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Throughout the Nick Adams and other stories featuring dominant male figures, Ernest Hemingway teases the reader by drawing biographical parallels to his own life. That is, he uses characters such as Nick Adams throughout many of his literary works in order to play off of his own strengths as well as weaknesses: Nick, like Hemingway, is perceptive and bright but also insecure. Nick Adams as well as other significant male characters, such as Frederick Henry in A Farewell to Arms and Jake Barnes in The Sun Also Rises personifies Hemingway in a sequential manner. Initially, the Hemingway character appears to be impressionable, but he evolves into an isolated individual. Hemingway, due to an unusual childhood and possible post traumatic injuries received from battle invariably caused a necessary evolution in his writing shown through his characterization. The author once said, “Don’t look at me. Look at my words” (154).
Hemingway constantly draws parallels to his life with his characters and stories. One blatant connection is with the short story, “Indian Camp,” in which an Indian baby is born and its father dies. As Nick is Hemingway’s central persona, the story revolves around his journey across a lake to an Indian village. In this story, Nick is a teenager watching his father practice as a doctor in an Indian village near their summer home. In one particularly important moment, Hemingway portrays the father as cool and collected, which is a strong contrast to the Native American “squaw’s” husband, who commits suicide during his wife’s difficult caesarian pregnancy. In the story, which reveals Hemingway’s fascination with suicide, Nick asks his father, “Why did he kill himself, daddy?” Nick’s father responds “I don’t kno...
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...York: Cambridge UP, 1996. 21-51
Berman, Ron. "Hemingway's Michigan Landscapes." The Hemingway Review 27.1 (2007): 39-44.
Hemingway, Ernest. A Farewell to Arms. New York, Scribner: 1929
In Our Time. “Indian Camp.” New York, Scribner: 1925
Meyers, Jeffrey. Hemingway. New York: Da Capo, 1999.
Reynolds, Michael. The Young Hemingway. Chicago: Norton Pub, 1937.
Stewart, Matthew C. "Ernest Hemingway and World War I: Combatting Recent Psychobiographical Reassessments, Restoring the War." Papers on Language & Literature 36.2 (2000): 198-221.
Tyler, Lisa. "Dangerous Families and "Intimate Harm" in Hemingways "Indian Camp"" Texas Studies in Literature and Language 48.1 (2006): 37-53.
Waldhorn, Arthur. Ernest Hemingway: A Collection of Criticism (Contemporary Studies in Literature). Chicago: Syracuse University Press, 1978.
2.Flora, Joseph M. Ernest Hemingway: A Study of the Short Fiction. G.K. Hall & Co., 1989.
" The Hemingway Review. 15.1 (Fall 1995): p. 27. Literature Resource Center -.
One observation that can be made on Hemingway’s narrative technique as shown in his short stories is his clipped, spare style, which aims to produce a sense of objectivity through highly selected details. Hemingway refuses to romanticize his characters. Being “tough” people, such as boxers, bullfighters, gangsters, and soldiers, they are depicted as leading a life more or less without thought. The world is full of s...
Hemingway, Ernest. "Soldier's Home." The Bedford Introduction to Literature, 6th Edition. Ed. Michael Meyer. New York: Bedford/St. Martin's. 2002. 152-57.
Stewart, Matthew. Modernism and Tradition in Ernest Hemingway’s In Our Time: A Guide for Students and Readers. Rochester, NY: Camden House, 2001.
Assadnassab, Sara. "Hemingway´s Depiction of Women in A Farewell to Arms.”. http://epubl.ltu.se/1402-1773/2005/117/LTU-CUPP-05117-SE.pdf (accessed April 17, 2013).
Trogdon, Robert W. Ernest Hemingway: A Literary Reference. New York: Carroll & Graf, 2002. Print.
In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1208-1209. Hemingway, Ernest. A.
Baker, Sheridan. "Hemingway?s Two-Hearted River." The Short Stories of Ernest Hemingway: Critical Essays. Ed. Jackson, J. Benson. Durham: Duke UP, 1975. 158.
Hemingway is shown to forge his own methodology in The Sun Also Rises that creates a melancholy tone that brings about feelings of love and devastation in the reader.. The Iceberg Theory, a theory that portrays meaning to a character without directly stating what the reader should be, adapts Hemingway’s complexity and messages into the novel. This technique is used for the portrayal of Jake Barnes, the foremost example being when Barnes acknowledges his wound. After Georgette asks, "What's the matter, you sick?", Barnes replies with a simple, "Everybody's sick. I'm sick, too,” (Hemingway 23). This allows the reader to sense the scope of Barnes’ dilemma, as well as the psychological pain that Barnes is stricken with.. Barnes must also find a way to live in a world where he can create a personal order that is “neither based on an abstraction nor belied by experience” (Civello). This brings in the moral sense of the novel, portrayed by all characters in the novel. The characters are continuously unable to lessen their individual pains, resulting in the inability to find morality in American Culture. Hemingway's ethos and the stoic condition of Jake Barnes and Brett Ashley allows him to illustrate the dark view of morality. The Sun Also Rises shows us the good, the bad, and the misunderstood of the lost generation, with the help of
Ernest Hemingway is today known as one of the most influential American authors of the 20th century. This man, with immense repute in the worlds of not only literature, but also in sportsmanship, has cast a shadow of control and impact over the works and lifestyles of enumerable modern authors and journalists. To deny his clear mastery over the English language would be a malign comparable to that of discrediting Orwell or Faulkner. The influence of the enigma that is Ernest Hemingway will continue to be shown in works emulating his punctual, blunt writing style for years to come.
Throughout the 20th century there were many influential pieces of literature that would not only tell a story or teach a lesson, but also let the reader into the author’s world. Allowing the reader to view both the positives and negatives in an author. Ernest Hemingway was one of these influential authors. Suffering through most of his life due to a disturbingly scarring childhood, he expresses his intense mental and emotional insecurities through subtle metaphors that bluntly show problems with commitment to women and proving his masculinity to others.
Gajduske, E. Robert. Hemingway's Paris. New York: Charles Scribner's Sons, 1978. Mahoney, John. Ernest Hemingway. New York: Barnes and Noble INC., 1967. McSowell, Nicholas. Life and Works of Hemingway. England: Wayland, 1988. Meyers, Jeffery. Hemingway: A Biography. New York: Harper and Row Publishers, 1985. Shaw, Samuel. Ernest Hemingway. New York: Fredrick Ungar Publishing Company, 1974. Tessitore, John. The Hunt and The Feast, A life of Ernest Hemingway. New York: Franklin Watts, 1996. Waldhorn, Arthur. A Reader's Guide to Ernest Hemingway. New York: Octagon
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
“A Farewell to Arms Essay – A Farewell to Arms, Ernest Hemingway.” Twentieth Century Literary Criticism 115 (1929): 121-126. JSTOR. Web. 19 Feb. 2014.