This document analyzes how Ernest Hemingway's A Farewell to Arms and F. Scott Fitzgerald's Tender is the Night portray Europe as wounded following World War 1. It discusses how the characters exhibit physical and mental wounds through heavy drinking and detachment. John Singer Sargent's paintings from the war, such as Two Soldiers at Arras and Gassed, similarly depict Europe as unfamiliar and unsettling. The document argues that the novels and paintings reflect the fractured identities and political disenchantment of the post-war "lost generation." Physical wounds, scars, and the inability to heal represented the vulnerability and foreignness experienced by American expatriates in 1920s Europe.

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To what extent is there a shared understanding of Europe in the American texts we have studied?
‘One writes of scars healed, a loose parallel to the pathology of the skin,
but there is no such thing in the life of the individual.
There are open wounds, shrunk sometimes to the size of a pin-prick but wounds still’.1
Following the Great War, I believe that Europe as a collective space struggled to maintain its grip as a social
and political influence. We might expect that in line with the roaring twenties, Europe prospered and offered
an escapism for an American expatriate generation. And yet this does not appear to be the case by the end of
the decade. It is evident that the First World War deeply overwhelmed not only the political and social
structures of Europe, but additionally fractured creative outposts, leaving a trail of writing and artwork
profoundly troubled by the aftermath of conflict both in Europe and America. In light of a selection of John
Singer Sargent’s war paintings, and through a reading of F. Scott Fitzgerald’s Tender is the Night (1934) and
Ernest Hemmingway’s A Farewell to Arms (1929) this paper will demonstrate that following the Great War
rather than allowing a means of escape, Europe was perceived as wounded. I do not believe that the
symbolism of injuries, both physical and mental, have been given the critical attention they deserve. In this
essay, I will focus on how Hemingway and Fitzgerald share an understanding of the fractured nature of
Europe through their fixation on physical wounds, scars and injuries. Faced with a number of characters
adrift in Europe with no sense of home, the slaughter of WWI triggered a shared sentiment of denouement
within the late twenties and thirties that could not be recovered - and like the novelists, the characters we are
faced with are very much the expatriates of a lost generation.
1 F. Scott Fitzgerald, Tender is the Night (London: The Alcuin Press, 1953) p.210. All further references to this edition are
provided within the text.

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Firstly by drawing on John Singer Sargent’s study, Two Soldiers at Arras (1917) through the deviations
assumed of the resting soldiers it is possible to understand that Europe within an artistic sphere was
imagined as a foreign and unsettling landscape. 2 There is a disquieting ambience assigned to the painting,
through a technique of sweeping brush strokes and natural earthy colours representing a languid and wistful
setting that contrasts the imagination of total war. The painting also offers a number of similarities with one
of Sargent’s earlier artworks, Group with Parasols, (1904-5) which envisions a similar scene in the Alpine
mountains. The similarities such as the watercolour technique and layout suggests an association closer to
the pastoral genre, rather than that of a warzone. 3 This appears to follow the meditations of Paul Gough’s
study, A Terrible Beauty: British Artists in the First World War, which draws focus to how ‘Sargent homed
in on a succession of subjects that epitomized the odd disjunctions of the war’.4 Set with the challenge,
‘(ideally suited to Sargent’s American nationality)… to find a subject that encapsulated British co-operation
with her most powerful ally’,5 through focussing on the unusually beautiful images of war that Sargent
responds to the despondent geography of Europe. The connection I aim to establish between Sargent and
the two writers is that the particular strangeness and unfamiliarity assumed of the warzone paintings is
similarly exposed through the texts, and is a result of the wounded nature of Europe.
JOHN SINGER SARGENT, TWO SOLDIERS AT ARRAS (1917) JOHN SINGER SARGENT, GROUP WITH PARASOLS (1904-5)
2 John Singer Sargent, Two Soldiers at Arras (1917) <http://www.telegraph.co.uk/comment/letters/5934000/Motives-of-those-who-fought-
on-the-Western-Front.html> [Accessed: 14/04/15]
3 John Singer Sargent, Group with Parasols, (1904-5) <http://www.bbc.co.uk/programmes/p02j6yvs/p02j6yrs> [Accessed:15/04/15]
4
Paul Gough, A Terrible Beauty: War, Art & Imagination (1914 – 1918) (Sansom & Co, 2009) p.198.
5
Gough, p.198.

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To turn to the texts, it is particularly within Tender is the Night (in a chapter aptly named Casualties) that
injuries affect the definition of national identities. Although Dick and Nicole appear to be using Europe as a
space of idle escapism from city life, a detrimental breakdown in both relationships and careers is quickly
exposed through the hedonism encountered there. A strong undercurrent of cynicism is born in the American
perception of both Europe and their homeland which is documented in the 1955 Journal of Modern History,
that reveals:
They blamed [the president] for tangled Russian relations, for the severe wartime curtailment of civil
liberties and for the failure to stay domestic reaction to a liberal programme of post-war
adjustment’.6
The journal highlights a strong resentment for American post-war policies, and a lack of identification as
things began to fall apart in America. This resonates with the diminishing sense of self-identification
occurring within the novel and whereas America provided an unsuitable reality that Nicole Diver refers to
as, ‘the magnificent façade of the homeland,’ (p.258) so too does Europe appear to be understood as
incompatible, as the American identification towards the continent appears conflicted.
As, ‘the engine whistled… momentarily dwarfing the shots in significance’, (p.169) Fitzgerald marks the
retreat from Paris with the violent murder of an Englishman. The scene becomes troublesome as, ‘– they had
an awful time finding out who, because she shot him through his identification card’ (p.170). The punctured
card ironically suggests an emptiness and perhaps marks the end of expatriate identity. Whereas it can be
said that the city clung to its bohemianism, the unidentified Englishman resembles the anonymous soldiers
lost in the war and suggests that the anxieties surrounding identification are still rife within the city. The
episode also reveals a detached image of the Divers, ‘as if nothing had happened, the lives of the Divers and
their friends flowed out into the street’ (p.171). I believe the vision of the characters flowing onto the street
strikes a link to American Prohibition, a law which was lifted only one year before the publication of the
6
Selig Adler, ‘The War Guilt Question and American Disillusionment’, The Journal of Modern History, Vol. 23, No. 1 (March 1951) p.10.

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novel. The loose and detached nature of their movement, not only resembles confiscated alcohol spilling
into the gutters, but further reveals a drunken, blurred depiction of the expatriates. Furthermore the years
surrounding the writing of Tender is the Night also chides with the height of Fitzgerald’s own problems with
alcoholism as by 1930, ‘Fitzgerald had entered the kind of nervous, alcoholic despair that has its victims
needing to start some days with a drink or two’.7 As Gerald Kennedy suggests that, ‘Tender is the Night
stands as a tortured record of the psychic and cultural confusions of modernism’,8 I would argue that
following the complete realignment of frontiers that happened after the Great War, the loss of national
identity appears to stretch further than that of the idle rich upon the Riviera and reveals that Europe’s
identity was unstable, incomplete and certainly confused.
Joseph McMahon in his critical study City for Expatriates talks of France as a location where the moment
can be seized. Whereas he is not wrong for suggesting, ‘they did look upon the capital as the place where the
present could be created on their own terms’,9 I do however disagree with McMahon’s suggestion that the
expatriates, ‘had found no meaningful past where they came from; they sought no past in Paris to replace the
one they had lost’.10 His study of twenties society implies that Europe offered a modern lifestyle with little
historical ties, however I believe McMahon overlooks the haunting memory that war had planted on both the
European and American continents. Within A Farewell to Arms it is possible to realise that characters self-
inflicted wounds demonstrate a fear of barbarous conflict, but also responds to a political passivity and
social disengagement that exists in post-WW1 Europe. Published in 1929 during the ‘années folles’ (Crazy
Years) we must wonder why Hemingway’s war novel had such success. Malcom Cowley’s review of A
Farewell to Arms suggested that the book’s success was a result of ‘having expressed, better than any other
writer, the limited viewpoint of his contemporaries, of the generation which was formed by the war and
7 Tom Dardis, The Thirsty Muse: Alcohol and the American Writer (USA: Ticknor and Fields, 1989) p.113.
8 Gerald Kennedy, Imagining Paris: Exile, Writing and American Identity, (New Haven: Yale University Press, 1993) p. 192.
9 Joseph H. McMahon, ‘City for Expatriates’, Yale French Studies,No.32 Paris in Literature, 1964,p.146.
10 McMahon p.146.

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which is still incompletely demobilised’.11 What is striking for the modern reader is Frederic’s continuous
drinking within hospital which suggests a desire for numbness. As the nurse comments, ‘you can’t be
blamed for not wanting to go back … but I should think you would try something more intelligent than
producing jaundice’,12 Frederic is identified as being indifferent whether he loses his sick leave. Through the
soldier’s lethargic and deflated expressions, Sargent’s Two Soldiers at Arras also hints to such political
indifference. By using the artwork as a point of historical reference, the images painted during the war
resemble the languid lifestyles of our expatriates, perhaps exposing minimal progression between the war
and the writing of the late twenties. As Cowley continues, ‘this generation … still retained the attitude of
soldiers,’13 the statement reveals the post-war generation as possessing a similar conflicted mind-set to that
of soldiers. In light of the immediate criticism to the writing, the political dissatisfaction reflects a generation
unable to embrace their surroundings as a result of the fractured social structures.
There was already knowledge surfacing about the negative effects of alcohol within this period which can be
seen in the relationship between Hemingway and Fitzgerald. Tom Dardis reveals that Hemingway noticed
Fitzgerald’s ‘creative impotence was due to his getting the booze mixed up with the writing process itself’.14
Similarly within a letter between Fitzgerald and his wife Zelda, Dardis presents a recognition of self-
inflicted alcoholism through Fitzgerald’s statement, ‘we have ruined ourselves – I have never honestly
thought that we ruined each other’.15 Although not implicitly a physical wounding the effects of alcohol
reveal a transformed sense of self. As our expatriates desperately seek the numbness and comfort of the
bottle Europe as a continent is visualised as unbearable in reality, exposing the disengagement with society
that resulted through alcoholism. The political atmosphere surrounding the war is clearly reflected through
the self-inflictions of wounds within the texts.
11 Frank L. Ryan, The Immediate Critical Reception of Ernest Hemingway (University Press of America, 1980) p.17.
12 Ernest Hemingway, A Farewell to Arms (London: The Trinity Press, 1957) p.128. All further references to this edition are
provided within the text.
13 Ryan, p.18.
14 Dardis, p.161.
15 Dardis, p.113.

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The helplessness also assumed of Frederic’s physical wounds within A Farewell to Arms shines light upon
the vulnerability exposed of the continent. The character’s dependence on others following his injury could
tie to Gerald Kennedy’s statement that reveals both Fitzgerald and Hemingway, ‘composed patently
autobiographical meditations on loss and failure, on the costly profligacies associated with life abroad’.16 In
light of the writer’s assessments on ‘the damage incurred during their years in France’, 17 Frederic’s
wounding in Italy exposes an air of cynicism that is similar to the results of the writer’s reckless European
journeys. The hospital in Milan additionally establishes a location that is not only haunted by war injuries
but also helpless in healing them. Through their dialogue, the caricature-like doctors heighten the corrupt
sense of the healing process:
‘The left leg, please,’
‘That is the left leg doctor,’
‘You are right. I was looking from a different angle.’ (p.88)
Dr. Valentini similarly responds to Henry with, ‘a Drink? Certainly. I will have ten drinks’ (p.91). Like the
alcohol abuse within both novels, the process of healing appears blurred by an aura of poor skills and
corruption. The perversion of healing also relates to the larger issues within a decadent culture of twenties
Europe. For instance you only need to look to the Bright Young Things18 that stormed England with
licentious parties, to understand the debauchery that characterised European socialite life. Henry also mocks
the doctors with his statement, ‘I want it cut off… so I can wear a hook on it’ (p.88). The severing of his
wounded leg reveals a connection with the greater themes of expatriate living - which will eventually see
both Hemingway and Fitzgerald leave Europe. By looking back to McMahon’s understanding of expatriate
life, he explains how the Fitzgerald’s’ similarly felt such detachment as, ‘the Fitzgerald’s case was the
16 Gerald Kennedy, French Connections:Hemingway and Fitzgerald Abroad (London: Macmillian, 1998) p.318.
17 Kennedy, French Connection, p.318.
18 The Bright Young Things was a term coined by the press that refers to a group of young socialites in the 1920’s that threw
elaborate parties within London. Attention was focussed on themas a result of their frivolous drinking and drug usage.

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situation of transplanted Americans living among other transplanted Americans, courting and then
experiencing all the debility any transplant is liable to’.19 As the doctor, ‘declared that the foreign bodies
were ugly, nasty and brutal,’ (p.86) like the invasive force of the shrapnel in Frederic’s leg this image
elucidates the strong feeling of foreignness of the expatriates. Uprooted by war neither America nor Europe
appears to allow sanctuary.
Sargent’s renowned artwork Gassed (1919) also reveals an array of inconsistencies that, like Frederic’s
experience in the hospital, resemble the corruption of the continent’s healing process.20 Despite the abrupt
nature of the title, not only does the image allude to the capacity of human resilience in the face of barbarity
but offers another image where direct conflict is omitted (like Two Soldiers at Arras). Commissioned as an
epic the painting in fact possess a certain calmness. In his study of Gassed, James C. Harris talks about the
mixed reception of the painting as ‘E. M. Forster felt it was too heroic and that it did not sufficiently
emphasize the obscenity of the war’21. I alternatively believe that the painting is powerful because of its
avoidance of shrapnel wounds and front line action, as it is certainly true that the effects of mustard gas were
still detrimental despite not being visually disturbing. The painting also evokes a number of odd disjunctions
such as the soldiers playing football in the background. Susan Malvern offers a reading of the football match
that deposits a positive stance:
The foreground displays the war’s victims, all legible to the viewer as whole and unmutilated
bodies… In the background, the football match and the encampment, all suffused in the warm glow
of the sunset, completes the myth of redemption.22
Malvern implies that there is an existence of redemptive qualities that locates the painting a symbolic for
salvation and hope. However, I would argue that the muddle of bodies in the foreground of the picture are
19 McMahon, p.149.
20 John Singer Sargent, Gassed (1919) http://www.iwm.org.uk/collections/item/object/23722> [Accessed 15/04/15]
21 JC Harris, ‘Gassed’, Arch Gen Psychiatry.2005;62(1):15-18) <doi:10.1001/archpsyc.62.1.15> [Accessed 30/04/15]
22 Susan Malvern, Modern Art, Britain and the Great War (U.S.A: Yale University Press, 2004) p.105.

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far from ‘whole and unmutilated’; the bland palette blurs the divisions between individual men, who are
collapsed in clear fatigue, and whose eyes are obscured by bandages that, while perhaps not covering visible
wounds, might still at least be seen to be obscuring both their own vision, and our view of them as distinct
persons. In light of some of the themes I have discussed in this essay, it seems to me that like the
disillusionment faced by our characters, this too can be said of the sixty-two year old Sargent placed in the
warzone, as his painting in my eyes points to the fractured nature of the continent’s recovery.
JOHN SINGER SARGENT, GASSED (1919)
Whereas on the surface the French Riviera appeared somewhat idealistic, as the ‘deferential palms cooled its
flushed façade, and before it a short dazzling beach,’ (p.65) the pastoral setting also points towards the
sadness and solitude of expatriate living. During the trip to Thiepval battlefield, Diver’s suggestion that,
‘this kind of battle was invented by Lewis Carroll and Jules Verne’, (p.136) marks the end of a romantic era,
as honour is replaced with decadence and alcoholism, exposing the corruptive tendencies within Europe. If
we look at the duel that occurs within Tender is the Night, similar to the alcoholism of A Farewell to Arms,
we can also see a reflection of unlawful recklessness and political dissatisfaction within Europe. The reason
for the duel remains ambiguous for the reader, however the chief interest of inflicting injury upon another is
all but obvious. Through Barban’s mockery, ‘I’m not accustomed to such farces – your man must remember
he’s not now in America’ (p.124) the character evokes a hostility to American customs and ridicules the duel

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as a charade of cowboy values, proving the strain placed on relationships between expatriates. Referred to
as, ‘a circus, with McKisco as the tragic clown’ (p.121) the duel takes on both a sinister and a scorned role
within the narrative, which is heightened by drunkenness. Based on the antics of Gerald and Sara Murphy,
Fitzgerald’s inspiration could also reveal a disenchantment upon the Riviera. If we cast our gaze to A
Moveable Feast, (1964) Hemingway’s critique of the Gerald’s suggests that their rich lifestyle was swamped
by corruption and personal troubles, ‘they were bad luck for people, but they were worse luck to themselves
and they lived to have all their bad luck finally; to the very worst end that all bad luck could go’.23 Despite
being away from the bustle and confusion of Parisian life, the tranquil Riviera exposes an inner loss of
control and suggests an inescapability from surrounding politics. Both texts ultimately reveal no sense of
justice or acknowledgement of laws, implying that violence as the only effective method to achieve
something.
The career paths of our two protagonists also play an interesting role in reflecting the aggrieved European
landscape. Dick Diver’s career is effectively ruined throughout the course of the text, pointed out by
psychologist Franz, ‘your heart isn’t in this project anymore, Dick’ (p.321). Hemingway also hints to the
readers that Frederic’s appropriation of the bronze medal is undeserving, suggesting the men’s
incompleteness. In light of the deep-seated aimlessness that arises through both characters, it is also possible
to look at how the artists’ in question responded to the impact of war. Of the three artists Hemingway was
the only one to suffer injuries like his character, but even then Keith Gandal highlights Hemingway’s issues
surrounding his inability to fight:
Personal doubts about his “manhood,” about whether he could have handled being a soldier
…seemed to haunt him: thus he challenges his already wounded and convalescing narrator … “Why
23
Ernest Hemingway, A Moveable Feast: Restored Edition (Simon and Schuster, 2014) Ebook format: Page numbers not indicated. Located in
the chapter:The Pilot Fish and theRich.

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don’t you go in the American Army?” And he has Frederic Henry answer, “Maybe I will” though
neither the character nor the author would of course do so.24
What’s more Fitzgerald similarly didn’t enter the warzone and was troubled by his ‘catastrophic,’
experiences in Paris which is reflected through ‘his own sense of disintegration’25 in his writing. Like the
failure of our protagonists, the texts perhaps also reveal the disappointments of our writers, which Gandal
explores;
The humiliating failure to get into or to be promoted in the army was also a failure to compete
successfully in a rising social order and against a new set of people.26
This new social order rejected the collapsed sense of heroism which is evoked by our writers and this
certainly points to an image of the ‘wounded’ ego which dominates the lost generation.
24 Keith Gandal, The Gun and the Pen: Hemingway, Fitzgerald and the History of Mobilization (Oxford: Oxford University Press)
p.144.
25 Kennedy, French Connections, p.319.
26 Gandal, p.5.

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In addition to inflicted wounds, old injuries also form a vivid feature of the texts. More than acting as a
constant reminder of the past, the scarring of the body also expands to reflect the notion of stasis and lack of
progression. This idea of stagnation is borne from war as Dick Diver states, ‘it took the British a month to
walk it – a whole empire walking very slowly, dying in front and pushing forward behind’ (p.135).
Sargent’s, Crashed Aeroplane (1918) which depicts a crashed fighter aircraft in a field whilst farmers pay
little attention, perhaps provides a similar message to the attitudes of the Americans in Europe, as conflict
still haunts both the landscapes and the characters.27 As Rinaldi examines Frederic’s scars in A Farewell to
Arms, through his claim that, ‘it’s a crime to send you
back. They ought to get complete articulation,’ (p.146)
the scars that Lt. Henry possesses are exposed as only
being partially healed. In Switzerland Catherine also
persists, ‘I want to feel the bump on your head. It’s a big
bump,’ (p.257) exposing the underlying wounds still
remnant from battle. The distorted sense of healing that is
reflected through injuries not fully recuperated enhances the idea of a shared understanding of Europe as a
wounded continent – where its inhabitants and its landscape, grounded in the memories of the past, are
unable to ever fully recover.
To turn to my final focus, the texts in question home in on a combination of war trauma and reckless
lifestyles that are enshrouded by troubled mind-spaces. Frederic’s out-of-body experience as he began to;
Rush bodily out …and out and all the time bodily in the wind. I went out swiftly, all of myself and I
knew I was dead and … then I floated, (p.53)
27 John Singer Sargent, Crashed Aeroplane (1918) < http://www.iwm.org.uk/collections/item/object/23727> [Accessed: 16/04/15]
JOHN SINGER SARGENT, CRASHED AEROPLANE (1918)

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Reveals not least a connection between the detached experience of his wounding and that of the rootlessness
located in post-war Europe. Frederic’s visual provision of ‘floating’ I would say relates to a state of
uncertainty, perhaps mirroring how the continent balanced between two world wars. What Sarah Wood
Anderson in her study, Readings of Trauma, Madness, and the Body points out, is that ‘from the very first
page of the novel Frederic suffers from shell shock; his voice is always already the voice of the traumatized
survivor of grievous wounds and losses’28. Whilst writing for the Toronto Star, Hemingway offered many
hints in his articles to the impression of further war and with this in mind, I would certainly suggest that
physiological anxieties are a response to the underlying fear of imminent conflict in Europe that will shape
itself to become World War Two.
In Tender is the Night there is an even stronger focus upon mental illness, demonstrated by Gerald
Kennedy’s observation as revealing, ‘personality as an unstable and indeterminate nexus of tendencies’.29 I
would suggest the psychological wounding that is evoked in the text reveals the character’s self-destructive
nature in a continent that is lacking structure. Through the troubled mind-space of Nicole, I want to focus
on a point of interlink between that of psychological and physical wounding exposed in the turbulence of
Paris. Kennedy suggests the shootings in Paris, ‘seem grotesque and initially reveal little except the presence
of racial and sexual hostilities beneath the dreamlike surface of life in the capital of modernism’.30
Alternatively I believe Mr Patterson’s murder is important to the revelation of Nicole’s psychological
trauma. Referred to as ‘verbal inhumanity that penetrated the keyholes… swept into the suite,’ (p.202) and
relaying a floating image as Frederic’s wounding, Nicole’s mistaking Patterson’s blood for that of the
consummation of Rosemary and Dick’s relationship sends her erupting a flood of chaos and repressed
feelings that mirrors the state in which the continent now stands. ‘Nicole is half a patient,’ Charles R.
Metzger points out, ‘she will possibly remain something of a patient all her life’.31 Through the suggestion
28 Sarah Wood Anderson, Readingsof Trauma, Madness, and the Body (Palgrave Macmillan, 2012) p.16.
29 Kennedy, Imagining Paris, p.198.
30 Kennedy, Imagining Paris, p.203.
31 Charles R. Metzger, F. Scott Fitzgerald’s Psychiatric Novel:Nicole’s Case, Dick’s Case (Peter Lang Publishing, 1989) p.65.

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that the psychological tendencies will always exist within our characters, the collapse in mental stability
underlines the entire novella and points to the larger image of despair assumed of Europe. In drawing to the
inference that mental injuries reveal there too appears to be nervous complexities of the knowledge of the
instability of Europe’s future in the light of war.
To all considerations, although Gertrude Stein suggested that, ‘Paris was where the twentieth century was’,32
through the two texts and paintings covered I would argue that by the end of the twenties, the lustful allure
of Europe as a place of sanctuary and freedom, had now been destroyed. Its wounds were far too deep, and
the landscape far too scarred to allow for the freedom the artists yearned for – and the debauchery of the
twenties merely acted as a façade for much deeper anxieties. As Kennedy concludes, ‘for these American
writers, the city of exile thus remained to some extent alien and illegible’,33 the euphoria of expatriate
adventure in Europe had been quashed – and in light of the dawning second world war, the continent’s
wounds were about to be deepened.
32 Kennedy, Imagining Paris, p.185.
33 Kennedy, Imagining Paris, p.241.

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Bibliography
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1951)
Dardis, Tom, The Thirsty Muse: Alcohol and the American Writer (USA: Ticknor and Fields, 1989)
Fitzgerald, F .Scott, Tender is the Night (London: The Alcuin Press,1953)
Gandal, Keith, The Gun and the Pen: Hemingway, Fitzgerald and the History of Mobilization (Oxford: Oxford University Press)
Gough, Paul, A Terrible Beauty: War, Art & Imagination (1914 – 1918) (Sansom & Co, 2009)
Harris, JC, ‘Gassed’, Arch Gen Psychiatry.2005;62(1):15-18) <doi:10.1001/archpsyc.62.1.15>
Hemingway, Ernest, A Farewell to Arms (London: The Trinity Press, 1957)
Hemingway, Ernest, A Moveable Feast: Restored Edition ( EBook Format, Simon and Schuster, 2014)
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Malvern, Susan, Modern Art, Britain and the Great War (U.S.A: Yale University Press,2004)
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Metzger, Charles R, F. Scott Fitzgerald’sPsychiatric Novel:Nicole’s Case, Dick’s Case (Peter Lang Publishing, 1989)
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Wood Anderson,Sarah, Readingsof Trauma, Madness, and the Body (Palgrave Macmillan, 2012)