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Demonstrates in painstaking detail and with reference to stunning new archival evidence how fetishism was crucial to the construction and negotiation of identity and gender in Hemingway's life and fiction.
Thomas Strychacz challenges the traditional wisdom that Hemingway fashions a quintessentially masculine style that promotes an ideal of stoic, independent manhood, arguing instead that Hemingway's fiction poses masculinity as a theatrical performance.
Ernest Hemingway: A Literary Life includes new research on the best-known of the posthumous publications: A Moveable Feast, 1964 (and the 2009 A Moveable Feast: The Restored Edition); Islands in the Stream, 1970; and The Garden of Eden, 1986. Linda Wagner-Martin provides background and intertextual readings—particularly of the way Hemingway’s unpublished stories (“Phillip Haines was a writer”) and his fiction from Men Without Women and Winner Take Nothing interface with the memoir. The revised edition also highlights and provides background on Hemingway’s treatment of F. Scott Fitzgerald and Gertrude Stein, his life in Paris in the 1920s, and his connection to the poetry scene there—putting this in conversation with Mary Hemingway’s edits of A Moveable Feast. The new chapters also illuminate the reception of Islands in the Stream and a new way of understanding the role of gender and androgyny in The Garden of Eden. On a whole, the book draws from extensive archival research, particularly correspondence of all four of Hemingway’s wives.
THE NEW YORK TIMES BESTSELLER 'She'd been intimately his, and he hers, for twenty-seven years - which were his final twenty-seven years. She'd lasted through three wives, the Nobel Prize, and all his ruin. He'd owned her, fished her, worked her and rode her, from the waters of Key West to the Bahamas to the Dry Tortugas to the north coast and archipelagos of Cuba.' Even in his most accomplished period, Hemingway carried within him the seeds of his tragic decline and throughout this period he had one constant - his beloved boat, Pilar. The boat represented and witnessed everything he loved in life - virility, deep-sea fishing, access to his beloved ocean, freedom, women and booze and the formative years of his children. Paul Hendrickson focuses on the period from 1934 to 1961, from the pinnacle of Hemingway's fame to his suicide. He has delved into the life of Hemingway and done the seemingly impossible: present him to us in a whole new light.
The first full biography of Ernest Hemingway in more than fifteen years; the first to draw upon a wide array of never-before-used material; the first written by a woman, from the widely acclaimed biographer of Norman Mailer, Peggy Guggenheim, Henry Miller, and Louise Bryant. A revelatory look into the life and work of Ernest Hemingway, considered in his time to be the greatest living American novelist and short-story writer, winner of the 1953 Pulitzer Prize for Fiction and the Nobel Prize in Literature in 1954. Mary Dearborn's new biography gives the richest and most nuanced portrait to date of this complex, enigmatically unique American artist, whose same uncontrollable demons that inspired and drove him throughout his life undid him at the end, and whose seven novels and six-short story collections informed--and are still informing--fiction writing generations after his death.
Did Ernest Hemingway kill 122 Nazis during World War II? Did he box heavyweight champion Gene Tunney? Did he grow his hair long and want to be called Catherine? Mythbusting Hemingway will feature answers to these longstanding questions and more. It’s fitting treatment for an author who won both the Pulitzer and Nobel prizes, survived back-to back plane crashes, and played the cello. He really was “The Most Interesting Man in the World,” who once shot himself in the leg with a machine gun (while hunting sharks), got into a brawl with Orson Welles, and survived a domineering mother who dressed him up as the girl twin of his older sister until he was five. In this book, Hemingway myths—both true and debunked—will be informed by detective work the authors did for the Paris Review, Chicago Tribune, and Huffington Post—although 95 percent of the book is based on new discoveries. In addition, an original essay, never before published in a book, is included from Frances Elizabeth Coates, Hemingway’s high-school classmate, after whom a character was modeled his sexually charged 1923 story “Up in Michigan.”
In 1918 , a one-month stint with the American Red Cross ambulance corps at the Italian front marked the beginning of Ernest Hemingway’s fascination with Italy—a place second only to Upper Michigan in stimulating his lifelong passion for geography and local expertise. Hemingway’s Italy offers a thorough reassessment of Italy’s importance in the author’s life and work during World War I and the 1920s, when he emerged as a promising young writer, and during his maturity in the late 1940s and early 1950s. This collection of eighteen essays presents a broad view of Hemingway’s personal and literary response to Italy. The contributors, some of the most distinguished Hemingway scholars, incorporate new biographical and historical information as well as critical approaches ranging from formalist and structuralist theory to cultural and interdisciplinary explorations. Included are discussions of Italy’s psychological functioning in Hemingway’s life, the author’s correspondence with his father during the writing of A Farewell to Arms, his stylistic experimentation and characterization in that novel, his juxtaposition of the themes of love and war, and his take on Fascism in both his fiction and journalistic work. In addition, the essayists explore relevant contexts of period and place—such as the rise of Fascism, ethnic attitudes, and the cultural currents between Italy and the United States. A landmark study, Hemingway’s Italy brings long-overdue attention to this great writer’s international role as cultural ambassador. Contributors : Rena Sanderson, Nancy R. Comley, Kim Moreland, Steven Florczyk, Kirk Curnutt, Lawrence H. Martin, John Robert Bittner, Jeffrey A. Schwarz, J. Gerald Kennedy, H. R. Stoneback, Beverly Taylor, Ellen Andrews Knodt, Linda Wagner-Martin, Robert E. Fleming, Miriam B. Mandel, Joseph M. Flora, Margaret O’Shaughnessey, Stephen L. Tanner, Vita Fortunati
Hemingway, Trauma and Masculinity: In the Garden of the Uncanny is at once a model of literary interpretation and a psycho-critical reading of Hemingway’s life and art. This book is a provocative and theoretically sophisticated inquiry into the traumatic origins of the creative impulse and the dynamics of identity formation in Hemingway. Building on a body of wound-theory scholarship, the book seeks to reconcile the tensions between opposing Hemingway camps, while moving beyond these rivalries into a broader analysis of the relationship between trauma, identity formation and art in Hemingway.
This study breaks new ground by examining the profoundly submissive and masochistic posture toward women exhibited by many of Hemingway's heroes, from Jake Barnes in The Sun Also Rises to David Bourne in The Garden of Eden. The discussion draws on the ideas of diverse authors revealing that 'masochistic aesthetic' informs many of the texts.
Traces Hemingway's critical fortunes over the ninety years of his prominence, telling us something about what we value in literature and why scholarly reputations rise and fall.
