The Trouble with Hating Hemingway – Signature-Reads
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A Dangerous Summer
theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model. -
Key West Hemingway
Key West Hemingway The 11th Biennial International Hemingway Society Conference June 7-12, 2004 Key West, Florida "Key West Hemingway" The 11th Biennial Hemingway Society Conference June 7-12, 2004 Key West FL Monday, June 7 Registration, Lobby Veranda, Cas a Marina Hotel 2:00-5:00 p.m. Please drop by to pick up your registration packet, to introduce your self, and to mingle. You may also sign up for afternoon walking tours. Opening reception, the Hemingway House on Whitehead Street 6:30-8:30 p.m. Welcome by Linda Wagner-Martin (President, Hemingway Society), Gail Sinclair (Site Director). Special presentation by the City of Key West. A shuttle to the Hemingway House will run from 6: J5-7:00 p.m. 77le return shuttle will run from 8:00 to 9:00, although, after the reception, you may wish to walk to Duval Street for dinner and a night on the town. Tuesday, June 8 Conference Kickoff, Grand Ballroom, Casa Marina Hotel 8:00-8:30 a.m. "Only in Key West: Hemingway's Fortunate Isle," Lawrence Broer (U of South Florida). Introduction by Kirk Curnutt (Program Director). All panel sessions unless otherwise noted will meet in the Keys Ball room. Specific room assignments are as follows: Sessions A= Big Key Pine B=Duck Key C=Plantation Key Session' 8:30-9:45 a.m . A. The Hardboiled Hemingway Moderator: Megan Hess (U of Virginia) I. "Hemingway and the Marinescape of Piracy," Susan F. Beegel (Editor, 77le Hemingway Review) 2. "Hemingway According to Raymond Chandler: Hack or Hard-Boiled Hero?" Marc Seals (U of South Florida) 3. -
Readers Guide 1.Indd
The Great Michigan READ 2007–08 Reader’s Guide “His eye ached and he was hungry. He kept on hiking, putting the miles of track back of him. .” —Ernest Hemingway, “The Battler,” The Nick Adams Stories “Nick looked back from the top of the hill by the schoolhouse. He saw the lights of WHAT IS The Great Michigan READ Petoskey and, off across Little Traverse Bay, the lights of Harbor Springs. .” “Ten Indians” Imagine everyone in Michigan reading the same book. At the same time. The Great Michigan Read is a community reading program for the entire state. With a statewide focus on a single literary masterpiece—Ernest Hemingway’s The Nick Adams Stories— it encourages Michiganians to read and rediscover literature. Why The Nick Adams Stories? The Nick Adams Stories is a literary masterpiece literally made in Michigan. The author, Ernest Hemingway, spent the majority of his fi rst 22 summers in Northern Michigan. These experiences played an essential role in his development as one of the world’s most signifi cant writers. What are The Nick Adams Stories about? The Nick Adams Stories chronicles a young man’s coming of age in a series of linked short stories. As Nick matures, he grapples with the complexities of adulthood, including war, death, marriage, and family. How can I participate? Get a copy of the book or audiobook at Meijer, Barnes & Noble, Borders, Schuler Books & Music, your local library, online, or through other retail locations. Read the book, utilize the reader’s guide and website, talk about it with your friends, family, or book club, and participate in Great Michigan Read events in your neighborhood. -
Example of an Authorship Review
Student’s Name Independent Honors English Authorship Review Fall 2020 Ernest Hemingway (1899-1961) Born in Oak Park, Illinois, on July 21, 1899, Ernest Hemingway grew up to be one of the most notable writers in 20th Century America, winning the Nobel Prize for Literature in 1953 for his novella, The Old Man and the Sea. His writing career began on his high school newspaper, Trapeze and Tabula, and his interest in journalism continued after graduation when he took a job as a reporter at the Kansas City Star. In 1918, 19-year-old Ernest served as an ambulance driver for the Red Cross in Italy but was subsequently injured in an explosion. He convalesced in a hospital in Milan and started a flirting relationship with a nurse named Agnes. This brief romance, along with his experience as an ambulance driver in WWI, served as the source material for his third novel, A Farewell to Arms. Back in Chicago, Ernest took a job writing for the Toronto Star and met his first wife, Hadley Richardson. The couple soon joined a growing number of literary expatriates - like F. Scott and Zelda Fitzgerald, and Ezra Pound - who relocated to Paris after the war. They were a part of the Lost Generation. While in Paris, Ernest and Hadley traveled with their friends frequently to Spain to watch the bull fights, thus giving him source material for his first published novel, The Sun Also Rises. Ernest and Hadley had one son, but the couple did not last on account of Ernest’s affair with Pauline Pfeiffer. -
Ivens Magazine Blz18tm37.Pdf
basin, Ivens yells: ‘We will shoot this scene again in half an June 15th – June 22nd 1956 Damme, Belgium June 25th - July 12th 1956, Mulde, Germany Gérard Philipe and Joris Ivens, hour! There is too much smoke, the horses do not cavort Part of the film crew travelled to Flanders, Bruges, in order On June 25th, Gérard Philipe and Joris Ivens arrived at film clips in East Germany enough and the bridge explosion is not as spectacular as it to add some authentic elements of the local colour to the Tempelhof airport in East Berlin together with the French from Les aventures de Till should be’ … The Dutch journalists could not believe what film. The shots of the actual canal and the opening scene in crew, after the press and hundreds of fans had been waiting l’Espiègle (The Adventures they saw. Their national history was being turned into a the dunes and the countryside were filmed there. And the there for hours. ‘Plenty of teen-agers came to see the ‘jeune of Till Eulenspiegel), 1956. film in the French Riviera by a‘ modest Dutchman’. They scene, in which the city of Damme goes up in flames. Mean- premier’ of the French film’, is what a journalist wrote, who © DEFA Stiftung wanted to know from Ivens how the collaboration was go- while, Ivens became continuously more concerned about was surprised that the fans were so hysterical. ing. ‘Gérard and I, we each direct certain fragments. He, for the direction in which the film was heading. ‘Attention que The last scenes in the GDR were all about the large-scaled instance, works a lot with the French actors, and does the l’action comique et dynamique ne domine pas, ou ébaufe la battles on the banks of the Scheldt between the Spaniards, work that requires the input of an experienced feature film situation serieuse.’, he wrote.24 After three months, he final- on the one hand, and the rebellions of the Geuzen army and man; I am responsible for the outside shoots and the action ly cut the knot and told DEFA that he wanted to back out of the mercenary army of the Prince of Orange on the other. -
Metaphorical Illness in Hemingway's Works
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 5-12-2006 Metaphorical Illness in Hemingway's Works Jessica E. Lahrmann [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the Literature in English, North America Commons Recommended Citation Lahrmann, Jessica E., "Metaphorical Illness in Hemingway's Works" 12 May 2006. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/6. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/6 For more information, please contact [email protected]. Metaphorical Illness in Hemingway's Works Abstract Hemingway, through his characters, illustrates the many different genres and functions of disease. More than just inflictors of sadness and pain, disease and injury are part of the human condition. They are undeniable truths that give life to humanity, Hemingway’s characters, and Hemingway himself. As Hemingway writes in Death in the Afternoon, “…all stories, if continued far enough, end in death, and he is no true storyteller who would keep that from you.” Part of Hemingway’s art is acknowledging that there is no true cure. Vitality and death, contentedness and pain, disease and survival all coexist in Hemingway’s writing as one: life. Keywords English, David Espey, David, Espey Disciplines Literature in English, North America This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/6 For Jake Barnes of The Sun Also Rises , Robert Jordan of For Whom the Bell Tolls , Harry of “Snows of Kilimanjaro,” and Nick Adams of “Indian Camp,” illness and loss are an ever -present part of life. -
Martha Gellhorn and Ernest Hemingway
MARTHA GELLHORN AND ERNEST HEMINGWAY: A LITERARY RELATIONSHIP H. L. Salmon, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2003 APPROVED: Timothy Parrish, Major Professor Peter Shillingsburg, Minor Professor Jacqueline Vanhoutte, Committee Member Brenda Sims, Chair, Graduate Studies in English C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Salmon, H. L., Martha Gellhorn and Ernest Hemingway: A Literary Relationship, Master of Arts (English). May 2003. 55 pp. Martha Gellhorn and Ernest Hemingway met in Key West in 1937, married in 1941, and divorced in 1945. Gellhorn’s work exhibits a strong influence from Hemingway’s work, including collaboration on her work during their marriage. I will discuss three of her six novels: WMP (1934), Liana (1944), and Point of No Return (1948). The areas of influence that I will rely on in many ways follow the stages Harold Bloom outlines in Anxiety of Influence. Gellhorn’s work exposes a stage of influence that Bloom does not describe—which I term collaborative. By looking at Hemingway’s influence in Gellhorn’s writing the difference between traditional literary influence and collaborative influence can be compared and analyzed, revealing the footprints left in a work by a collaborating author as opposed to simply an influential one. ACKNOWLEDGMENTS I would like to thank Dr. Tim Parrish, who from its inception encouraged me to take on this project and whose encouragement throughout my degree work has been insightful and inspiring. Dr. Peter Shillingsburg served as a reader and mentor, and his high standards and personal integrity challenged me to make sure my own scholarship is a credible as his own. -
Ernest Hemingway Global American Modernist
Ernest Hemingway Global American Modernist Lisa Tyler Sinclair Community College, USA Iconic American modernist Ernest Hemingway spent his entire adult life in an interna- tional (although primarily English-speaking) modernist milieu interested in breaking with the traditions of the past and creating new art forms. Throughout his lifetime he traveled extensively, especially in France, Spain, Italy, Cuba, and what was then British East Africa (now Kenya and Tanzania), and wrote about all of these places: “For we have been there in the books and out of the books – and where we go, if we are any good, there you can go as we have been” (Hemingway 1935, 109). At the time of his death, he was a global celebrity recognized around the world. His writings were widely translated during his lifetime and are still taught in secondary schools and universities all over the globe. Ernest Hemingway was born 21 July 1899, in Oak Park, Illinois, also the home of Frank Lloyd Wright, one of the most famous modernist architects in the world. Hemingway could look across the street from his childhood home and see one of Wright’s innovative designs (Hays 2014, 54). As he was growing up, Hemingway and his family often traveled to nearby Chicago to visit the Field Museum of Natural History and the Chicago Opera House. Because of the 1871 fire that destroyed structures over more than three square miles of the city, a substantial part of Chicago had become a clean slate on which late nineteenth-century and early twentieth-century architects could design what a modern city should look like. -
Ernest Hemingway Incoming Correspondence: Cross References
Ernest Hemingway Incoming Correspondence: Cross References The Incoming Correspondence Cross References is an alphabetical list of individuals and organizations that supplements the main name index. Use this list to locate letters pertaining to a person or group that are indexed under a different name. This is often the case when a letter is enclosed with a cover letter from a separate individual, or when an employee writes a letter on behalf of his or her organization. Please note that this is not an index to names mentioned in the letters; it lists actual correspondents only. Click on the links below to navigate directly to a particular section. [ A ] [ B ] [ C ] [ D ] [ E ] [ F ] [ G ] [ H ] [ I ] [ J ] [ K ] [ L ] [ M ] [ N ] [ O ] [ P ] [ Q ] [ R ] [ S ] [ T ] [ U ] [ V ] [ W ] [ Y ] [ Z ] – # – 22nd Infantry Association See: Lanham, Charles Trueman, 22 Aug 1947, 24 Aug 1948, 7 Aug 1949 – A – Abercrombie & Fitch, Co. See: Baxter, William F.; Williams, Taylor Abraham Lincoln Brigade See: Poling, Alonzo Adams, F. B. Jr. See: Scribner, Charles Sr., 9 June 1949 Aguilar S. A. de Ediciones (Spanish publisher) See: Rice, Alfred, 21 Feb 1957 Aguirre, Jose Ma. See: Quintanilla, Luis, 13 Mar 1937 Albatross See: Curtis Brown, 9 Nov 1934, 15 Sept 1936; Perkins, Maxwell E., 25 Sept 1933 Aley, Maxwell See: Mowrer, Hadley Hemingway, Oct 1929 Allen, George V. See: United States Information Agency American Committee for Protection of Foreign Born See: Green, Abner American Russian Cultural Association See: Fosdick, Dudley American Woman’s Club of Paris See: Clark, Pearl P. Ames, Beatrice See: Stewart, Donald Ogden, 29 Aug [1927] Andrews, Esther See: Chambers, Esther Angel, Ellen See: Horne, William, 2 Feb 1937 Angell, Katharine S. -
210 Paul Hendrickson This Is an Unusual and Fascinating Book
210 book reviews Paul Hendrickson Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934–1961. New York: Knopf, 2011. viii + 532 pp. (Cloth US$30.00) This is an unusual and fascinating book—not quite biography, but rather “an interpretation, an evocation, with other lives streaming in” (p. 472). It ranges selectively through Hemingway’s life, mainly focusing on the last twenty-seven years. In a boldly successful move, it uses Pilar, the boat Hemingway bought in 1934, which he so loved, as a lynch-pin—a way into his relationships, his con- tradictions, his values, strengths and failings, and final spiral of disintegration. Hemingway’s Boat explores the complex of ideas raised by its subject-matter— ideas of “fishing, friendship, and fatherhood, and love of water, and what it means to be masculine in our culture, and the notion of being boat-struck … and how the deep good in us is often matched only by the perverse bad in us, and—not least—about the damnable way our demons seem to end up follow- ing us, even or especially when we think we’ve escaped them” (p. 13). Hendrickson starts with a 2005 visit to Cuba, with Pilar, “like some old and gasping browned-out whale” (p. 7), up on blocks in the grounds of the Finca Vigía, Hemingway’s main home from 1939 to 1960. (In 1959, Hemingway would say that he “thought of himself as a true Cuban,” and kiss the national flag [p. 460]). He then goes back to trace the history of her purchase, the uses to which Hemingway put her, the people who sailed her, and her meaning in Hemingway’s life. -
Ernest Hemingway's Mistresses and Wives
University of South Florida Digital Commons @ University of South Florida Graduate Theses and Dissertations Graduate School 10-28-2010 Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters Stephen E. Henrichon University of South Florida Follow this and additional works at: https://digitalcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Henrichon, Stephen E., "Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters" (2010). Graduate Theses and Dissertations. https://digitalcommons.usf.edu/etd/3663 This Thesis is brought to you for free and open access by the Graduate School at Digital Commons @ University of South Florida. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Digital Commons @ University of South Florida. For more information, please contact [email protected]. Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters by Stephen E. Henrichon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph. D. Lawrence R. Broer, Ph. D. Victor Peppard, Ph. D. Date of Approval: October 28, 2010 Keywords: Up in Michigan, Cat in the Rain, Canary for One, Francis Macomber, Kilimanjaro, White Elephants, Nobody Ever Dies, Seeing-Eyed Dog © Copyright 2010, Stephen E. Henrichon TABLE OF CONTENTS ABSTRACT -
Ken Magazine, the Consumer Market, and the Spanish Civil
The Pennsylvania State University The Graduate School Department of English POLITICS, THE PRESS, AND PERSUASIVE AESTHETICS: SHAPING THE SPANISH CIVIL WAR IN AMERICAN PERIODICALS A Dissertation in English by Gregory S. Baptista © 2009 Gregory S. Baptista Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2009 ii The dissertation of Gregory S. Baptista was reviewed and approved* by the following: Mark S. Morrisson Associate Professor of English Graduate Director Dissertation Advisor Chair of Committee Robin Schulze Professor of English Department Head Sandra Spanier Professor of English and Women’s Studies James L.W. West III Edwin Erle Sparks Professor of English Philip Jenkins Edwin Erle Sparks Professor of the Humanities *Signatures are on file in the Graduate School iii ABSTRACT This dissertation explores the presentation of the Spanish Civil War in selected American periodicals. Understanding how war-related works functioned (aesthetically and rhetorically) requires a nuanced view of the circumstances of their production and an awareness of their immediate cultural context. I consider means of creation and publication to examine the complex ways in which the goals of truth-seeking and truth-shaping interacted—and were acted upon by the institutional dynamics of periodical production. By focusing on three specific periodicals that occupied different points along a line leading outward from the mainstream of American culture, I examine the ways in which certain pro- Loyalist writers and editors attempted to shape the truth of the Spanish war for American readers within the contexts and inherent restrictions of periodical publication. I argue that responses to the war in these publications are products of a range of cultural and institutional forces that go beyond the political affiliations or ideological stances of particular writers.