Ernest Hemingway Essay Thesis Example For Students

Ernest Hemingway Essay Thesis Ernest (Miller) Hemingway1899-1961Entry Updated : 08/01/2001 Birth Place: Oak Park, Illinois, United States Death Place: Ketchum, Idaho, United States Personal InformationCareerWritingsMedia AdaptationsSidelightsFurther Readings About the AuthorPersonal Information: Family: Born July 21, 1899, in Oak Park Illinois,United States; committed suicide, July 2, 1961, in Ketchum, Idaho, UnitedStates son of Clarence Edmunds (a physician) and Grace (a music teacher;maiden name, Hall) Hemingway: married Hadley Richardson, September 3, 1921(divorced March 10, 1927); married Pauline Pfeiffer (a writer), May 10,1927 (divorced November 4, 1940); married Martha Gellhorn (a writer), November21, 1940 (divorced December 21, 1945); married Mary Welsh (a writer), March14, 1946; children: (first marriage) John Hadley Nicanor; (second marriage)Patrick, Gregory. Education: Educated in Oak Park, IL. Career: Writer, 1917-61. Kansas City Star, Kansas City, MO, cub reporter,1917-18; ambulance driver for Red Cr oss Ambulance Corps in Italy, 1918-19;Co-operative Commonwealth, Chicago, writer, 1920-21; Toronto Star, Toronto,Ontario, covered Greco-Turkish War, 1920, European correspondent, 1921-24;covered Spanish Civil War for North American Newspaper Alliance, 1937-38;war correspondent in China, 1941; war correspondent in Europe, 1944-45. Awards: Pulitzer Prize, 1953, for The Old Man and the Sea; Nobel Prizefor Literature, 1954; Award of Merit from American Academy of Arts Letters,1954. WRITINGS BY THE AUTHOR:NOVELS * The Torrents of Spring: A Romantic Novel in Honor of the Passing ofa Great Race (parody), Scribner, 1926, published with a new introductionby David Garnett, J. Cape, 1964, reprinted, Scribner, 1972. * The Sun Also Rises, Scribner, 1926, published with a new introductionby Henry Seidel Canby, Modern Library, 1930, reprinted, Scribner, 1969(published in England as Fiesta, J. Cape, 1959). * A Farewell to Arms, Scribner, 1929, published with new introductionsby Ford Madox Ford, Modern Library, 1932, Robert Penn Warren, Scribner,1949, John C. Schweitzer, Scribner, 1967. * To Have and Have Not, Scribner, 1937, J. Cape, 1970. * For Whom the Bell Tolls, Scribner, 1940, published with a new introductionby Sinclair Lewis, Princeton University Press, 1942, reprinted, Scribner,1960. * Across the River and Into the Trees, Scribner, 1950, reprinted, Penguinwith J. Cape, 1966. * The Old Man and the Sea, Scribner 1952. * Islands in the Stream, Scribner, 1970. * The Garden of Eden, Scribner, 1986. * Patrick Hemingway, editor, True at First Light: A Fictional Memoir,Simon Schuster, 1999. SHORT STORIES, EXCEPT AS INDICATED * Three Stories Ten Poems, Contact (Paris), 1923. * In Our Time, Boni Liveright, 1925, published with additional materialand new introduction by Edmund Wilson, Scribner, 1930, reprinted, Bruccoli,1977 (also see below). * Men Without Women, Scribner, 1927. * Winner Take Nothing, Scribner, 1933. * Fifth Column and the First Forty-nine Stories (stories and a play),Scribner, 1938, stories published separately as First Forty-nine Stories,J. Cape, 1962, play published separately as The Fifth Column: A Play inThree Acts, Scribner, 1940, J. Cape, 1968 (also see below). * The Short Stories of Ernest Hemingway, Scribner, 1938. * The Snows of Kilimanjaro and Other Stories, Scribner, 1961. * The Short Happy Life of Francis Macomber and Other Stories, Penguin,1963. * Hemingways African Stories: The Stories, Their Sources, Their Critics,compiled by John M. Howell, Scribner, 1969. * The Nick Adams Stories, preface by Philip Young, Scribner, 1972. * (Contributor) Peter Griffin, Along With Youth (biography that includesfive previously unpublished short stories: Crossroads, The Mercenaries,The Ash-Heels Tendon, The Current, and Portrait of the Idealist in Love),Oxford University Press, 1985. * The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition,Scribner, 1987. OTHER * in our time (miniature sketches), Three Mountain Press (Paris), 1924(also see above). * Today Is Friday (pamphlet), As Stable Publications (Englewood, N.J.),1926. * Death in the Afternoon (nonfiction), Scribner, 1932. * God Rest You Merry, Gentlemen, House of Books, 1933. * Green Hills of Africa (nonfiction), Scribner, 1935, reprinted, Penguinwith J. Cape, 1966. * The Spanish Earth (commen tary and film narration), introduction byJasper Wood, J. B. Savage (Cleveland, Ohio), 1938. * The Spanish War (monograph), Fact, 1938. * (Editor and author of introduction) Men at War: The Best War Storiesof All Time (based on a plan by William Kozlenko), Crown, 1942. * Voyage to Victory, Crowell-Collier, 1944. * The Secret Agents Badge of Courage, Belmont Books, 1954. * Two Christmas Tales, Hart Press, 1959. * A Moveable Feast (reminiscences), Scribner, 1964. * Collected Poems, Haskell, 1970. * The Collected Poems of Ernest Hemingway, Gordon Press, 1972. * Ernest Hemingway: Eighty-Eight Poems, Harcourt, 1979. * Ernest Hemingway, Selected Letters, 1917-1961, Scribner, 1981. * Complete Poems, edited by Nicholas Gerogiannis, University of NebraskaPress, 1983. * Hemingway on Writing, Scribner, 1984. * The Dangerous Summer (nonfiction), introduction by James A. Michener,Scribner, 1985. * Conversations With Ernest Hemingway, University Press of Mississippi,1986. * Hemingway at Oak Park H igh: The High School Writings of Ernest Hemingway,1916-1917 Alpine Guild, 1993. * Matthew Bruccoli, editor, The Only Thing That Counts: The Ernest Hemingway/MaxwellPerkins Correspondence, 1925-1947, Scribner, 1996. OMNIBUS VOLUMES * The Portable Hemingway (contains The Sun Also Rises, A Farewell toArms, To Have and Have Not, For Whom the Bell Tolls, and short stories),edited by Malcolm Cowley, Viking, 1944. * The Essential Hemingway (contains one novel, novel extracts, and twenty-threeshort stories), J. Cape, 1947, reprinted, 1964. * The Hemingway Reader, edited with foreword by Charles Poore, Scribner,1953. * Three Novels: The Sun Also Rises, A Farewell to Arms, and The Old Manand the Sea, each with separate introductions by Malcolm Cowley, RobertPenn Warren, and Carlos Baker, respectively, Scribner, 1962. * The Wild Years (collection of journalism), edited by Gene Z. Hanrahan,Dell, 1962. * By-line, Ernest Hemingway: Selected Articles and Dispatches of FourDecades, edited by Willia m White, Scribner, 1967. * Fifth Column and Four Stories of the Spanish Civil War, Scribner, 1969(also see above). * Ernest Hemingway, Cub Reporter: Kansas City Star Stories, edited byMatthew J. Bruccoli, University of Pittsburgh Press, 1970. * Ernest Hemingways Apprenticeship: Oak Park, 1916-1917, edited by Bruccoli,Bruccoli Clark NCR Microcard Editions, 1971. * The Enduring Hemingway: An Anthology of a Lifetime in Literature, editedby Charles Scribner, Jr., Scribner, 1974. * DatelineToronto: Hemingways Complete Toronto Star Dispatches, editedby White, Scribner, 1985. * The Short Stories, Scribner, 1997. Media Adaptations: Several of Hemingways works have been adapted formotion pictures, including For Whom the Bell Tolls; To Have and Have Not;The Sun Also Rises, screenplay by Peter Viertel, Twentieth Century-Fox,1956; A Farewell to Arms, screenplay by Ben Hecht, The Selznick Co., 1957;and The Old Man and the Sea, screenplay by Peter Viertel, Warner Bros.,1957. The Snows of Kilimanj aro: A Full-length Play, based on Hemingwaysshort story, was written by Bryan Patrick Harnetiaux, Dramatic Publications(Woodstock, IL), 1995. SidelightsThe writers job is to tell the truth, Ernest Hemingway oncesaid. When he was having difficulty writing he reminded himself of this,as he explained in his memoirs, A Moveable Feast. I would stand and lookout over the roofs of Paris and think, Do not worry. You have always writtenbefore and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know. So finally I would write onetrue sentence, and then go on from there. It was easy then because therewas always one true sentence that I knew or had seen or had heard someonesay. Hemingways personal and artistic quests for truth were directly related. As Earl Rovit noted: More often than not, Hemingways fictions seem rootedin his journeys into himself much more clearly and obsessively than isusually the case with major fiction writers. His writing was his wayof approaching his identityof discovering himself in the projected metaphorsof his experience. He believed that if he could see himself clear and whole,his vision might be useful to others who also lived in this world. The publics acquaintance with the personal life of Hemingway was perhapsgreater than with any other modern novelist. He was well known as a sportsmanand bon vivant and his escapades were covered in such popular magazinesas Life and Esquire. Hemingway became a legendary figure, wrote John W. Aldridge, a kind of twentieth-century Lord Byron; and like Byron, he hadlearned to play himself, his own best hero, with superb conviction. Hewas Hemingway of the rugged outdoor grin and the hairy chest posing besidea marlin he had just landed or a lion he had just shot; he was Tarzan Hemingway,crouching in the African bush with elephant gun at ready, Bwana Hemingwaycommanding his native bearers in terse Swahili; he was War CorrespondentHemingway writing a play in the Hotel Florida in Madrid while thirty Fascistshells crashed through the roof; later on he was Task Force Hemingway swathedin ammunition belts and defending his post singlehanded against fierceGerman attacks. Anthony Burgess declared: Reconciling literature andaction, he fulfilled for all writers, the sickroom dream of leaving thedesk for the arena, and then returning to the desk. He wrote good and livedgood, and both activities were the same. The pen handled with the accuracyof the rifle; sweat and dignity; bags of cojon es. Hemingways search for truth and accuracy of expression is reflected inhis terse, economical prose style, which is widely acknowledged to be hisgreatest contribution to literature. What Frederick J. Hoffman called Hemingwaysesthetic of simplicity involves a basic struggle for absolute accuracyin making words correspond to experience. For Hemingway, William Barrettcommented, style was a moral act, a desperate struggle for moral probityamid the confusions of the world and the slippery complexities of onesown nature. To set things down simple and right is to hold a standard ofrightness against a deceiving world. In a discussion of Hemingways style, Sheldon Norman Grebstein listedthese characteristics: first, short and simple sentence constructions,with heavy use of parallelism, which convey the effect of control, terseness,and blunt honesty; second, purged diction which above all eschews the useof bookish, latinate, or abstract words and thus achieves the effect ofbeing heard or spo ken or transcribed from reality rather than appearingas a construct of the imagination (in brief, verisimilitude); and third,skillful use of repetition and a kind of verbal counterpoint, which operateeither by pairing or juxtaposing opposites, or else by running the sameword or phrase through a series of shifting meanings and inflections.One of Hemingways greatest virtues as a writer was his self-discipline. He described how he accomplished this in A Moveable Feast. If I startedto write elaborately, or like someone introducing or presenting something,I found that I could cut that scrollwork or ornament out and throw it awayand start with the first true simple declarative sentence I had written. I decided that I would write one story about each thing that I knew about. I was trying to do this all the time I was writing, and it was good andsevere discipline. His early training in journalism as a reporter forthe Kansas City Star and the Toronto Star is often mentioned as a factorin the development of his lean style. Later, as a foreign correspondenthe learned the even more rigorously economic language of cablese, inwhich each word must convey the meaning of several others. While Hemingwayacknowledged his debt to journalism in Death in the Afternoon by commentingthat in writing for a newspaper you told what happened and with one trickand another, you communicated the emotion to any account of something thathas happened on that day, he admitted that the hardest part of fictionwriting, the real thing, was contriving the sequence of motion and factwhich made the emotion and which would be valid in a year or ten yearsor, with luck and if you stated it purely enough, always. Although Hemingway has named numerous writers as his literary influences,his conte mporaries mentioned most often in this regard are Ring Lardner,Sherwood Anderson, Ezra Pound, and Gertrude Stein. Malcolm Cowley assessedthe importance of Stein and Pound (who were both friends of Hemingway)to his literary development, while stressing that the educational relationshipwas mutual. One thing he took partly from her Stein was a colloquialinappearanceAmerican style, full of repeated words, prepositional phrases,and present participles, the style in which he wrote his early publishedstories. One thing he took from Poundin return for trying vainly to teachhim to boxwas the doctrine of the accurate image, which he applied inthe chapters printed between the stories that went into In Our Time;but Hemingway also learned from him to bluepencil most of his adjectives.Hemingway has commented that he learned how to write as much from paintersas from other writers. Cezanne was one of his favorite painters and WrightMorris has compared Hemingways stylistic method to that of Cezanne. ACezanne-like simplicity of scene is built up with the touches of a master,and the great effects are achieved with a sublime economy. At these momentsstyle and substance are of one piece, each growing from the other, andone cannot imagine that life could exist except as described. We thinkonly of what is there, and not, as in the less successful moments, of allof the elements of experience that are not. While most critics have found Hemingways prose exemplary (Jackson J. Benson claimed that he had perhaps the best ear that has ever been broughtto the creation of English prose), Leslie A. Fiedler complained that Hemingwaylearned to write through the eye rather than the ear. If his languageis colloquial, it is written colloquial, for he was constitutionally incapableof hearing English as it was spoken around him. To a critic who once askedhim why his characters all spoke alike, Hemingway answered, Because Inever listen to anybody.' Hemingways earlier novels and short stories were largely praised fortheir unique style. Paul Goodman, for example, was pleased with the sweetnessof the writing in A Farewell to Arms. When it sweetness appears, theshort sentences coalesce and flow, and sing sometimes melancholy, sometimespastoral, sometimes personally embarrassed in an adult, not adolescent,way. In the dialogues, he pays loving attention to the spoken word. Andthe writing is meticulous; he is sweetly devoted to writing well. Mosteverything else is resigned, b ut here he makes an effort, and the effortproduces lovely moments. But in his later works, particularly Across the River and Into the Treesand the posthumously published Islands in the Stream, the Hemingway styledegenerated into near self-parody. In the best of early Hemingway it alwaysseemed that if exactly the right words in exactly the right order werenot chosen, something monstrous would occur, an unimaginably delicate internalwarning system would be thrown out of adjustment, and some principle ofpersonal and artistic integrity would be fatally compromised, John Aldridgewrote. But by the time he came to write The Old Man and the Sea thereseems to have been nothing at stake except the professional obligationto sound as much like Hemingway as possible. The man had disappeared behindthe mannerism, the artist behind the artifice, and all that was left wasa coldly flawless facade of words. Foster Hirsch found that Hemingwaysmawkish self-consciousness is especially evident in Islands in the Stream.Across the River and Into the Trees, according to Philip Rahv, readslike a parody by the author of his own mannera parody so biting thatit virtually destroys the mixed social and literary legend of Hemingway.And Carlos Baker wrote: In the lesser works of his final years nostalgiadrove him to the point of exploiting his personal idiosyncrasies, as ifhe hoped to persuade readers to accept these in lieu of that powerful unionof objective discernment and subjective response which he had once beenable to achieve. But Hemingway was never his own worst imitator. He was perhaps the mostinfluential writer of his generation and scores of writers, particularlythe hard-boiled writers of the thirties, attempted to adapt his tough,understated prose to their own works, usually without success. As ClintonS. Burhans, Jr., noted: The famous and extraordinarily eloquent concretenessof Hemingways style is inimitable precisely because it is not primarilystylistic: the how of Hemingways st yle is the what of his characteristicvision. It is this organicism, the skillful blend of style and substance, thatmade Hemingways works so successful, despite the fact that many criticshave complained that he lacked vision. Hemingway avoided intellectualismbecause he thought it shallow and pretentious. His unique vision demandedthe expression of emotion through the description of action rather thanof passive thought. In Death in the Afternoon, Hemingway explained, Iwas trying to write then and I found the greatest difficulty, aside fromknowing truly what you really felt, rather than what you were supposedto feel, was to put down what really happened in action; what the actualthings were which produced the emotion you experienced. Even morality, for Hemingway, was a consequence of action and emotion. Involvement With Nontraditional Parents And Families Of Children With EssayBut due to his great recuperative powers he was able to rebound from thesehardships. He made a literary comeback with the publication of The OldMan and the Sea, which is considered to be among his finest works. In 1954he was awarded the Nobel Prize for Literature. But the last few years ofhis life were marked by great physical and emotional suffering. He wasno longer able to writeto do the thing he loved the most. Finally Hemingwaycould endure no longer and, in 1961, he took his own life. In the 1980s Scribner published two additional posthumous works TheDangerous Summer and The Garden of Eden. Written in 1959 while Hemingwaywas in Spain on commission for Life magazine, The Dangerous Summer describesthe intense and bloody competition between two prominent bullfighters. The Garden of Eden, a novel about newlyweds who experience marital conflictwhile traveling through Spain on their honeymoon, was begun by Hemingwayin the 1940s and finished fifteen years later. While interest in theseworks was high, critics judged neither book to rival the thematic and stylisticachievements of his earlier works, which have made Hemingway a major figurein modern American literature. The fifth of Hemingways posthumous publications, a self-termed fictionalmemoir titled True at First Light, was released on July 21, 1999 to conincidewith the 100th anniversary of his birth. The book, edited by Hemingwaysmiddle son, Patrick, and paired down to half the length of the originalmanuscript, recounts a Kenyan safari excursion that Heminway took withhis fourth wife, Mary, in 1953. The story centers around Marys preoccupationwith killing a lion who is threatening the villagers safety, and the narratorsinvolvement with a woman from the Wakamba tribe, whom he calles his fiancee.Many critics expressed disappointment over True at First Light for itsperipatetic lack of vision, its abdication of intellectual intent (whatNew York Times critic James Wood termed a nullification of thought) andits tepid prose. Kenneth S. Lynn, writing for the National Review, pointedout that Ernest Hemingways name is on the cover, but the publicationof True at First Light is an important event in celebrity culture, notin literary culture. For the grim fact is that this fictional memoir. . .reflects a marvelous writers disastrous loss of talent. Many ofthe critics pointed to Hemingways increasing preoccupation with the mythof his own machismo as a catalyst for the devolution of his writing. NewYork Times critic Michiko Kakutani commented, As in so much of Hemingwayslater work, all this spinning of his own legend is reflected in the deteriorationof his prose. What was specialand at the time, galvanicabout his earlywriting was its precision and concision: Hemingway not only knew what tole ave out, but he also succeeded in turning that austerity into a moraloutlook, a way of looking at a world shattered and remade by World WarI. His early work had a clean, hard objectivity: it did not engage in meaninglessabstractions; it tried to show, not tell. True at First Light also inflamed classic critical debate over the trueownership of authorial intention. While Hemingways physical and mentaldeterioration, toward the end of his life, rendered his final wishes forunpublished works unclear, many critics have objected to the posthumousfranchise of his deepest failures, novels that he, himself, abandoned. James Wood offered the observation that True at Frist Lights lack of substancemay serve as a warning to let Hemingway be, both as a literary estateand as a literary influence. There is evidence, however, that the literarystorm the book stirred would not have bothered Hemingway much. As Tom Jenkspointed out in a review for Harpers, Hemingways own belief was thatin a writers lifetime his reputation depended on the quantity and medianof his work, but that after his death he would be remembered only for Sidelightshis best. If this is true, then, as one Publishers Weeklyreviewer opined, perhaps True at First Light will inspire new readersto delve into Hemingways true legacy. FURTHER READINGS ABOUT THE AUTHOR:BOOKS * Aldridge, John W., Time to Murder and Create: The Contemporary Novelin Crisis, McKay, 1966. * Allen, Walter, The Modern Novel, Dutton, 1964. * Astro, Richard and Jackson J. Benson, editors, Hemingway in Our Time,Oregon State University Press, 1974. * Baker, Carlos, Hemingway: The Writer as Artist, Princeton UniversityPress, 1956. * Baker, Ernest Hemingway: A Life Story, Scribner, 1969. * Baker, editor, Ernest Hemingway: Critiques of Four Major Novels, Scribner,1962. * Baldwin, Kenneth H. and David K. Kirby, editors, Individual and Community:Variations on a Theme in American Fiction, Duke University Press, 1975. * Baldwin, Marc D., Reading The Sun Also Rises: Hemingways PoliticalUnconscious, P. Lang (New York City), 1996. * Barrett, William, Time of Need: Forms of Imagination in the TwentiethCentury, Harper, 1972. * Bellavance-Johnson, Marsha, Ernest Hemingway in Idaho: A Guide, ComputerLab., 1997. * Benson, Jackson J., editor, The Short Stories of Ernest Hemingway:Critical Essays, Duke University Press, 1975. * Bloom, Harold, editor, Ernest Hemingways A Farewell to Arms, ChelseaHouse (New York City), 1995. * Bloom, editor, Ernest Hemingways The Old Man and the Sea, ChelseaHouse (New York City, 1995. * Bloom, editor, Ernest Hemingways The Sun Also Rises, Chelsea House(New York City), 1995. * Bruccoli, Matthew J. and C. E. Frazer Clark, Jr., editors, Fitzgerald-HemingwayAnnual, Bruccoli Clark Books, 1969-76, Gale, 1977. * Bruccoli, Fitzgerald and Hemingway: A Dangerous Friendship, Carroll Graf (New York City), 1994. * Burgess, Anthony, Urgent Copy: Literary Studies, Norton, 1968. * Burgess, T he Novel Now: A Guide to Contemporary Fiction, Norton, 1967. * Burgess, Anthony, Ernest Hemingway and His World, Scribner, 1978. * Burrill, William, Hemingway: The Toronto Years, Doubleday (Toronto),1994. * Burwell, Rose Marie, Hemingway: The Postwar Years and the PosthumousNovels, Cambrideg University Press (New York City), 1996. * Castillo-Puche, Jose L., Hemingway in Spain, Doubleday, 1974. * Comley, Nancy R., Hemingways Genders: Rereading the Hemingway Text,Yale University Press (New Haven), 1994. * Concise Dictionary of American Literary Biography: The Twenties, 1917-1929,Gale, 1989. * Contemporary Literary Criticism, Gale, Volume 1, 1973, Volume 3, 1975,Volume 6, 1976, Volume 8, 1978, Volume 13, 1980, Volume 19, 1981, Volume30, 1984, Volume 34, 1985, Volume 39, 1986, Volume 41, 1987, Volume 44,1987, Volume 50, 1988. * Cowley, Malcolm, A Second Flowering: Works and Days of the Lost Generation,Viking, 1973. * de Koster, Katie, Readings on Ernest Hemingway, Greenhaven Press, 1997. * Dolan, Marc, Modern Lives: A Cultural Re-Reading of the Lost Generation,Purdue University Press (West Lafayette, IN), 1996. * Donaldson, Scott, By Force of Will: The Life in Art and Art in theLife of Ernest Hemingway, Viking, 1977. * Donaldson, editor, The Cambridge Companion to Hemingway, CambridgeUniversity Press (New York City), 1996. * Eby, Carl P., Hemingways Fetishism: Psychoanalysis and the Mirrorof Manhood, State University of New York Press, 1998. * Fiedler, Leslie A., Love and Death in the American Novel, Criterion,1960. * Fiedler, Waiting for the End, Stein Day, 1964. * Fleming, Robert E., The Face in the Mirror: Hemingways Writers, Universityof Alabama Press (Tuscaloosa), 1994. * Frohock, W. M., The Novel of Violence in America, Southern MethodistUniversity Press, 1957. * Geisman, Maxwell, American Moderns: From Rebellion to Conformity, Hill Wang, 1958. * Grebstein, Sheldon N., Hemingways Craft, Southern Illinois UniversityPress, 1973. * Griffin, Peter, Along With Yout h, Oxford University Press, 1985. * Gurko, Leo, Ernest Hemingway and the Pursuit of Heroism, Crowell, 1968. * Hardy, Richard E. and John G. Cull, Hemingway: A Psychological Portrait,Banner Books, 1977. * Hassan, Ihab, The Dismemberment of Orpheus: Toward a Postmodern Literature,Oxford University Press, 1971. * Hemingway, Ernest, A Moveable Feast, Scribner, 1964. * Hemingway, Death in the Afternoon, Scribner, 1932. * Hemingway, Gregory H., Papa: A Personal Memoir, Houghton, 1976. * Hemingway, Leicester, My Brother, Ernest Hemingway, 3rd edition, PineapplePress (Sarasota, FL), 1996. * Hemingway, Mary Welsh, How It Was, Knopf, 1976. * Hoffman, Frederick J., The Modern Novel in America, Regnery, revisededition, 1963. * Hotchner, A. E., Papa Hemingway: A Personal Memoir, Bantam, 1966. * Howe, Irving, A World More Attractive: A View of Modern Literatureand Politics, Horizon Press, 1963. * Hunter-Gillespie, Connie, Ernest Hemingways The Sun Also Rises, illustratedby Richard Fortunato, Research and Education Association (Piscataway, NJ),1996. * Josephs, Allen, For Whom the Bell Tolls: Ernest Hemin gways UndiscoveredCountry, Macmillan International (New York City), 1994. * Kazin, Alfred, Bright Book of Life: American Novelists and Storytellersfrom Hemingway to Mailer, Little, Brown, 1973. * Kennedy, J. Gerald, and Jackson R. Bryer, French Connections: Hemingwayand Fitzgerald Abroad, St. Martins Press, 1998. * Leff, Leonard J., Hemingway and His Conspirators: Hollywood Scribnersand the Making of American Celebrity Culture, Rowman and Littlefield, 1997. * Lynn, Kenneth Schuyler, Hemingway, Harvard University Press (Cambridge),1995. * Madden, David, editor, Tough Guy Writers of the Thirties, SouthernIllinois University Press, 1968. * Mandel, Miriam B., Reading Hemingway: The Facts in the Fictions, ScarecrowPress (Metuchen, NJ), 1995. * McDaniel, Melissa, Ernest Hemingway, Chelsea House (New York City),1996. * Mellow, James R., Hemingway: A Life Without Consequences, Addison-Wesley(Reading, MA), 1994. * Monteiro, George, Critical Essays on Ernest Hemingways Farewell toArms, Macmillan International (New York City), 1994. * Morris, Wright, The Territory Ahead: Critical Interpretations in AmericanLiterature, Harcourt, 1958. * Nagel, Jems, editor, Critical Essays on Ernest Hemingways The SunAlso Rises, G. K. Hall (New York City), 1995. * Nagel, editor, Ernest Hemingway: The Oak Park Legacy, University ofAlabama Press (Tuscaloosa), 1996. * Nahal, Chaman, The Narrative Pattern in Ernest Hemingways Fiction,Fairleigh Dickinson, 1971. * Priest ley, J. B., Literature and Western Man, Harper, 1960. * Rahv, Philip, The Myth and the Powerhouse, Farrar, Straus, 1965. * Reynolds, Michael S., Hemingways First War: The Making of A Farewellto Arms, Princeton University Press, 1976. * Reynolds, Michael, Hemingway: The American Homecoming, Blackwell Publishers,1992. * Reynolds, Hemingway, Norton, 1997. * Reynolds, Hemingway: The 1930s, Norton, 1997. * Reynolds, The Young Hemingway, Norton, 1998. * Reynolds, Hemingway: The Paris Years, Norton, 1999. * Reynolds, Hemingway: the Final Years, Norton, 1999. * Reynolds, Picturing Hemingway: A Writer in His Time, Yale UniversityPress, 1999. * Reynolds, Hemingway: The Homecoming, Norton, 1999. * Rogal, Samuel J., For Whom the Dinner Bell Tolls: The Role and Functionof Food and Drink in the Prose of Ernest Hemingway, International ScholarsPublications (San Francisco), 1996. * Rosen, Kenneth Mark, editor, Hemingway Repossessed, Praeger (Westport,CT), 1994. * Rovit, Earl R., Ernest Hemingway, T wayne, 1963. * Seward, William, My Friend Ernest Hemingway, A. S. Barnes, 1969. * Smith, Paul, ed., New Essays on Hemingways Short Fiction, CambridgeUniversity Press, 1998. * Stephens, Robert O., Hemingways Nonfiction: The Public Voice, Universityof North Carolina Press, 1968. * Szenes, Dominique, Ernest Hemingway, Park Avenue (Paris), 1994. * Tessitore, John, The Hunt and the Feast: A Life of Ernest Hemingway,Franklin Watts (New York City), 1996. * Unfried, Sarah P., Mans Place in the Natural Order: A Study of ErnestHemingways Major Works, Gordon Press, 1976. * Updike, John, Picked-Up Pieces, Knopf, 1975. * Von Kurowsky, Agnes, (edited by Henry Serrano Villard and James Nagel),Hemingway in Love and War: The Lost Diary of Agnes von Kurowsky, Hyperion,1996. * Wagner-Martin, Linda, ed., Ernest Hemingway: Seven Decades of Criticism,Michigan State University Press, 1998. * Waldhorn, Arthur, Ernest Hemingway, McGraw, 1973. * Westbrook, Max, editor, The Modern American Novel: Essays in Cr iticism,Random House, 1966. * Wylder, Delbert E., Hemingways Heroes, University of New Mexico Press,1969. * Yannuzzi, Della A., Ernest Hemingway: Writer and Adventurer, EnslowPublishers, 1998. * Young, Philip, Ernest Hemingway, University of Minnesota Press, revisededition, 1965. * Young, Ernest Hemingway: A Reconsideration, Pennsylvania State UniversityPress, 2nd edition, 1966. PERIODICALS * American Scholar, summer, 1974. * Arizona Quarterly, spring, 1973. * Booklist, April 15, 1999, p. 1452. * Chicago Tribune, July 17, 1986. * Chicago Tribune Book World, October 13, 1985; May 4, 1986; August24, 1986. * Denver Post, July 18, 1999. * Detroit News, June 9, 1985. * Forbes, September 26, 1994. * Georgia Review, summer, 1977. * Globe and Mail (Toronto), November 30, 1985; May 31, 1986. * Harpers May, 1999, p. 53. * Kenyon Review, winter, 1941. * Library Journal, May 1, 1999, p. 79; June 15, 1999, p. 113. * Los Angeles Times, May 22, 1986; January 25, 1987. * Los Angeles Times Book Revi ew, June 23, 1985. * Mediterranean Review, spring, 1971. * Midwest Quarterly, spring, 1976. * Modern Fiction Studies, summer, 1975. * Nation, June 14, 1999, p. 24. * National Review, November 7, 1994, p. 80; June 28, 1999, p. 50. * New Masses, November 5, 1940. * Newsweek, May 19, 1986; April 12, 1999, p. 70. * New Yorker, May 13, 1950. * New York Review of Books, December 30, 1971. * New York Times, June 1, 1985; May 21, 1986; July 24, 1989; August17, 1989; June 22, 1999; July 11, 1999. * New York Times Book Review, June 9, 1985; May 18, 1986. * New York Times Magazine, August 18, 1985. * Observer, February 8, 1987. * Publishers Weekly, January 11, 1985; May 10, 1999, p. 53. * Southwest Review, winter, 1976. * Time, May 26, 1986; July 5, 1999, p. 76+. * Times (London), July 18, 1985; August 1, 1986; February 12, 1989. * Washington Post, July 29, 1987. * Washington Post Book World, June 30, 1985; November 3, 1985; June1, 1986. * Yale Review, spring, 1969. Source: Contemporary Author s Online. The Gale Group, 2001. Source Database: Contemporary Authors Words/ Pages : 7,145 / 24