l be discussed in conjunction with one another.
             There are notably huge differences between the behaviour of the characters in the novel throughout their transition from Paris to San Fermin and even seemingly utopian scenes (between Bill and Jake) are riddled with troublesome references to their disoriented lifestyle as Bill highlights to Jake:
             'You're an expatriate. You've lost touch with the soil. You get precious. Fake European standards have ruined you. You drink yourself to death. You become obsessed by sex...You hang around cafes.' (p 101).
             To this remark, Jake retorts that 'it sounds like a swell life' (p 101), therefore shunting the remark as though it were a playful dig at his lifestyle. It probably was, yet Bill has captured the very essence of Jake's existence here. As Messent concurs, Jake is 'positioned as a spectator and consumer 'just looking' at a European cultural and social scene to which he does not properly belong' . Messent also support's Bill's worthy observation by asserting that 'the dislocated subjects of The Sun Also Rises have no centre. Their defining context is hotel rooms and bars.'
             This 'dislocation' of character continues to haunt Jake and his fellow companions to the Pamplona Fiesta and the difference in surroundings appears to wear thin on all members of Jake's party. It seems that their rather solipsistic views on post-war life are ruptured when placed in a foreign context. This 'damaged subjectivity' of the characters a
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