Ernest Hemingway (Critical Heritage) by Jeffrey Meyers

By Jeffrey Meyers

This set includes forty volumes masking 19th and 20th century ecu and American authors. those volumes could be on hand as a whole set, mini boxed units (by topic) or as person volumes. This moment set compliments the 1st sixty eight quantity set of serious background released by means of Routledge in October 1995.

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Hemingway is well aware of this happy exchange. An anxious barbarian, subtle and delicate…[he] knows how to keep his strength and leave Rome with his booty intact’ (No. 31). It is quite possible that Drieu La Rochelle’s Preface of 1932 first drew André Gide’s attention to the novel. In the 1940s French newspapers gave great publicity to Hemingway’s service in World War Two, which enormously increased his popularity. (40) If Ford Madox Ford recognized himself and Stella Bowen as Mr. and Mrs. Braddocks in ‘The Sun Also Rises,’ he did not seem to mind.

In 1950, Hemingway had not published a novel for ten years. Scribner’s advance publicity had led readers to believe that ‘Across the River’ was a major work and would present Hemingway’s experience in World War Two in the same way that ‘A Farewell to Arms’ and ‘For Whom the Bell Tolls’ had done for the Great War and the war in Spain. The publication of the novel had followed Malcolm Cowley’s apotheosis 26 INTRODUCTION of the Papa legend in ‘Life’ magazine (January 1949) and John McCaffery’s admiring collection of essays (1950), which had heightened interest in Hemingway and aroused great expectations about his forthcoming book.

He feels the social theme is imposed and unconvincing because the sudden change in the main character is inconsistent: ‘as Harry Morgan, the man born to stand alone, was about to go down to defeat, he [suddenly] came to realize that in this world the victims of society cannot stand alone’ (No. 49). Edwin Muir, who was not impressed by ‘The Sun Also Rises,’ also finds a disparity between Hemingway’s technique and theme: ‘He clearly believes in sensation, and still distrusts thought, but he is also concerned about the state of the world, and his technique, fashioned exclusively to deal with the world of sensation, does not quite know how to deal with the change’ (No.

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