Every piece of published work in literature is open to interpretation, and every person is entitled to have opinions, assumptions, and viewpoint. In a story shorter than 1,500 words, Ernest Hemingway’s A Clean, Well-Lighted Place has garnered serious debate and criticism. Written and published in 1933, Hemingway’s story containing a theme about nothing in several contexts has definitely given many critics something to talk about, but not about the usual theme, irony, or symbolism. The first 25 years after publishing the story were quiet, but a storm was brewing. In 1959, 2 critics brought forth some issues, and for the past 55 years the critics have been debating the conflicting dialogue between two main characters and whether the inconsistency was intended by Hemingway or a mistake by the original typesetter. Within a story that has a basis of mostly dialogue, it would be logical for the reader to interpret which characters are speaking insomuch that the reader can understand the interactions of the characters. There are no names given to the two main characters—waiters working late in a café, one young and the other older. Also, there is very little reference to which one is speaking. This causes the reader to infer which character knows some of the key information that is being presented. The first critic to start the dialogue debate in 1959 is Dr. William E. Colburn who authored Confusion in ‘A Clean, Well-Lighted Place’. Colburn declared, “The dialogue does not fit a logical pattern; there definitely is an inconsistency in the story” (241). At the same time in 1959, a college teacher named F. P. Kroeger wrote, “There has been what appears to be an insoluble problem in the dialogue” (240). These two initial statements have r... ... middle of paper ... ...13-624. JSTOR. Web. 8 Feb. 2014. Colburn, William E. “Confusion in ‘A Clean, Well-Lighted Place’.” College English. 20.5 (1959): 241-242. JSTOR. Web. 8 Feb. 2014. Gabriel, Joseph F. “The Logic of Confusion in: Hemingway's ‘A Clean, Well-Lighted Place’.” College English. 22.8 (1961): 539-546. JSTOR. Web. 8 Feb. 2014. Kerner, David. “The Manuscripts Establishing Hemingway's Anti-Metronomic Dialogue.” American Literature. 54.3 (1982): 385-396. JSTOR. Web. 8 Feb. 2014. Kroeger, F. P. “The Dialogue in ‘A Clean, Well-Lighted Place’.” College English. 20.5 (1959): 240-241. JSTOR. Web. 8 Feb. 2014. Reinert, Otto. “Hemingway's Waiters Once More.” College English , 20.8 (1959): 417-418. JSTOR. Web. 8 Feb. 2014. Ryan, Ken. "THE CONTENTIOUS EMENDATION OF HEMINGWAY'S 'A CLEAN, WELL-LIGHTED PLACE'." The Hemingway Review 18.1 (1998): 78. Academic OneFile. Web. 8 Feb. 2014.
The main focus of A Clean, Well-Lighted Place is on the pain of old age suffered by a man that we meet in a cafe late one night. Hemingway contrasts light and dark to show the difference between this man and the young people around him, and uses his deafness as an image of his separation from the rest of the world.
" 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...
Meter, M. An Analysis of the Writing Style of Ernest Hemingway. Texas: Texas College of Arts and Industries, 2003.
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.
Waldhorn, Arthur. Ernest Hemingway: A Collection of Criticism (Contemporary Studies in Literature). Chicago: Syracuse University Press, 1978.
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...
Reinert, Otto. “Hemingway's Waiters Once More.” College English , 20.8 (1959): 417-418. JSTOR. Web. 8 Feb. 2014.
In 1933, Ernest Hemmingway wrote A Clean, Well-Lighted Place. It's a story of two waiters working late one night in a cafe. Their last customer, a lonely old man getting drunk, is their last customer. The younger waiter wishes the customer would leave while the other waiter is indifferent because he isn't in so much of a hurry. I had a definite, differentiated response to this piece of literature because in my occupation I can relate to both cafe workers.
Abrams, M.H., The Norton Anthology of English Literature. Sixth Edition, Vol. 1. New York: W.W. Norton & Co. Inc., 1993
Woolf, Virginia. To the Lighthouse. Introduction by D.M. Hoare, Ph.D. London: J.M. Dent and Sons Ltd., 1960
Ernest Hemingway and Raymond Carver are two of the most influential authors of American literature. Carver’s literary works are often considered to have a close connection to Hemingway’s, because of their similar writing styles, such as simplicity and clarity (Mclnerney, 1989). However, though their works share the same aesthetic feature, their works convey fairly different philosophical inquiry on values of faith and existence. Ernest Hemingway’s A Clean, Well-lighted Place and Carver’s Cathedral are two works with distinctive views on questioning the life and manhood.
Woolf, Virginia. To the Lighthouse. Introduction by D.M. Hoare, Ph.D. London: J.M. Dent and Sons Ltd., 1960
M.H. Abrams et al, eds. The Norton Anthology of English Literature, 7th ed. NY: Norton, 2000. Pgs. 2092-2120.