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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.
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