A selection of the greatest sentences by the master, Ernest Hemingway. Sentences that can take a reader's breath away and are not easily forgotten. Each sentence has been selected and examined by authors such as Elizabeth Strout, Sherman Alexie, Paula McLain, and Russell Banks; filmmakers Ken Burns and Lynn Novick; Sean Hemingway, A. Scott Berg, and many others in this celebration and conversation between Hemingway and some of his most perceptive and interesting readers. "All you have to do is write one true sentence," Hemingway wrote in his memoir, A Moveable Feast. "Write the truest sentence that you know." If that is the secret to Hemingway's enduring power, what sentences continue to live in readers' minds? And why do they resonant? The host and producer of the One True Podcast have gathered the best of their program (heard by thousands of listeners) and added entirely new material for this collection of conversations about Hemingway's truest words. From the long, whole-story-in-a-sentence line, "I have seen the one-legged streetwalker who works the Boulevard Madeleine between the Rue Cambon and Bernheim Jeunes' limping along the pavement through the crowd on a rainy night with a beefy red faced episcopal clergyman holding an umbrella over her.", to the short, pithy line that closes The Sun Also Rises, "Isn't it pretty to think so?", this is a collection full of delights, surprises, and insight. "All good books are alike in that they are truer than if they had really happened," wrote Hemingway. "And after you're finished reading one, you will feel that all that happened to you and afterwards, it all belongs to you." For readers of American literature, One True Sentence is full of remembrances-of words you read and the feelings they gave you. For writers, this is an inspiring view of an element of craft-a single sentence-that can make a good story come alive and become a great story.

A line-by-line examination of a neglected Hemingway gem In 1950, Ernest Hemingway was the most famous writer in the world, and he faced intense expectations for a masterwork to follow up his epic For Whom the Bell Tolls, published a decade earlier. The novel that emerged, Across the River and into the Trees, was a chronicle of the final days of the cantankerous American colonel Richard Cantwell, who spends his weekend leave in Venice hunting ducks, enjoying the city, and spending time with his beloved teenaged Italian contessa, Renata. This work elicited everything from full-throated praise to howls of derision and outrage. Sixty-five years later, it has been consigned to the margins of Hemingway's legendary career. Through this exhaustive reading of Across the River and into the Trees, Mark Cirino shows that we cannot disparage what we do not understand. With this novel, Hemingway is at his most allusive and opaque, and Cirino unpacks Hemingway's vaunted iceberg theory, in which the majority of a text's substance remains submerged, unspoken, and invisible. Hemingway makes constant references to his own life, friends, and families; other artistic works; the history, politics, and culture of Venice and America; and he draws from his more celebrated works of fiction. Cirino traces the complex web that left many of the novel's readers confused. In Across the River and into the Trees, the classic Hemingway themes emerge: the soldier after the war and the function of love amid the bloody twentieth century. We learn about the conflicting roles of the soldier and the artist in society and the way a man can struggle to be human and humane to those around him. Reading Hemingway's Across the River and into the Trees is the premier work devoted to the novel. Although Hemingway's book has been relegated to the corners of twentieth-century literature, Cirino's exegesis offers a new perspective on the work, at once reintroducing the novel to aficionados, introducing it to new readers, and deepening our understanding of Hemingway's more famous works.

From his World War I service in Italy through his transformational return visits during the decades that followed, Ernest Hemingway's Italian experiences were fundamental to his artistic development. Hemingway and Italy offers essays from top scholars, exciting new voices, and people who knew Hemingway during his Italian days, examining how his adopted homeland shaped his writing and his legacy. The collection addresses Hemingway's many Italys?the terrain and people he encountered during his life and the country he transposed into his fiction. Contributors analyze Hemingway's Italian works, including A Farewell to Arms, Across the River and into the Trees, lesser-known short stories, fables, and even a previously unpublished Hemingway sketch, "Torcello Piece." The essays provide fresh insights on Hemingway's Italian life, career, and imagination.

Thinking of Ernest Hemingway often brings to mind his travels around the world, documenting war and engaging in thrilling adventures. However, fully understanding this outsized international author means returning to his place of birth. Hidden Hemingway presents highlights from the extraordinary collection of the Ernest Hemingway Foundation of Oak Park. Thoroughly researched, and illustrated with more than 300 color images, this impressive volume includes never-before-published photos; letters between Hemingway and Agnes Von Kurowsky, his World War I love; bullfighting memorabilia; high school assignments; adolescent diaries; Hemingway's earliest published work, such as the "Class Prophecy" that appeared in his high school yearbook; and even a dental X-ray. Hidden Hemingway also includes one of the final letters Hemingway wrote, as he was undergoing electroshock treatment at the Mayo Clinic. These documents, photographs, and ephemera trace the trajectory of the life of an American literary legend. The items showcased in Hidden Hemingway are more than stage dressing for a literary life, more than marginalia. They provide definition-and, in some cases, documentation-of Hemingway's ambition, heartbreak, literary triumphs and trials, and joys and tragedies. It's Hemingway's stature as a Pulitzer Prize- and Nobel Prize-winning author that draws so many biographers and historians to his work. It is also the wealth of material he left behind that makes him such a compelling, engaging, and often polarizing figure. For Hemingway, the material he saved was both autobiography and research. He gathered data and details that made the life lived in his books more authentic. The authors of Hidden Hemingway have done the same, telling a life story through items that illuminate Hemingway's legacy. Some of the material contradicts the public image that Hemingway built for himself, and some supports his larger-than-life myth. In all, Hidden Hemingway celebrates the Ernest Hemingway archives and Oak Park's most famous author.

A compelling and authoritative reading of Hemingway's final collection of short storiesWritten in 1933 and one of Hemingway's lesser-known books, Winner Take Nothing was his third and final collection of short stories. These stories are about loners and losers and misfits and ne'er-do-wells. Its characters are ill, tortured, maligned, and frustrated by Hemingway's world. Like the characters it depicts, Winner Take Nothing is likewise a misfit in Hemingway's career, a volume of short stories that, as of this writing, is not even in print. Its more popular predecessors, In Our Time (1925) and Men without Women (1927),are held up as iconic collections in the American short story tradition. The grotesqueries of these 14 stories are outcasts in Hemingway's corpus and have been neglected virtually from the beginning. Editors Cirino and Vandagriff recover an underrated work that still reflects contemporary concerns. Through line-by-line annotations and accompanying commentary, this book weaves together the biographical, historical, and cultural threads of one of Hemingway's more overlooked works, thus providing much needed guidance for Hemingway scholars and general readers alike. Included in this Collection: Introduction-Mark Cirino and Susan Vandagriff "After the Storm"-Kirk Curnutt "A Clean Well-Lighted Place"-Alberto Lena "The Light of the World"-Bryan Giemza "God Rest You Merry, Gentlemen"-Suzanne del Gizzo "The Sea Change"-Carl Eby "A Way You'll Never Be"-Mark Cirino "The Mother of a Queen"-Krista Quesenberry "One Reader Writes"-Robert W. Trogdon "Homage to Switzerland"-Boris Vejdovsky "A Day's Wait"-Verna Kale "A Natural History of the Dead"-Ryan Hediger "Wine of Wyoming"-Susan Vandagriff "The Gambler, the Nun, and the Radio"-Nicole J. Camastra "Fathers and Sons"-Donald A. Daiker

Ernest Hemingway famously called Spain "the country that I loved more than any other except my own," and his forty-year love affair with it provided an inspiration and setting for major works from each decade of his career: The Sun Also Rises, Death in the Afternoon, For Whom the Bell Tolls, The Dangerous Summer, and The Garden of Eden; his only full-length play, The Fifth Column; the Civil War documentary The Spanish Earth; and some of his finest short fiction, including "Hills Like White Elephants" and "A Clean, Well-Lighted Place." In Hemingway's Spain, Carl P. Eby and Mark Cirino collect thirteen penetrating and innovative essays by scholars of different nationalities, generations, and perspectives who explore Hemingway's writing about Spain and his relationship to Spanish culture and ask us in a myriad of ways to rethink how Hemingway imagined Spain-whether through a modernist mythologization of the Spanish soil, his fascination with the bullfight, his interrogation of the relationship between travel and tourism, his involvement with Spanish politics, his dialog with Spanish writers, or his appreciation of the subtleties of Spanish values. In addition to fresh critical responses to some of Hemingway's most famous novels and stories, a particular strength of Hemingway's Spain is its consideration of neglected works, such as Hemingway's Spanish Civil War stories and The Dangerous Summer. The collection is noteworthy for its attention to how Hemingway's post-World War II fiction revisits and reimagines his earlier Spanish works, and it brings new light both to Hemingway's Spanish Civil War politics and his reception in Spain during the Franco years. Hemingway's lifelong engagement with Spain is central to under standing and appreciating his work, and Hemingway's Spain is an indispensable exploration of Hemingway's home away from home.