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Ernest Hemingway

ERNEST HEMINGWAY
1899-1961, American novelist and short-story writer. One of the great American writers of the 20th century. Hemingway worked as a reporter for  Kansas city Star after graduating from high school in 1917. During World War I he served as an ambulance driver in France and in the Italian infantry and was wounded just before his 19th birthday. Later, while working in Paris as a correspondent for the Toronto Star, he became involved with the expatriate literary and artistic circle surrounding Gertrude Stein.  During the Spanish Civil War, Hemingway served as a correspondent on the loyalist side. He fought in World War II and then settled in Cuba in 1945. In 1954, Hemingway was awarded the Nobel Prize for Literature. After his expulsion from Cuba by the Castro regime, he moved to Idaho. He was increasingly plagued by ill health and mental problems, and in July, 1961, he committed suicide by shooting himself.
v Hemingway's creation:
v  Main works: In Our Time
v The Sun Also Rises
v A Farewell to Arms
v For Whom the Bell Tolls
v The Old Man and the Sea
v Men without Women (The Undefeated, The Killers, Fifty Grand)
v Death in the Afternoon
v The Green Hills of Africa
v The Snow of Kilimanjaro

HEMINGWAY’S WRITING STYLE
Hemingway’s technique is uncomplicated, with plain grammar and easily accessible language. His hallmark is a clean style that eschews adjectives and uses short, rhythmic sentences that concentrate on action rather than reflection. Though his writing is often thought of as “simple,” this generalization could not be further from the truth.  He was an obsessive reviser. His work is the result of a careful process of selecting only those elements essential to the story and pruning everything else away. Hemingway is also considered a master of dialogue. The conversations between his characters demonstrate not only communication but also its limits. The way Hemingway’s characters speak is sometimes more important than what they say, because what they choose to say (or leave unsaid) illuminates sources of inner conflict. Nearly fifty years after his death, his distinctive prose is still recognizable by its economy and controlled understatement.


ERNEST HEMINGWAY'S ICEBERG THEORY
Hemingway had a style of writing he referred to as the 'iceberg theory' in which written words in a story focus on surface facts, those easily seen. But beneath and behind the words is a more complete structure supporting the story. Others refer to this as the 'theory of omission'.
Hemingway summarizes his theory as follows:
If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. (Ernest Hemingway in Death in the Afternoon)

ERNEST HEMINGWAY THEMES

Major Themes
Nature. Nature, in the form of beautiful landscapes and wholesome surroundings, is a constant presence in Hemingway’s short fiction.
Death. Also a near-constant presence in Hemingway’s stories is the theme of death, either in the form of death itself, the knowledge of the inevitability of death, or the futility of fleeing death.
Fatalistic Heroism. Also known as heroic fatalism, this attitude was a Hemingway favorite. Fatalistic heroism derives from the belief that death is certain to come and that resisting it is futile; one may as well face death with stoicism and resignation. This belief and its accompanying stoic behavior patterns appear in several short stories.
Disillusionment. Disillusionment and the depression that results from it are recurrent themes in Hemingway’s short stories. Hemingway himself suffered from feelings of disillusionment and dislocation following his harrowing experiences during World War I.
Masculinity. Hemingway, it is often noted, was enamored of a particular notion of masculinity. Hemingway’s heroes are often outdoorsmen or hunters who are stoic, taciturn, and averse to showing emotion. Real men, according to Hemingway, are physically courageous and confident, and keep doubts and insecurities to themselves.
Ambivalence. Many of Hemingway’s characters have ambivalent feelings toward each other; in Hemingway’s universe, people are not wholly good or bad.

Animals as Symbols. Animals in the Hemingway canon, whether they are game, pets, or wild, sometimes serve as symbols for their human hunters, caretakers or observers


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