The much-remarked opening passage of A Farewell to Arms returns repeatedly to images of marching troops and falling leaves, leaves that are revisited throughout the course of the novel. The language ...of the leaves is evocative of Kaiser Wilhelm II’s pronouncement in August 1914 as German troops departed for the Great War: “You will be home before the leaves have fallen from the trees.” In this note, the author argues for Wilhelm’s words as a possible source by carefully examining the pattern of recurrence and documenting Hemingway’s interest in the Kaiser.
Current Bibliography Adkins, Alyssa C; Harrington, Maureen; Thompson, Annemarie ...
The Hemingway Review,
03/2014, Letnik:
33, Številka:
2
Journal Article, Book Review
Recenzirano
Belknap recounts Pearson's stint as an African bush pilot, his time as a commander of a WW II air squadron that offered sup- port to wounded soldiers at the front, and his tragic death in 1944. In ...his close reading, Cain separates Frederic's first-person narrative voice from that of EH to reassert EH's self-aware and psychologically astute writing style in opposition to critics who have underestimated the com- plexity of his thinking. Calvino, Italo. Russian BOOK REVIEWS Books are arranged alphabetically by author. "Book Reviews." "Book Reviews." "Book Reviews." "Book Reviews." DuBose, Michael D. "Book Reviews." Varsava, Jerry A. "Book Reviews." "Book Reviews."
The tension between creation and destruction is central to Hemingway’s The Garden of Eden . Catherine’s role as “destroyer”—burning David’s stories—is self-evident, but critics have also long ...recognized her creativity. David calls himself “the inventive type,” but what has long gone unnoticed is his destructive side. The Eden manuscript reveals that David destroys part of his own honeymoon narrative. What’s more, the physical evidence of the manuscript suggests that Hemingway destroyed significant portions of his own text. A study of this theme in the novel illuminates a crucial difference between the creativity of Catherine and the creativity of David.
This essay explores the relationship between humans and nature in Ernest Hemingway’s “Big Two-Hearted River” and Friedrich Nietzsche’s “On Truth and Lie in an Extra-Moral Sense.” The author argues ...that Hemingway’s text demonstrates the tensions between anthropocentric and ecocentric worldviews through depictions of nature that reflect and rebuff human desire. Due to its inherent anthropomorphism, language is a flawed medium for understanding the external, natural world. Yet, nature is real and best experienced through one’s body as does Nick Adams during his solo fishing trip in Michigan.
The veneration of the iceberg principle, first articulated in Death in the Afternoon , has obscured the complexity of Hemingway’s artistic development. The bull fight book marks a decisive turn away ...from the art of “the omitted.” Offering itself as an experience of learning how to see, Death in the Afternoon immerses its reader in the awkwardness of being “a person unfamiliar” with a complex and demanding—although “minor”—art. Like Juan Belmonte, Hemingway now finds that in order to improve his style he must “break the rules” that have governed his early practice. The re-sult is an awkward form in which, rather than leaving things out, Heming -way risks the ungainliness of a book that “would have had everything in it.”
Hemingway's Green Hills of Africa is widely deplored for its portrayal of trophy hunting. Acknowledging the accusations, I question their ethical conclusions by drawing on recent work in narrative ...ethics in order to consider how animals are treated not only in the narrative but also by the narrative. Animals uniquely test the ethics of representation; to address this aesthetic and ethical challenge, Hemingway appropriates techniques adaptable from Flaubert's principled commitment to the mot juste and authorial impersonality. The result is a highly mimetic, often ineloquent style that complicates any simple negative reading of his stance toward animals. Attending to Hemingway's stylistic practices opens his writing to more nuanced interpretations of his narrative ethics; it also helps situate his work with other modernist attempts to represent animals as beings inaccessible to human ways of thinking, yet not beyond ethical consideration.
Jeffery Folks, in noting the communal function of the Christmas/Easter religious symbolism in Ernest J. Gaines's A Lesson Before Dying, argues that Gaines's "use of language is grounded in a ...historical community in which the layers of implied meaning are clearly understood" (265). The references come from a generation of African Americans who might still weave their personal life stories around the chronology of pioneering black sports heroes, athletes who not only battled to win on the playing field, but who faced far greater battles off the field against racism and economic exploitation: anecdotal evidence of which one finds incorporated into other African-American literary classics including August Wilson's Fences, Charles Fuller's A Soldier's Story, and Maya Angelou's I Know Why the Caged Bird Sings. ...stories were told in bars and barber shops, over back fences and in front of water coolers, reenacted by children in schoolyards, and repeated by those who heard them on the radio. ...its narrator and his fiancée are both teachers; many of its crucial scenes are located in classrooms; its title-A Lesson Before Dying-suggests that it may be teaching us something; it historically engages what Carter G. Woodson has labeled "the mis-education of the Negro" in ways that remind us of the Booker T. Washington-W E. B. Du Bois debates or novels like Nella Larson's Quicksand, Ralph Ellison's Invisible Man, or Du Bois's The Quest for the Silver Fleece. Grant, himself, must wait for an hour and a half in the white man's kitchen just to...
The essay investigates Hemingway's ambiguous representation of masculinity in his short story "Mr. and Mrs. Elliot." Hemingway's preoccupation with gender crisis—a cultural trend prominent in the ...Roaring Twenties—facilitates the textual manipulation that he applies in this story. He utilizes hiatus, silence, masking, and other methods to frustrate the reader's expectations and, by extension, challenge the standardized interpretation of the plot. Hemingway ventures into an exploration of men's frailty: "Mrs and Mrs. Elliot" portrays the sentiment of a defeated American man through images highlighting personal tragedies. Extreme relationship dysfunction, latent homosexuality, and repressed frustration reveal modernist sensibility in this story, underlining how contemporary heteronormative hegemony, social conventions, and inadequate role models disturbed the successful formation of gender identity in early 1920s United States.
When I met Rick I was sitting, in defiance of municipal orders, astride the gun Zam-Zammah on her brick platform opposite the old Ajaib-Gher - the Wonder House, as the natives call the Lahore Museum. ...To tell the story of my first mission I shall refer to correspondence I kept at the time, as I believe those letters lend a greater sense of immediacy. 3 May Dear Mina, Since I was sent to conclude that business in Transylvania I have had a most terrible time. ...I spent several years playing the Great Game, and then, unexpectedly, I crossed paths with my Lama again, in the mountains of Tibet.
According to Malcolm Cowley's "Appendix: Years of Birth" in Exile's Return, the Lost Generation is the age group of more than 100 writers, "most of whom were born between 1894 and 1900" (315)-that ...is, young enough to be Dreiser's children. According to the account by Jerome Loving, "Lewis made the accusation publicly at a dinner in honor of a Russian writer at the Metropolitan Club when he pointedly refused to take the podium in the presence of the plagiarist as well as 'two sage critics' (Heywood Broun and Arthur Brisbane) who had objected to his receiving the Nobel Prize" (358). According to the tape that is transcribed and printed in Faulkner in the University, he said: I think that Dreiser knew exactly what he wanted to say, but he had a terrific difficulty in saying it, there was never any fun to him, any pleasure to him, he was convinced that he had a message, I don't mean an ideological message or political but he had to tell folks, This is what you are. According to Dreiser's account, the national newspaper coverage about the lynching of a Jew, Leo Frank, in Georgia reached him travelling in Ohio.
