farewell Apathy, #1) by Jenn Hype

I kissed both her shut eyes. I thought she was probably a little crazy. It was all right if she was. I did not care what I was getting into.

Farewell, my Loves

This was better than going every evening to the house for officers where the girls climbed all over you and put your cap on backwards as a sign of affection between their trips upstairs with other officers. I had treated seeing Catherine very lightly. I had gotten somewhat drunk and had nearly forgotten to come but when I could not see her there I was feeling lonely and hollow. Through the other noise I heard a cough, then came the chuh-chuh-chuh-chuh- then there was a flash, as when a blast-furnace door is swung open, and a roar that started white and went red and on and on in a rushing wind.

You are better with her without me. You are purer and sweeter. I can tell. I do not see it myself but I feel it a little.

Chris Hedges, "America: The Farewell Tour"

What you tell me about in the nights. That is not love. That is only passion and lust. When you love you wish to do things for. You wish to sacrifice for. You wish to serve. It was a bad trip. We were sidetracked for a long time this side of Mestre and children came and peeked in. I got a little boy to go for a bottle of cognac but he came back and said he could only get grappa. There was sunlight coming in through the shutters. I saw the big armoire, the bare walls, and two chairs. My legs in the dirty bandages, stuck straight out in the bed.

I was careful not to move them. I was thirsty and I reached for the bell and pushed the button. I heard the door open and looked and it was a nurse. She looked young and pretty. I thought I had never seen anyone so beautiful. A doctor who cannot take out your appendix properly will recommend you to a doctor who will be unable to remove your tonsils with success.

These were such doctors. I don't want anybody else to touch you. I'm silly. I get furious if they touch you.

A Farewell to Arms Summary and Analysis of Book Three, Chapters XXV-XXXII

It was as though we met again after each of us had been away on a long journey. The other notable effect of the allusion is that while Henry has proved himself to be an intellectual man, here he delves into a highly literary mode while providing greater access to his thoughts than ever before.

by Ernest Hemingway

In fact, this passage is the closest so far to "stream-of-consciousness" writing, a narrative style pioneered by James Joyce and William Faulkner in which the writer approximates the rapid, oft-chaotic thought patterns of the character. After they take many side roads to avoid overhead planes, Aymo's car gets stuck in the mud at noon about ten kilometers from Udine. The two sergeants they have been giving a ride walk off despite Henry's orders for them to help. Henry fires his pistol at them and hits one; the other escapes.

Bonello asks for Henry's pistol, then goes over to the fallen sergeant and shoots him twice. The drivers try several tactics to get the car out of the mud, but are unsuccessful. They pile into the other car with the girls but soon get stuck in a muddy field. They go on foot to a road, and Henry gives the girls some money and directs them toward a main road, where he says they will meet other Italians. The drivers see other cars stuck in the field. Bonello is happy he killed the sergeant, the first time he has killed anyone.

They walk quickly and silently up the road. The men barely discuss the murder of the sergeant, and when they do, it is with humor. However, they quickly change the subject and then do not speak at all.

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Though Hemingway has written the action of the murder so quickly that it seems almost like an insignificant event, the episode deeply affects the men despite their attempts to hide it. But it remains unclear how Henry feels about the murder, because the episode is written so succinctly and matter-of-factly. Hemingway writes this part, as he generally writes, under the influences of journalism and the literary movement of Naturalism.

Both emphasize objectivity over subjectivity and refrain, especially Naturalism, from passing any moral judgment on actions. Therefore, neither Hemingway nor Henry expresses any type of emotional or moral response to the murder; it simply happens. Nevertheless, such a detached viewpoint does make a moral statement: there is little room for morality in war. Does the sergeant deserve murder for abandoning the drivers? Does he deserve it any more than the other sergeant who managed to escape?

These questions are moot in war. Seemingly contradictory behavior, such as the normally calm Henry's act of violence, and even overly violent behavior, such as Bonello's bloodthirsty execution, can be excused in a chaotic, sometimes meaningless world. Henry and the drivers reach a river where abandoned trucks and carts sit by a blown-up bridge. Henry leads them to a nearby railway bridge. They cross it and Henry sees a German staff car, then German bicycle troops, cross another nearby bridge before disappearing up the road.

What are You Studying?

Henry is angry that the main bridge they crossed was not blown up, while the smaller bridge before was destroyed. Still, his job is to get three ambulances to Pordenone, and now it is doubtful he can even get to Udine. Henry leads them along the railroad track. They duck when another group of German bicyclists passes by on the road. The drivers establish that they were spotted, but that the Germans are after something else. They walk on and hear firing ahead.

As Henry leads them down a side road by a plain, a shot is fired at them.

Farewell Apathy (Farewell Apathy, #1) by Jenn Hype

The drivers scramble up a muddy embankment, but Aymo is shot and killed. The drivers believe the Italians, and not the Germans, shot at them - the men's attempt to cross the field scared the Italian rear guard. The men decide to hide out near Udine and go through when it gets dark. They cross the field in the rain and enter an empty farmhouse. Henry lies down in the hay in the barn.

Piani joins him and tells him that, afraid he would be killed, Bonello left to become a prisoner. They drink wine and look out windows to make they are safe, and later leave. They walk on through the rainy night, a few times coming close to Germans. They later join some vehicles and troops. Henry and Piani think Bonello was a fool for becoming a prisoner, but Henry decides not to file a report that will cause trouble for Bonello's family. The soldiers, some of whom drop their rifles, believe the war is over, but Piani disagrees. Henry wonders why the Germans do not confront them. Before daylight they reach a bridge over a flooded river.

Henry is forcibly taken by several Italian battle police and interrogated for his "'treachery'" that led to the Italian defeat. They interrogate a lieutenant-colonel as well before taking him aside and shooting him. The officers interrogate more men, believing they are Germans in Italian uniforms, and shoot them. When he has an opening, Henry runs into the river, stays underwater, and lets the current carry him downstream. He is shot at, but he floats away too quickly to be caught.

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Henry's anger over the main bridge's not being blown up is the first time he reveals true anger; prior to this, he has been dispassionate except when with Catherine, and hardly seemed fazed when he shot at the sergeant. The bridge episode only foreshadows the Italian military incompetence and chaos depicted later. The chaos infects everyone. Bonello deserts the men even though they stand little chance of being captured by the Germans. His fearful act comes after the fearful act of the Italian rear guard that shot Aymo. As Piani says, however, Bonello and the rest of them simply does not believe in the war, and he does not want to take the slightest chance of being killed.

Ironically, Bonello might have been killed had he stayed with Henry, since the Italian army turns on its own men. The chaos and brutality here is as horrific as anything in the war, perhaps more so for its total injustice. Again Catherine speaks negatively about the unborn baby, calling it "the little brat. When talk steers toward their families back home, Catherine is more interested in discussing appearances: her hair and Henry 's beard.

Catherine is so obsessed with the way things look on the outside, maintaining her ideal yet superficial love, that she is uninterested in the realities that may complicate their life, such as knowing each other's family members. Cutting off her hair would symbolically remove the protection, the covering so to speak, in their relationship, exposing reality, forcing them to see it. The chapter ends with ominous foreshadowing coming through Henry's emotional state. After he suggests that falling in love with Catherine all over again would "ruin" him, Catherine says, "Yes.

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