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Keach’s voice takes on a spooky darkness that is somehow simultaneously light and hopeful. Take that wavery masterpiece, “Big Two-Hearted River,” ostensibly just a long “fish story,” which a barely known 25-year-old sat down and wrote in two parts at a marble table at the Closerie des Lilas in Paris in August 1924 - almost as if he were practicing literary modernism without ever having heard of the term. The reverse is true as well: the worst of him was coming in even more wincing ways. Freed from the page, I could close my eyes and lie on some mental living-room rug and dream my way in all over again. The best of his stories and novels started to feel as if they were running even swifter, bluer, in their narrow channels, clean as the pebbles at the bottom of those iconic Upper Peninsula trout streams. Maybe it was a far more moral act than we wish, even now, to acknowledge.īut a funny thing happened on the way to my expected disregard for these recordings, which in some cases are something like one-man old-time radio productions: I began to love the sound of Hemingway, if not exactly in new ways, at least in heightened ways. And then the double-barreled shotgun went off in a little entry room early one summer Sunday morning in 1961, in the last home, in Ketchum, Idaho. It should also be said that there were years of relative stability and domesticity when the morning terrors against the blank page took place in a studio behind his home in Key West or in a bedroom at the Finca Vigía, outside Havana, where he lived for most of the last two decades of his life. The movable space could be on his fishing cruiser in the Gulf Stream, or in a hotel room in Spain while bombardments were going on outside the window, or under the mosquito netting of a sleeping tent in Africa. One answer to the riddle of how so many words were set down, in spite of everything, is that Hemingway kept struggling - I’d call it heroically - no matter where he was or what ailed him, to find his way to his writing table.
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A man “wears a mask, and his face grows to fit it,” George Orwell wrote.
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In a way, he was a far more indoor soul as well. While that part of Hemingway is not untrue, it’s also the case that he was a far more tormented and sickly soul, both physically and emotionally, than we ever really guessed. That is how we think of him when we squint and say his name: mythic life of action in the natural world.
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But how did he get so much work done, the stories, the novels, the nonfiction (not to mention the thousands of letters he wrote), amid all that wasteful boozing and boasting, the depressions, the freakish accidents, the bouts of soaring blood pressure, the stark-awake and Seconal-stoked nights?Īnd this is not even to dwell on all the time he devoted to indulging his passions for fishing and hunting. Hemingway changed the look and sound of American speech on the printed page. If, by his middle and later years, enough of it seemed self-parodying and sometimes even mawkish, great swaths of it remain immortal - and not just the early work, as some critics would claim. First published in 1926, The Sun Also Rises helped to establish Hemingway as one of the greatest writers of the twentieth century.In a foreshortened life that didn’t make 62, Ernest Hemingway got a lot down on paper. It is an age of moral bankruptcy, spiritual dissolution, unrealized love and vanishing illusions. Follow the flamboyant Brett and the hapless Jake as they journey from the wild nightlife of 1920s Paris to the brutal bullfighting rings of Spain with a motley group of expatriates. A poignant look at the disillusionment and angst of the post-World War I generation, the story introduces two of Hemingway’s most unforgettable characters: Jake Barnes and Lady Brett Ashley. The Sun Also Rises is one of Ernest Hemingway’s masterpieces and a classic example of his spare but powerful style. THE QUINTESSENTIAL NARRATIVE OF THE LOST GENERATION Nominated as one of America’s best-loved novels by PBS’s The Great American Read.