JOSH TOTH "A Constantly Renewed Obligation to Remake the Self': Ernest Hemingway, A Moveable Feast, and Autonarration What we should note at present is that freedom, which manifests itself through anguish, is characterized by a constantly renewed obligation to remake the Self which designates the free being. —Jean-Paul Sartre, Being and Nothingness Now some say he's doing the obituary mambo and some say he's hanging on the wall perhaps this yarn's the only thing that holds this man together some say he was never here at all ... —Tom Waits, "Swordfishtrombone" In considering Emest Hemingway's posthumously published text, A Moveable Feast, it is virtually impossible to avoid becoming entangled in what Louis Renza describes as the "critical discussions [that] typically focus on the truth-value or distortions of Hemingway's often vengeful depictions of Stein, Fitzgerald, and other literary contemporaries" ("Importance of Being Ernest" 662). The claim that A Moveable Feast is obviously "autobiographical"— Hemingway narrates as a self-referential "I" while describing "real" people and "real" places— has consistently been frustrated by the fact that it (also quite obviously) "veers toward becoming fiction" ("Importance of Being Ernest" 663). Since its publica tion in 1964, critics have consistently commented on the fact that A Moveable Feast is stylistically indistinguishable from any one of the other "fictional" texts that constitute Hemingway's oeuvre. The prose, particu larly the dialogue, is "un-naturally" stripped-down; and, as Jill Rubenstein 182