Even this far in The Sun Also Rises, it is apparent that each of these characters have been affected by WWI.  However, one aspect of this representation that I found interesting was the intertwining of visible wounds and their invisible mental counterparts.  A very tellin example is Jake Barnes' war injury, which makes him either unwilling or unable to take things further with Georgette (23); meanwhile, Barnes finds himself no longer able to have, shall we say, confidence in the traditional patriarchal power structure of the Catholic Church (128).  (This also plays into the World War I obession with fertility.)  Lady Brett Ashley, on the other hand, lost her true love to the War through dysentery (46)--keying into Brittain's ideas of pointless and random wartime deaths--and was abused by her husband, a member of the British Navy (207).  Although she was not as directly affected by the War, the aftermath is obvious:  she physically cannot stand to be touched by Jake despite her affection for him (33), and can only tolerate brief, unemotional affairs through which she drowns herself in alcohol.  War has warped these characters into people who, despite their healed scars, are perpetually wounded.

Interestingly, though, we are also shown a solution to this problem through Count Mippipopolous.  The Count has experienced more wars than the other characters, but is suprisingly sane and calm compared to them.  While he is adorned with some rather nasty physical scars (67), he does not seem as broken as his counterparts.  Because of this, it appears that Hemingway is trying to promote his coping mechanisms, knowing your values and being "always in love" (67), as a way for society to bury the dead and move on from the destructive and wounding effects of the First World War.