Professor Wai Chee Dimock concludes her discussion of To Have and Have Not by showing how, in the context of the Cuban Revolutions and the Great Depression, characters devolve into those who “Have” and those who “Have Not.” While protagonist Harry Morgan may look like a political and economic “Have Not”--he neither supports the revolution nor possesses enough money to extract himself from its seedier operations--his ability to bring happiness to his wife Marie makes him a social “Have” in a more profound sense. Dimock casts Harry as a “mediated Have,” someone who, through the eyes of others, might be said to be in possession of something vital, denied to others with material and political satisfactions.

Warning: This lecture contains graphic content and/or adult language that some users may find disturbing.

1. Introduction
2. Hemingway's In Our Time (Part I)
3. Hemingway's In Our Time (Part II)
4. Fitzgerald's The Great Gatsby (Part I)
5. Fitzgerald's The Great Gatsby (Part II)
6. Faulkner's The Sound and the Fury (Part I)
7. Faulkner's The Sound and the Fury (Part II)
8. Faulkner's The Sound and the Fury (Part III)
9. Faulkner's The Sound and the Fury (Part IV)
10. Hemingway's To Have and Have Not (Part I)
11. Hemingway's To Have and Have Not (Part II)
12. Fitzgerald's Short Stories
13. Faulkner's As I Lay Dying (Part I)
14. Faulkner's As I Lay Dying (Part II)
15. Faulkner's As I Lay Dying (Part III)
16. Hemingway's For Whom the Bell Tolls (Part I)
17. Hemingway's For Whom the Bell Tolls (Part II)
18. Hemingway's For Whom the Bell Tolls (Part III)
19. Hemingway's For Whom the Bell Tolls (Part IV)
20. Fitzgerald's Tender Is the Night (Part I)
21. Fitzgerald's Tender Is the Night (Part II)
22. Faulkner's Light in August (Part I)
23. Faulkner's Light in August (Part II)
24. Faulkner's Light in August (Part III)
25. Faulkner's Light in August (Part IV)

This course examines major works by Hemingway, Fitzgerald, and Faulkner, exploring their interconnections on three analytic scales: the macro history of the United States and the world; the formal and stylistic innovations of modernism; and the small details of sensory input and psychic life.

Warning: Some of the lectures in this course contain graphic content and/or adult language that some users may find disturbing.