New, carefully focused essays providing a thorough examination of
Hemingway's groundbreaking non-fictional work. Published in 1932,
Death in the Afternoon reveals its author at the height of his
intellectual and stylistic powers. By that time, Hemingway had
already won critical and popular acclaim for his short stories and
novels of the late twenties. A mature and self-confident artist, he
now risked his career by switching from fiction to nonfiction, from
American characters to Spanish bullfighters, from exotic and
romantic settings to the tough world of theSpanish bullring, a
world that might seem frightening and even repellant to those who
do not understand it. Hemingway's nonfiction has been denied the
attention that his novels and short stories have enjoyed, a state
of affairs this Companion seeks to remedy, breaking new ground by
applying theoretical and critical approaches to a work of
nonfiction. It does so in original essays that offer a thorough,
balanced examination of a complex, boundary-breaking, and hitherto
neglected text. The volume is broken into sections dealing with:
the composition, reception, and sources of Death in the Afternoon;
cultural translation, cultural criticism, semiotics, and
paratextual matters; and the issues of art, authorship, audience,
and the literary legacy of Death in the Afternoon. The contributors
to the volume, four men and seven women, lay to rest the stereotype
of Hemingway as a macho writer whom women do not read; and their
nationalities (British, Spanish, American, and Israeli) indicate
that Death in the Afternoon, even as it focuses on a particular
national art, discusses matters of universal concern. Contributors:
Miriam B. Mandel, Robert W. Trogdon, Lisa Tyler, Linda
Wagner-Martin, Peter Messent, Beatriz Penas Ibanez, Anthony Brand,
Nancy Bredendick, Hilary Justice, Amy Vondrak, and Keneth Kinnamon.
MiriamB. Mandel teaches in the English Department of Tel Aviv
University.
General
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