The Sun Also Rises读后感精选10篇
《The Sun Also Rises》是一本由Ernest Hemingway著作，Scribner出版的Paperback图书，本书定价：$14.00，页数：19940101，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。
《The Sun Also Rises》读后感(一)：海明威：败而不垮
海明威的名字太熟悉了，以至于没有好奇去读他的书了。记得大学的文学欣赏课上，高老师讲他的一篇节选的文章，具体什么已经忘记了。他提了《老人与海》还提了另一篇讲一个老人在酒吧的暗处观察人群，说的是老人的尊严和打不垮的精神。所以多年后，我想起海明威就会想起那个倔强的很有学识的小老头高老师。
这本《The Sun Also Rises》（太阳照常升起）是“迷茫的一代”代表作，与《老人与海》相对，它写的是青年一代对于人生的感受。
先不说情节和主题，这本书给我印象最深的是语言和写作风格。海明威写出壮阔的西班牙郊野风貌，又写出非常具有画面感的琐碎日常，写出了惊心动魄的斗牛场面，又写出男女之间情感细微的变化，而整本书没有长而复杂的句子，也没有高深的词语。读来的感觉，就是不动声色，仿佛一个旁观者在波澜不惊地讲述着一些事情，而这波澜不惊背后却是足以让读者震撼的东西。
比如最后巴恩斯和布雷特在一起了，巴恩斯是非常激动的，文章并没有任何正面的心理描写，而只是写他吃了超乎寻常多的食物，又一再问布雷特是否要吃甜点，然后不停地喝酒。这种喜不自胜的感觉油然而生，而巴恩斯的人物形象也更加具体和丰满，这远比任何心理描写要精彩和有分量啊。
海明威认为不需要用文字的雕琢来哗众取宠，而只需要将事情讲清楚就好了，其他是读者的事情了。
而这种写作风格也同时让我想起了周作人，他所追求的平和冲淡的写作风格，以及他曾经在论文学写作中说过的，写作第一要紧的是要写得清楚，而不是多么华丽的语言。
这是一个写作者应有自信，而很多写作者达不到的。当一个写作者我行我素时，那是他最好的时期，也往往是出好作品的时候，而当一个写作者总替读者考虑的时候，大约他也再写不出好作品了。
海明威是一个硬汉式的作家，所以他的作品从主题到语言风格都透着这样的感觉。
这本书的内容非常简单，在醉生梦死和无所事事中暗潮涌动的爱情，最后贪玩的女主人公回过头来觉得还是和男主在一起才是最好的爱情。而在整本书里，基本没有明写爱情，所能看到的就是琐碎的日常，爱情就像这些日常里偶然遇到的不同寻常却又很快被忘记的街景一样，偶然提起，而后忘记，很久之后又出现......这就是海明威的“冰山原理”写作方法了。
书中的主人公和他的朋友爱人过着一种看似逍遥自在却透着深深的迷茫与绝望的生活。每一个平静闲适或者喧闹热烈的场景背后都是巨大得让人窒息的空虚。同样的，作者没有任何这样的词语暗示，但是这种情绪却一直如影相随。
当巴恩斯和比尔在西班牙捕鱼的时候，他们有过一次聊天。比尔说：
Our stay on earth is not for long. Let us rejoice and believe and give thanks. (人生苦短，我们应该及时行乐，确信人生并且常存感恩之心。)
这是一碗鸡汤呢还是一种无奈的自我安慰？而对此巴恩斯只是说，来吃点东西。
面对大的环境，已经不是几句话能够唤醒心中的力量去确信人生的目标，价值和意义了。
主人公巴恩斯是一个在战争中受了伤的人，而他的伤是他身体和心灵的隐痛，这使得他无法与自己爱的女人正常地生活在一起，所以他看着她与其他男人寻欢作乐，甚至帮助她去与她看上的男人约会。看着这一切，他隐忍地承受着，不说也不表现出任何痛苦，所以他给读者的感觉是冷静克制，饱尝痛苦而又清醒地看着这世界还能如何，他是当局者，却有一颗旁观者一样冷静的心。与他相对的科恩，是一个生活上春风得意的人，而最后却败得非常难看。
所以，那些看起来对自己的人生如此笃定自信的人未必就真的是生活的强者，很可能他们不堪一击，稍微的一个波折就足以让他们一败涂地，而看似迷茫的人，却正是因为想要清楚看透这世界和自己，反而有一种更坚韧的力量让自己面对任何不堪，因为他们有内生的力量。败在时代面前，是他们迷茫的代价，而败而不垮是他们迷茫的所得。
虽然我们与书中的主人公所处的时代不同，然而这种价值和信仰缺失带来的迷茫，社会巨大变革和快速发展带来的无助，何尝不是一样的。
迷茫，也许不是一个坏的状态，也不是一个坏词，相反，是清醒的同义词。清醒的思考的却找不到出路的人，都是迷茫的。记得有人说过，你迷茫是因为你读得书太少，而想的事情太多。也就是能力配不上梦想，所以迷茫，这样未免武断，也可能是一个笃定而能力很强的人对于弱者的不能理解和嘲讽。这个世界，从来是胜者嘲笑败者，而败者能做的就是败而不垮，输而不倒，在内心处依然是一个坚强优雅的自己。
书的最后巴恩斯和布雷特在一起了，但是是否真的就永远在一起了，谁也不知道，这是一个充满余味的结尾。我希望他们从此在一起，过上了笃定而安稳的生活，那么迷茫便永远留在青春的时期，我也想也许他们没有在一起，而唯有在巴恩斯的回忆和幻想里，他们有过damned good time。而无论怎样，the sun also rises.
从那个时代到现在，从西方到东方，太阳照常升起，大地亘古长存，而一代一代人迷茫，笃定，死去，如此而已。
《The Sun Also Rises》读后感(二)：Heroes and Vagrants--subjectivity in Ernest Hemingway’s the Sun Also Rises
Heroes and Vagrants
--subjectivity in Ernest Hemingway’s the Sun Also Rises
‘You are all a lost generation.’ It’s almost unverifiable under what circumstances Gertrude Stein said these words to Hemingway. But these words ended up on the inside of the front cover of the latter’s 1926 novel, which along with F. Scott Fitzgerald’s contemporary works sculpted the perception of post first world war generation. These works, though later prestigiously recognized and had bestowed upon both art history and social studies, actually came into being through such a rebellious fashion. That Gertrude must have said the pungent comment in a less than indifferent tone, as if the decadency is self-explanatory.
And the writer chose to depict his defense in an almost paralleled way. He vitally molded the character of Jake Barnes and framed the story within Jake’s angle of vision. And Jake’s narration was arranged in a deliberate manner, that throughout he’s attempt to camouflage the story to be an impersonal one, his indifference and decadency itself had become the element through which the disillusion was made possible for the reader, to peep beneath sea level and get a glimpse of ‘the iceberg’.
The mannerism of writing ‘rationally’ traces back to Hemingway’s early experience in journalism. He omits meticulous writing of emotions, avoiding any attempt of luring a reader into pure empathy and the addressing of historical background were considered to be excessive. It was mentioned, but muted. In Hemingway’s own words the abyss of ignorance ‘strengthens the story’ , and that wound deep enough to become the common life tolls with silence. But in this book the rationality of the narrator should be read separately from the rationality the author subscribes to, though they do share a common faith in the strength of such a technique. Hemingway designates Jake Barnes to narrate in a tone that while objective enough for the reader to grasp characters and their stories, still leaves the story-teller’s subjectivity legible. And it is through such an arrangement that unyielding voices from ‘the lost generation’ conveys.
1 Lady Brett Ashley, ‘everybody’s sick’
The protagonists in the Sun Also Rises are vagrants and therefore heroes and heroine. Despite the differences of their gender, race or personality a shared trauma shapes their lives as the predominant factor. ‘That bloody war’. Those who endeavored to pinpoint the character’s complex, diagnosing Brett Ashley with ‘a personality disorder’ , may have forgotten the unrealistic nature of the text. Readers are staring through the goggle that is Jake Barnes and therefore literal interpretations should be considered unreliable. ‘Brett was damned good-looking.’ Lady Ashley seems to never fail in capturing the heart of her male companions. But the key to such success is solely based on her choice of only reacting to those who is falling for her, while distancing herself from her true love, Jake Barnes. ‘What’s the matter？ You sick？ Everybody’s sick. I’m sick, too.’ ‘It makes one feel rather good deciding not to be a bitch.’
rett and Jake are extreme contraries in a sense while Jake’s disability prisons him from any possibility of romance, Brett the social beauty seems to be receiving all the chivalry the world has to offer. However, their love equates them. Brett lives under the destiny that she shall never be together with the one she truly loves, that there is no happy ending in this life for her, and the pain of such cruel truth may only be mitigated by alcohol and hedonism. Such desperation replicates Jake’s. On the other hand Jake has to tell the story of his loved one’s betrayal in a tone that grief and self-pity was hard to be traced, and such a coolness comes form an understanding that War the Witch curses and no matter disabled (Jake) or very able (Brett), generation are doomed to the same decadent fate, though in various forms.
2 Robert Cohn, ‘don’t be silly’
Incapability appears in both the inadequate man, and also the very adequate. Jake started his story with a recollection of Robert Cohn’s early life. The Jewish man is blessed with a fortunate family, the talent of writing and physical ability competent to be a boxing champion, or to beat up rivals in love within one swing of fist. Yet his vulnerability lies within his shyness, the racial discrimination against him, an inferiority complex that was manipulated by Frances, and very much like Jake, a desperate passion for Brett. Jake relate very much to the passiveness that the two of them shares, while disdaining Robert’s impulses of emotions that lead to traveling, fighting for Brett, or overall, taking a control over his own life. ‘Don’t be silly’, repeats Jake when turning down Robert’s many spontaneous invitations. He (Jake) speaks with contempt when speaks of him (Robert), yet he cannot help but speak of him. Jake has surrendered to act silent and numb toward his own feelings and hurts, while the telling of Robert Cohn’s story alludes to and rekindles them. They are rivals in romance, however, since the inevitable failure shadows both of them, hostility was replaced by sarcasm. Jake does not have to speak ill of Robert. He shows absolute unconcern when he fails and exits the story. The intrusion of the ‘silly’ and rigid was over and Jake maintained his apathetic manner of endurance.
3 Jake Barnes, ‘all a lost generation’
The Sun Also Rises is the story of Robert Cohn, Brett Ashley or even Romero but after all it is the story of Jake Barnes. He is the damaged, the disenchanted youth, the cynic amongst all self-chosen exiles and has given up to feel belong. Yet his heroism lies in this very vagrant act of life. As the victim he comprehends the poison of war years, and his tolerance evolves to become such an indifference that is his wisdom of bearing with life. War keeps haunting him. It haunts him on the verge of physical attachment, as he observes Brett’s playfulness leading her nowhere and neither he nor she is able to ‘do any thing about it’. The fiesta can be read as an allegory about the war. Jake tells about the meaningless violence, how riots are thrilled and promising at first and how it ended up being long and deathful. And during the chaos he observes. He looks at his love once again draws away from him, himself who does not intend to strike out is defeated, and the ones who challenge fate, Robert Cohn, the matadors, rises and fails to prove the era’s tragedy. A tragedy that is concentrated into his eyes and sight of seeing. He ends up being alone as this does not surprise him. He ends up missing Paris but does not determine to go back, and he has been through such nostalgia like this. What happens is that he does not fight. Over or not the war is he does not fight any more. And as the pages turn over this will always be his story.
One’s subjectivity is one’s heroism. Jake is the one writing the story down and the implication screams to the audience louder than any fictitious character can. Jake Barnes, a veteran deprived of dreams chooses to tell us his love story. He looks at his vagrant life without any evasion, and asks for no empathy. He starts and ends the storytelling with another episode of ‘Jake and Brett in the taxi’, and such episodes repeat and he knows the routine and the ending. They would feel close and they would talk. They would imagine impossible happiness drunk and in the dark, being taken somewhere, and only to be alienated. They would know how momentary yet still tries to enjoy. And the sun also rises. Days continue with the dark night that tolerate them to share each other’s companion for just a minute, and the dark memories that linger and haunt them in their sleep. And the sun also rises.
《The Sun Also Rises》读后感(三)：闲言碎语
这本书前后读了两三天，之后有时间应该会再捡起来的。书评谈不上，但抠了几个小小的细节出来，简单整理之后觉得还不错。闲言碎语，与大家分享。
2017.1.12晚
短评一：
arnes,Brett,Cohn,Mike,Bill 随着讲述推进逐渐明晰的几个主角，形象都很鲜明~因为读的原著，所以对于景色描绘以及车行动态推进的句子印象深刻，极其精炼，但极具画面感~但读完之后对于我的启发，相对来说可能就显得很局限了，少之又少，看完的第一个感叹竟是“他们真的太能喝了”，很明显，一遍是远远不够的，找个时间吧，再过一遍，补一补细节。
短评二：
阅读能力有限，所以对于Barnes不举这事儿没有搞明白，看完整本书也没想起来是哪儿点明的，多谢#知乎#，让我找到了答案哈哈哈，当时看到这个地方的确是没有留意：Chapter12 “Another group claims you're impotent” impotent: unable to achieve an erection and therefore unable to have full sex~
2017.1.13：
补充：
再把前面翻来看，原来好早就暗示得很明显了 “She looked up to be kissed. She touched me with one hand and I put her hand away..... You sick？' 'Yes.'”以及下文更直白的“‘It's a shame that you're sick. We get on well. What's the matter with you anyway？' "I got hurt in the war’”
。。。。。。。。。。。。。。。。。。。。。
好书的确是值得来回读的，现在趁着昨晚读完原著的热度来读第二遍，果然有很多新的收获。看至Brett在书中正式出场这一节，初读时没有什么感觉，现在再来看却满是惊心的处理，印象深刻的地方大致有三处吧。
其一，Brett出场时是与一群年轻人欢笑而入的，紧接着这群年轻人拿与Barnes同行的妓女Robin取消，可以说迸发着年轻和荷尔蒙的气息，文中直接写说“I was very angry. Somehow they made me angry” 虽然书中写明这种气愤是来源于他们对妓女的歧视，但细想开来，可能更深层次是来源于自己性功能缺失（尤其是与这群生龙活虎的年轻人相较时）以及无法与Brett灵肉结合所感到的遗憾与愤懑。
其二，当Barnes（我）与Brett共舞时（此时作者已经花费诸多笔墨描写了Cohn对Brett的好感和觊觎），“我”对Brett戏谑道“You've made a new one there”, 当然一方面可以看出Brett在吸引男士方面的魅力，但更深层次地看，仿佛能体会到Barnes在说这话时内心的痛苦、压抑和无奈。
其三，在这一节结束部分（Chapter 3），Barnes和Brett同乘出租，并列而坐，在我看来这才是这本书真正的开篇。一方面是这节的末尾以“'Oh, darling. I've been so miserable,' Brett said”作结，这与全书尾声部分Brett渴望Baenes回归时所打的电报“Am rather in trouble”遥相呼应；另一方面，就连出租这个情节设定也是相互辉映，结尾处“the car slowed suddenly”和此处的“the cab started with a jerk”对仗得天衣无缝。
《The Sun Also Rises》读后感(四)：the sun also rises,so is our life
1
quot;they are not the first-rate flies at all.I only thought if you fished some time,it might remind you how wonderful a time we had" The bus started. Harris stood in the front of the post-office.He waved. As we started along the road he turned and walked back the inn.
2
The three of us sat at the table.and it seems as though about six people were missing.
《The Sun Also Rises》读后感(五)：巨大而真实的浪漫
我真希望自己是在去西班牙，而不是回来的路上读的《太阳照常升起》。
海明威在书里写的是西班牙北部，纳瓦拉自治区的首府潘普洛纳的奔牛节。我去的是主要是南部，目的稀薄，所谓文化景观之旅，却不知怎的竟在马德里稀里糊涂地跟导游去看了一场斗牛。
那天炎热得很，我从提森-博内米萨博物馆出来已近傍晚，匆匆赶回旅馆加入了我们不到十人的小团。马德里的斗牛场Las Ventas位于东部的萨拉曼卡区，是座巨大的圆形红砖双层建筑，结构有点像福建土楼，内部宽阔宏大，能容两万五千人。我们随人流涌进巨大的场地，四围的热烈氛围就像一场美国棒球赛，群情振奋的男人们一手拿啤酒，一手拿从小贩那里2欧租来的屁股垫坐在露天看台上蠢蠢欲动，大声喧哗。当然也有女的，大部分都是像我们这样的游客，瞪大眼睛傻乎乎地也以为接下来面对的就是场不痛不痒的棒球赛呢。
关于斗牛的描述，没人能比海明威写得更好。他的语言干脆利落，都是短句子，把潘普洛纳的圣费尔明节写得节奏分明，尤其奔牛和斗牛，精彩得仿佛体育解说一样令人身临其境。这其中最让人难忘的便是年轻的斗牛士罗梅罗在前一晚和犹太人科恩恶斗之后再上斗牛场，那种带着悲剧宿命感的优雅，那种在生死搏斗中无言的生命情感流露，读得人心里发疼。比如这段：
“他轻柔而稳健地把牛引开，然后站住，稳稳地和牛面对面，向牛伸出斗篷。公牛竖起尾巴冲过来，罗梅罗便在公牛面前舞动双臂，脚跟着地旋转。他湿润的、沾着泥巴分量加重的斗篷像船帆一样张开鼓满，他就在牛身前鼓着斗篷转身。一个回合末了，他再与牛面面相对。罗梅罗笑了。公牛又要来较量一番，罗梅罗的斗篷便再次胀满，这次是朝另一个方向。每次他都让牛极近地擦身而过，以至于人、牛和在牛面前鼓风旋转的斗篷全变成轮廓鲜明的一体。一切是那么缓慢，那么有节制，好象他在把牛轻轻摇动，哄它入睡似的。”
现实中马德里的那场斗牛却斗得拖泥带水，看得人异常惊恐。海明威书里说担心的牛伤马的顾虑早被马身上裹得严严实实的竹盔甲给打消了。盔甲马上的一个骑士手执长矛，上场来没兜两圈就一投手下去给公牛背上结结实实扎了一茅。扎完骑士和盔甲马就离场了，愤怒的牛在圆场里惊慌地扑腾，背上留下鲜红的血。斗牛士这才真正入场，身后跟了四五个助手，各拿一面小红布分散牛的注意力。这以多对一的场景让我很是诧异，想象中一人一牛优雅的死亡之舞原来完全不是那么回事。这位斗牛士的身手也远没书中的罗梅罗俐落，数次刺牛才结束缠斗，场内沙地迷漫的不是尊严，只有死亡的恐怖气味。
回家后我又把《太阳照常升起》读了好几遍，试图从书中理解斗牛这项我看来残忍野蛮的运动，为什么让那么多西班牙人趋之若鹜。海明威在描述罗梅罗终于刺杀公牛时对人牛瞬间融为一体的意向有所点拨，但更透彻的似乎更是书中那个迷一样的放纵女人勃莱特。
她首先是美的，生机勃勃的，不管不顾的恋爱的美。不管是周旋于伯爵、“我”还是未婚夫迈克之间，不管是在众人的目光下旁若无人的舞蹈，还是见到罗梅罗之后不顾后果地私奔，这个女人的生命力都令人倾倒。什么是美？绝色的容颜和曼妙的身姿固然重要，但这二者却都比不上一个人从内心深处绽放出的生命之光，那种明亮到让命运也为之让路的义无反顾的生命的力量。勃莱特就是具有这种光芒的女人，她与生活中这些角色一一来往的过程也是她与命运过招的过程——旋转、直面、擦身而过，最后直击要害。勃莱特是命运的斗牛士，她与“我”的绝望爱情是书中那没直接描写的一切的起因，她必然被击倒过，但她并未因此便向生活服软，她在持续不断地追求爱。这种不屈服的追求，使她美丽。
她又是悲怆的。在她午夜巴黎大喊大叫一定要见“我”的夜里，在她目不转睛地盯着罗梅罗无法自拔的目光里，在马德里寒冷冬天的计程车里，作为读者的我都不由自主地感受到一种深切的悲哀。勃莱特搏击命运，可她也像斗牛场里的斗牛，被刺伤，挣扎流血，注定拥抱失望。这个人物，与“我”巴恩斯和她的未婚夫迈克一样，都代表了“迷惘的一代”——他们不屈服于时代和命运的安排，但面临战争遗留的社会与人性创伤，在精神上却不知何去何从。这种像海洋一般汪洋蔓延的巨大悲怆感，反衬出打不垮的生命力之璀璨夺目，简直就是划过黑色夜幕的颗颗流星，短暂绝望，故而凄美。
书中唯一一个负面人物只有犹太人科恩——精神萎靡，缺乏个性，优柔寡断。但即使这样一个人物，也有其可爱之处——他学习拳击的初衷，他娶了第一个对他好的女孩，这不也是对自己极度自卑精神状态的某种抗争吗？
不同的是，科恩打败了，在他对勃莱特的追求里，在他与罗梅罗的恶斗中，尤其后者，一个才十九岁的孩子，一个真正的与死亡亲密舞蹈的斗牛士，被击倒十几次也不肯罢休，直到虚弱得坐在地上起不来也还要用尽全身力气给科恩脸上狠狠一拳回击。勃莱特当然要爱罗梅罗，“我”也爱，所有的迷惘一代当然要爱上这样的罗梅罗！这就是向死而生啊，这是迷惘者在放纵、徘徊和一次又一次次抬头中所最终追寻的精神力量，在通往死亡的途径上毫无保留拥抱生命！
“在斗牛场中央，罗梅罗侧向我们，面对公牛，从红巾褶缝里抽出短剑，踮起脚，目光顺着剑刃朝下瞄准。随着罗梅罗朝前刺的动作，牛也同时扑了过来。罗梅罗左手的红巾落在公牛脸上，蒙住它的眼睛，他的左肩随着短剑刺进牛身而插进两只牛角之间，刹那间，人和牛的形象浑为一体，罗梅罗耸立在公牛的上方，右臂高高伸起，伸到插在牛两肩之间的剑的柄上。接着人和牛分开了。罗梅罗身子微微一晃闪开，随即面对着牛站定，一手举起，他的衬衣袖子从腋下撕裂了，白布片随风呼扇，公牛呢，红色剑柄死死地插在它的双肩之间，脑袋下沉，四蹄瘫软。”
这大概是我读过最浪漫的一本书了。所谓斗牛的真谛，与莫西子诗那首《要死就死在你手里》的内核其实是一样的，都是人在迈向理想途径上背向死亡最真挚热烈的情话。海明威的语言刚性而平静，简短有力，节奏斐然，不拖泥带水多讲一个字。正是这样的语言，于平静中包裹烈焰，点滴见无垠，让人久久震撼。
原来这就是巨大而真实的浪漫，让人在终于领悟之后无法多讲一言，只有深深的，深深的感激。
《The Sun Also Rises》读后感(六)：英文原著
海明威的第一部长篇小说。用词不深，句式简洁，所以即使我这样的水平，阅读起来也不困难。小说情节比较简单平淡甚至有点乏味，就是几个青年男女泡吧喝酒钓鱼旅游狂欢恋爱。把其归类于游记小说也不过分。其中海明威更是花费大量笔墨在西班牙狂欢节当中，特别是对其中的斗牛活动有着非常细致生动的描绘，斗牛士的形象也是全书所有人物中最完美的形象。海明威有一个著名的写作原则：“冰山原则”，即露出水面显而易见的冰山的八分之一是具体可见的文字和形象。而那八分之七的隐藏在水底的冰山的重心，是情感和思想。作者写作能简不繁，要给读者留足想象的空间。有点类似于中国传统山水画的留白。而这部小说也很好的贯彻着“冰山原则”，水面的八分之一，简约，含蓄，嘎然而止，给读者留下充足的想象空间。至于那隐藏的八分之七，则是观者自知了。
《The Sun Also Rises》读后感(七)：虛無感
海明威那一類“冰山派”我心裏怕怕，談不上喜歡，但是也挺有意思，特別是閱讀大量經典類之後，看他的作品，會覺得眼前一亮。語言簡潔平白，cut off描寫性語言和大量形容詞。形容一個人，不是描寫他的外面衣著，而是看似無意義的日常談話，用人與人之間的關係去表現。例如對Cohn，說他外在是普林斯顿塑造，內裏由兩個女人塑造，但依然殘留自己一點boyish。這麽一個人的性格立馬生動了（但為何生動，要理解普林斯頓的典型，還有這兩個女人的性格，還有他所謂的boyish。於是整個故事看似没多大意义的文字，一下子連接起來，讓人感受到海明威所說的冰山原理，故事真的是極簡，不可刪減了。)人物說話很美國式，也是極簡的表現。例如Brett在Jake公寓裏用了幾個“talked to/with”的句式去解釋了她晚上做的一連串事情。想吐槽的是，酒精出鏡頻率極高，海明威是不是酒鬼啊？這個故事裏面的男女，跟現今西方的男女沒多大區別。淡淡的難言寂寞和虛無感。