Throughout his literary career, Ernest Hemingway shows characters making fateful decisions. But, at the same time, he is careful not to imply or account for how these decisions come about. His ...narrators and protagonists- Frederic Henry, Jake Barnes, Robert Jordan, and others-make life-defining choices but do not realize how momentous these are until much later. About the process (if there is one) by which they make the decisions that determine the course of their lives, Hemingway is silent. For their and, by implication, our own decisions, there is, in Hemingway's view, no explanation.
Throughout his literary career, Ernest Hemingway shows characters making fateful decisions. But, at the same time, he is careful not to imply or account for how these decisions come about. His ...narrators and protagonists- Frederic Henry, Jake Barnes, Robert Jordan, and others-make life-defining choices but do not realize how momentous these are until much later. About the process (if there is one) by which they make the decisions that determine the course of their lives, Hemingway is silent. For their and, by implication, our own decisions, there is, in Hemingway's view, no explanation.
Ernest Hemingway arrived in Istanbul on 30 September 1922 to cover the end of the Greek–Turkish War for the Toronto Star. From late October to mid-November 1922, Hemingway wrote 20 articles about the ...last days of the war and the re-constellation of political legitimacy in the region. There are four distinguishing features of Hemingway’s reports from Constantinople. First, they provided an eloquent depiction of the city, suggesting the charm and squalor of old ‘Constan’ for the young writer. The second was a clear expectation of a ‘second disaster’, which was assumed to be a replica of Smyrna. Hemingway clearly observed the fears of non-Muslims and foreigners in the city, who were panicking over possible new massacres and pillage. Third, Hemingway quickly realized that the exodus of people – the desperate flight of Christian refugees – and Turkification of the country would be his main subject. His repeated emphasis on refugees permanent loss of a home is reminiscent of Hannah Arendt’s famous essay ‘We Refugees’, as well as a precursor to Agamben’s point that refugees are reduced to ‘bare life’. Lastly, his prose relied on irony and cynicism, as a cover for his disappointment and shame for humanity and modern civilization. Juxtaposing his writing with contemporary local accounts, I intend to situate his witnessing into the larger historiography of ‘Armistice Istanbul’ and the homogenization policies of the winning Turkish nationalist leadership. Hemingway’s critique of (homogeneous) nation-state formation after the war and the favourable involvement of the Allied countries and humanitarian agencies in the mass production of refugees was quite exceptional and ahead of his times.
Critical responses to Tommy Orange's There There have largely focused on its relationship to other Native American works published over the last few decades. However, a juxtaposition of the novel ...with an Anglo-American counterpart, David Foster Wallace's Infinite Jest, can prove particularly illuminating for exploring Orange's distinctiveness, along with the contemporary status of two fundamental concepts--irony and healing--in the broader Native American literary canon. For Orange, the wellspring of restorative belief can be found in an attenuated but still potent and promising form of a traditional Indigenous worldview--namely, an ideal of personal autonomy framed by the divine and emphasizing the self's subordination to and emancipation within a vivifying network of interdependent presences, both human and nonhuman. There There diagnoses pathologies afflicting contemporary Native communities with a keenly ironic eye, but it preserves, against corrosive skepticism, a robust confidence in possibilities for personal and collective recovery. What we ultimately discover in juxtaposing this work with Infinite Jest is a dramatic contrast between one tradition's lingering morbidity in the contemporary moment, and another's enduring vitality.
This behind-the-scenes look at the recently published fifth volume of the Cambridge edition of The Letters of Ernest Hemingway (1932-1934) reports on the research materials and findings that underpin ...the volume's annotations to the letters and other editorial apparatus (Chronology, Roster of Correspondents, Calendar of Letters, and indices), but which don't always make it into the published volume. More specifically, it examines (1) the role of incoming and unlocated letters in helping us understand the relationship between Hemingway and Pauline and (2) the biographical research that underlies the annotations and Roster of Correspondents entry for Jane Mason, revealing little-known details about her relationships, her artistic achievements, and her contributions to the Cuban art world.
Trusting Marlene Dietrichs 1955 account of her first meeting with Ernest Hemingway, biographers have repeated her story of meeting the author at a dinner party on the Île de France in 1934. The ...Letters of Ernest Hemingway Volume 5 1932-1934 (2020) corrects the record, noting Hemingway returned from his African safari on the Paris, not the Ile de France. Citing archival evidence, General Editor Sandra Spanier and graduate research assistant Katie Warczak revise the record further. Contemporary primary sources suggest that rather than meeting on the Ile de France in 1934, Dietrich and Hemingway met aboard the Normandie in 1938.
The central figure of Hemingway sporting a leopard-skin loincloth ("ERNIE, THE NEANDERTHAL MAN") is flanked by costumes capturing his various public personae: wounded veteran of war, wine-guzzling ...writer of the "Lost Generation," big game fisherman, and bullfight aficionado. Shortly after the issue of Vanity Fair with his paper doll caricature appeared on newsstands, Hemingway would meet Marlene Dietrich aboard the S.S. Paris as he returned from an African safari, marking the start of what would become a platonic but passionate lifelong friendship and correspondence. The session would be moderated by Hemingway Letters Project Associate Editor Verna Kale with presentations by Miriam B. Mandel and me as Volume 5 co-editors, and by graduate research assistant Katie Warczak, a Ph.D. candidate at Penn State.
During the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the ...documentary's intentions and for influencing spectators’ reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production.
Drawing on a wealth of previously unpublished material--including numerous letters and five early stories that appear in their entirety--this compelling biography traces the formative years of one of ...America's most celebrated and influential authors. The first of a projected three-volume life, it examines Hemingway's midwestern childhood, his journalistic apprenticeship, and his experiences as a Red Cross volunteer in Italy during World War I, closing with Hemingway on the brink of the literary career that would bring him worldwide fame.
