In “The Snows of Kilimanjaro,” Harry set out for Africa with his wife in an attempt to regain his former literary motivation; in the “good times of his life” he had been happy in Africa. His desire to write was tempered by the comfort and luxury afforded by the wealth of Helen, his wife. After spending years “with different people and more money, with the best of the same places, and some new ones,” he reached a state of artistic stagnation from which he could not extricate himself (59). He came to Africa to spend a time without luxury and with “the minimum of comforts,” to recreate something of the feeling of his old life before money (60). A parallel is made between well-being and a peculiar kind of non-corporeal death: the death of creativity, initiative, and meaningful experience. Harry has been dying this way for years and, ironically, only as his physical death approaches does his aesthetic sensibility resurrect. In “The Snows of Kilimanjaro,” the death of the physical body does not preclude the continuation of other, more esoteric ways of being; through the rebirth of his art, Harry is able to gain another life, which continues even after the death of his physical body. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Harry's earlier life, full of colorful and deeply felt experiences, stands in direct contrast to the life he began when he allied himself with the rich. “The rich were boring and. . . they were repetitive,” says Harry. Even if he lived, he would not write about Helen or “any of them.” They were not the “special and fascinating breed” they were thought to be (72). Money acted as armour, Harry says: "Your damn money was my armour. My Swift and my armour" (58). Money protects him from the world's hardships, as armor might, but it also cuts him off from the world. lifeblood of the artist: significant experience. Thus, money has, metaphorically, provided for the slow death of his artistic spirit by allowing his life to become too safe, too predictable, too protected. Harry no longer feels things deeply; he admits that he never loved Helen, however, he remains trapped in a circle of those who "drank too much" or "played too much backgammon" (72). the excess to fill the gap left by the scarcity of true experiences. Henry feels this lack and, in his reflections, dying in Africa, he resents the turn that his life had taken in recent years: aesthetics, literature, no longer have a meaning. place in his life. In Africa, without the comforts and distractions of wealth, Harry felt he could "get back to training." He needed a place to “shed the fat of the soul,” fat that had accumulated over years of a sedentary and complacent life, separated from the realm of aesthetics. During the safari, Harry says it's the "illusion" of his strength returning, but true willpower doesn't truly come until the infection in his leg becomes severe and Harry has to face the fact that he will soon die. Harry begins to write again in italicized segments of text, separated from the narrative frame of Harry and Helen in African, Harry mentally writing down those things he wishes he could put on paper. So now it was all over, he thought. So now he would never have the chance to finish it. (54) It is significant that Hemingway pairs these two sentences. Henry regrets that, due to the imposition of death, he will not be able to write these stories - "to finish them" however, it is his coming to terms with impending death that has freed him from his complacency and his rationalizations and gave him the desire to write again. Before death.