907 Whitehead Street.

Touring the Hemingway House in Key West with the author's son Patrick, and drawing on his memories as well as on letters, photos, and the Historic American Buildings Survey, this essay reconstructs life at 907 Whitehead Street during the years of Hemingway's residence there with his wife Pauline and their two young children. Topics covered include the house itself, along with its now-vanished furnishings and works of art; the grounds, including the swimming pool, original plantings, and backyard wildlife; famous guests and the family style of entertainment; staff members who cared for the home; and even the Hemingways' pets (peacocks, not six-toed cats). Along the way, the essay explodes various myths still being told about the house in Key West, and gathers information vital to a more accurate presentation.

   He looked back to where the fort was well astern, the red-brick
   building of the old Post office starting to show up above the Navy
   yard buildings and the yellow hotel building now dominating the
   short skyline of the town. There was the cove at the Fort, and the
   lighthouse showed above the houses that strung out toward the big
   winter hotel. (THHN 155.)

IN THIS PASSAGE DESCRIBING KEY WEST, as seen by the character of Harry Morgan from a boat on the water, Hemingway gives prominence to the landmark of the lighthouse, across the street from his own home at 907 Whitehead Street. (1) The Key West lighthouse dominates its area on the island and is famous today, lately featured in a PBS series on American lighthouses.

My first visit to Key West was in January 1985, when the winter writers' conference in that town was devoted tO papers and panels on Ernest Hemingway. Walking down Whitehead Street from our hotel, my husband Patrick, Ernest Hemingway's second son, was taken aback to see a large banner stretched across the house, "Welcome Home, Patrick!" As we started on the tour of the Hemingway Museum without revealing our identity, Pat became more and more uncomfortable. Patrick's home? The tour guide's talk and the furnishings of the house little resembled clear memories of his boyhood home. We did not complete the tour, but slipped away and mounted the stairs from the second-floor hall, exiting through the door of a small wooden enclosure to the roof. Here everything remained unchanged for Patrick and he gazed with delight at the full view of the lighthouse.

Pat told me of his affection for the roof where he had spent many childhood hours, especially at night, when the stars were bright and he taught himself the constellations from a book. In the 1930s (the Hemingways purchased the house in 1931), there was no light pollution in the Key West sky, excepting the lighthouse, whose beam swung from east to west across the Whitehead Street house, lighting up the roof as well as the boys' room on the second floor. During the day, from the roof Pat could see boats on the water and ships disappearing below the horizon, the visual proof to a young boy that the earth is round.

Standing on the roof, Pat and I had a good view of the grounds of the house with the well-defined boundary of the brick wall, built around 1933 by chauffeur-handyman T. Otto Bruce, known as "Toby" with bricks leftover from the elimination of the streetcar tracks. Pat pointed out a hole in the six foot wall on the northeast side; a hole that came about because of the complaints of a neighbor who felt she "couldn't breathe." The Hemingways were quick to agree to her request for an opening which provided ventilation and also a good view of the yard and later, more entertainingly, of the swimming-pool.

Prior to World War II, when the government built a water pipeline down the Keys from the mainland to Key West, the island was dependent on the collection of rain water in cisterns. From the roof, the architectural details of the house having to do with the collection of rainwater were clear: gutters and a roof sloping to a central drain, culminating in the wooden-roofed concrete cistern on the ground behind the house, a universal feature of prewar Key West buildings. There was a well on the property providing brackish water, the only private well on the island. This unique well later provided the water for the swimming pool, making it an especially attractive feature in the Key West of the 1930s.

Pat noted the lush, tropical vegetation of the grounds which didn't exist during his childhood because of the shortage of water. Then there were two date palms flanking the front entrance; later one died and was cut down. The vista from the roof then was an open, grassy yard with some trees selected by Pauline Hemingway and planted by the gardener, Jimmie Smith. Pauline Hemingway tried royal palms which didn't take, although a fig tree on the Olive Street side flourished, probably because it grew over the drain field for the cesspool. The yard was dotted with Spanish bayonets.

In back of the house stood the coach house. The upper floor became Hemingway's study, connected to the second floor of the main house by a walkway resembling a covered bridge with the walk on top. The walkway was torn down in the late 1930s. After the divorce in 1940, Pauline Hemingway rented out the big house and converted the coach house into an apartment which she used as a base when she was traveling.

The Whitehead Street house was built in the 1850s by Asa Tift, a northerner turned Key West shipbuilder turned Confederate sympathizer (Encyclopedia of the Confederacy 1596). The house is in the French/Spanish Colonial style common to New Orleans, a major influence on Key West. Its two-story verandas with wooden floors, and its French door/windows, kept open, give an insight into what was needed in the tropics in the years before air conditioning, i.e. cross-ventilation. The ground plan of the house is Federal, based on a center hall upstairs and downstairs, with large rooms opening off the hall on both sides. (2) A square addition at the back housed the kitchen on the ground floor and an additional bathroom on the second floor, off the bedroom of Ada Stearns, the children's nanny. On the lower veranda at the back of the house, Ernest Hemingway practiced boxing on a punching bag anchored to the floor. Rattan furniture similar to designs featured today in Martha Stewart summer catalogues provided seating and side-tables on the other verandas.

Having lived some years in Europe and worked as an editor for Paris Vogue, Pauline Hemingway had definite ideas for the furnishing of the house, such as the simple lines of hand-blown chandeliers brought from New Orleans. While living in the Paris apartment at 6 Rue Ferou near the Luxembourg Garden, Pauline had purchased Spanish 18th century antiques which she later, in December 1931, had shipped to Key West. Pauline was sick with a bad cold in January 1932 when the furniture arrived, so her sister, Jinny Pfeiffer, took charge of unpacking and placing items, hanging a Waldo Peirce painting of a brace of partridges and shotgun over the original fireplace in the dining-room. The Hemingways burned charcoal from the Keys in the fireplace, the only heat in the house with the exception of the electric cooking stove and the round electric heaters in the bathrooms.

"He left his bicycle on the front porch and went in the hallway closing the front door the termites had tunneled and riddled" (THHN 176). A termite called woodworm thrives in the Key West climate where little by little it destroys woodwork and furniture. This was the unhappy fate of the 18th century antiques so exactly chosen by Pauline Hemingway and finding the perfect architectural setting in the house at 907 Whitehead Street. At the time of the sale of the house in the early 1960s by the then owners, Patrick, Gregory, and Mary Hemingway, many pieces of the furniture were brittle shells. Patrick Hemingway took what was left to his house in the Oakland hills above Berkeley, California. The house and all its contents burned in 1967.

Unfortunately, little remains of a visual record. (3) Pat Hemingway remembers the Johnson Wax Company of Racine, Wisconsin, coming to Key West in the 1930s and photographing all the interiors of the house for an ad. (4) In the photo chosen for the advertisement, the Spanish side table with wrought iron below is flanked by two French, bergere style chairs, one, actually a chaise lounge. There is also a partial view of a Spanish walnut chest. One of the three Andre Masson's forest paintings, perhaps "Ville d'Avray," hangs over the table between two sets of doors. The fine print of the ad reads, "High French doors allow the Florida sunlight to stream across richly polished floors of virgin pine in Mrs. Hemingway's Spanish Colonial house--built 85 years ago." The photograph also shows Moroccan throw rugs resting on those highly waxed pine floors.

The living room ran the length of the house, pierced by long, arched French door/windows. The wall space between the graceful doors was filled either with floor to ceiling bookcases--the Hemingways owned a large library-or Hemingway's paintings--such as the other Masson paintings. In Green Hills of Africa, Pauline Hemingway as P.O.M. comments on the Masson paintings:.

   "By God, isn't it good looking country?" I said.
   "Splendid," Pop said. "Who would have imagined" it?"
   "The trees are like Andre's pictures," P.O.M. said.
   "It's simply beautiful. Look at that green. It's Masson." (96)

She was equally proud of the Juan Gris paintings. In a letter to her husband on 6 May 1932, Pauline Hemingway wrote about the visit of a struggling young painter. "He was so crazy about The Guitar Player (the Juan Gris painting Pauline and Ernest Hemingway bought in Paris in 1931) that he won me. He asked if it was Picasso and I was pleased he'd heard of him." Gris's The Bullfighter and later, Paul Klee's Monument under Construction, also hung in the living room. After the divorce, when Ernest Hemingway took his paintings to Cuba, Pauline Hemingway purchased in New York a small Klee painting of a pear which she hung in the living room.

In a letter to Waldo Peirce on 15 April 1932, from Key West, Hemingway wrote:

   Have your two partridges with shotgun, a damn fine picture,
   over the fireplace in the dining room. Everybody in Paris, that is
   Miro and Masson and those birds, were crazy about your two
   pike, pickerel rather, on the platter and the trout. (SL 358)

Across the hall in the dining room a long Spanish dining table, also with iron work below, was flanked by benches on both sides and a chair at each end. There was a high chest of dark walnut with glass doors. Miro's The Farm hung on one wall and an unusual taxidermy creation--a ruffed grouse in a natural setting with a curved glass front like a picture--filled another, as well as the Peirce still-life of fish.

   "I've tried to take care of you and humor you and look after you
   and cook for you and keep quiet when you wanted and cheerful
   when you wanted...." (THHN 186)

In the Johnson Wax ad, Pauline Hemingway endorses the wax product--either liquid or paste--"All my things are protected with genuine wax. It gives a rich, satiny polish that lasts indefinitely, resists dirt and requires very little upkeep." In restoring the house after the initial purchase, Pauline was directly involved with the workmen and undertook many chores to enhance the beauty of the house. Just as Pauline's taste dictated the furnishings of the house, her management governed the operation of the staff consisting of a gardener, handyman/chauffeur, laundress, cook, and nanny.

The yard man was Jimmie Smith. His duties in the yard always included weeding, picking off insects such as beetles on the plants, burying dead barracuda around the bases of trees for fertilizer, and mowing with a hand mower. There was a lot of grass. Patrick remembers hearing the continual whirr of the lawn mower. (Another familiar sound was the ice house whistle which sounded at 9 AM, noon, and 5 PM. Few people had clocks.) In a 1931 letter to her husband, when she was readying the house for occupancy, Pauline Hemingway speaks of repairing the roof and also notes that half of the yard had been weeded. Pauline became intensely interested in gardening, supervising Jimmie Smith in his work. She consulted with Key West botanical experts in searching out appropriate vegetation for the northern tropics. After her death in 1951, when Patrick and his first wife, Henrietta, lived in the Whitehead Street house, Dennis Martin, a well-known photographer for the National Geographic and botanist, told Pat that the yard contained many unusual plants not found elsewhere and reflecting Pauline's originality.

When Patrick was a little boy, Ina Hepburn, an African American woman who lived several blocks away, came each week to do the laundry. She washed the clothes and linens in a large galvanized tub over a wood fire behind the coach house. Ina rubbed the wash by hand with big yellow bars of soap and stirred the tub with a wooden stick. She set up her ironing board and charcoal iron in the yard behind the kitchen. When finished, Ina. carried the folded linens to a large armoire chest at the top of the stairs on the second floor. A thrifty, hard worker, Ina sent all of her children to college from her earnings as a laundress.

Miriam Williams was the accomplished cook, trained by Pauline Hemingway. Pat remembers that most dinners featured fish which was indeed plentiful in the Keys: kingfish, grouper, snapper, shrimp, as well as the famous conch used in salads. Turtle meat was also plentiful. Pauline interspersed the local fish caught by her husband and friends with orders of barnacles (percebes) from Spain and kippers that came in a wooden box from Scotland. When they were small, Patrick and his younger brother Gregory ate at the children's table in a small pantry room off the kitchen. Most of their food was prepared by Ada' Stearns, the nanny, who was not an inspiring cook. Birthday dinners regularly included hamburgers, mashed potatoes, and peas.

Pauline could also vary the diet with game birds. In a letter written 5-6 January 1932 to Maxwell Perkins, Hemingway refers to killing fourteen snipe with Charles Thompson. When John Dos Passos was expected for a visit, Patrick would accompany his father out to shoot shorebirds--black bellied plover and yellowlegs--which young Pat would retrieve as they fell on the beach or in the water. Dos had the reputation of possessing a large appetite. Patrick remembers his father saying that "Mr. Dos Passos could eat the pants off a brass monkey."

Dos Passos had first recommended Key West as a place to live to the Hemingways. When they took up permanent residence there, more and more of the crowd of couples from New York and Paris visited with great frequency. In addition to Dos Passos and his wife Katy Smith, Sarah and Gerald Murphy, Ada and Archibald MacLeish, Dawn Powell, Dorothy Parker, Waldo and Alzira Peirce all gathered at Whitehead Street for dinner. Esther and Canby Chambers moved from New York to Key West, too, after Canby's bout with polio. This group of couples formed a lively social circle of witty, intelligent people who all interacted on the same level. These strong personalities reveal themselves and their camaraderie in the exchange of letters wonderfully assembled by Linda Miller in Letters from the Lost Generation.

The men and some of the women were a heavy-drinking and smoking crowd typical of the period. Scotch was popular; rum drinks and Spanish wines were easily available. Cocktails such as martinis were served most often on the veranda or in the living room/library where on a table sat a novel sage grouse mount, a male in the full display of fanned tail and enlarged throat sacks, attached to a silver arched stand with holes in which to place cigarettes. Other cigarette boxes and ashtrays were in abundance, such as the holder on the table in the Johnson Wax ad.

Ernest Hemingway's ambition was to own a Capehart record player. However, his brother-in-law, Carl Pfeiffer in Piggott, Arkansas, was the manufacturer's representative for a different company and sent the Hemingways a less desirable player. Nevertheless, they set it up in the living-room and played the records sent to them as gifts or special ordered. While involved with a play adaptation of Hemingway short stories, entitled It lust Catches, I asked Pat if he remembered his father's choice of Cole Porter songs. The director of the play and I had decided to use Cole Porter as incidental music, knowing that Porter had known- Hemingway. Pat listed "You're the Top," "Tomorrow" and "Experiment" as favorites. Pat remembers his father humming the last named. (The song, "It's Bad for Me" occupies a prominent position in the story" The Snows of Kilimanjaro") In a letter to Gerald Murphy dated 7 November 1934, Hemingway asked Gerald to send him a recording of "Experiment" to replace one that was broken. He also enclosed a check.

Pauline Hemingway had collected recipes from her travels and worked with Miriam to reproduce sophisticated menus for the dinner parties. The influence was largely French and English from the cheese souffles, curried rice rings, and popovers (Yorkshire pudding), to the salads with vinaigrette dressing served on French plates decorated with humorous drawings and epigrams. Chocolate mousse chilled in small silver cups was a favorite dessert. Pauline Hemingway wisely refused to give out recipes as she said she never wanted to be served her own food in someone else's house.

   ... and a thousand breakfasts come up on trays in the thousand
   fine mornings of the next three years; or the ninety of the next
   three months.... (TFC 82)

French, too, for the Hemingways, was the custom of having breakfast in the master bedroom, usually on the large bed. Patrick Hemingway has noted that his father was fond of eating and reading in bed, authenticated by George Leavens's later photograph of Hemingway reading The New York Times in bed at the Finca Vigia in Cuba. The bedroom gained elegance from Pauline's accessories. Her dressing-table sported a complete French dresser set in tortoiseshell and gold. The bedspread was French as well in white chenille with a large fanned-tail peacock in full color at the center. In the bedroom, too, were the couple's portraits--one of Pauline holding a cigarette by Waldo Peirce and the other, very showy, a full-length portrait of Hemingway by Luis Quintanilla. The latter burned up in Patrick Hemingway's California house.

Lorine Thompson, wife of Charles Thompson, kept Pauline's portrait, and a Waldo Peirce painting of infant Patrick sitting on his nurse's lap, in her Key West house. The Thompsons early on became close friends of the Hemingways in Key West. Lorine told Doris Hemingway, Leicester Hemingway's wife, that she was holding the paintings to give to Patrick. (Hilary Hemingway corroborates what her mother related to Patrick and myself.) By the 1980s, Lorine Thompson was very old and failed to communicate her intentions in her will. When she died in 1985, her house and all its contents went to her elderly brother in Georgia, T.F. Carter. Mr. Carter wrote Patrick and myself that he had no knowledge of the ownership of the paintings and sold the house with its contents to Robert Crane of Key West. Though apprised by the lawyer, George Bobrinskoy, of the provenance of the paintings, Robert Crane has never returned the paintings to the Patrick Hemingway family.

   ... he passed the frame houses with their narrow yards, light
   coming from the shuttered windows; the unpaved alleys with
   their double rows of houses; Conch town where all was
   starched, well-shuttered, virtue, failure, grits and boiled grunts,
   under-nourishment, prejudice, righteousness, inter-breeding
   and the comforts of religion (THHN 193)

Toby Bruce's family were sharecroppers in Piggott, Arkansas, where they knew the Paul Pfeiffer family. Pauline Hemingway described them to Patrick as "bright-eyed little animals." Talented with his hands, Toby did carpentry work in Piggott and when invited to come to Key West he continued wood-working for the Hemingways by constructing some of the upstairs furniture in Ada Stearns's bedroom. He also acted as chauffeur, helping out on the long drives from Key West to Piggott and to the L Bar T ranch in Wyoming. Bud Schulberg, the screenwriter, wintering in Key West, cast Toby Bruce in a movie about the Everglades, which perhaps stimulated his imagination for fiction. Toby yearned to range out of Key West and for a time worked at pottery in an arts and crafts operation owned by Pfeiffer relatives, the Merners, in Palo Alto, California. Toby loved the Bay area and dreamed of staying there but instead was drawn back to Key West by his wife, Betty Merino Bruce.

The Merinos owned an appliance repair business in Key West which grew through the years with the importance of electric appliances such as washing machines and refrigeration. As small town store-owners, the Merinos were important townspeople and native Conchs. Betty Bruce cut a figure in Key West which couldn't be duplicated on the West Coast. Hemingway wrote a piece about Betty, fictionalized of course, entitled "A Key West Girl" (manuscript copy in the Hemingway Collection at the John F. Kennedy Library). (5) The piece describes a marriage between a Key West native and a man from "up north," Arkansas being considered north in Key west. There isn't any way to make money in Key West except by odd jobs such as working in a filling station or coffee shop. This is indeed the fate of a "stranger" who even after thirty years of residence cannot become a Conch. Should the couple try another part of the country, the woman will always go back, shipping her sewing machine home from San Diego, say, at great expense which is never forgiven by her Conch family. She pulls her husband back with her. "It is not only by the accident of time that the world has never been conquered by Key Westers."

Toby Bruce lived on in Key West past the deaths of Pauline and Ernest Hemingway. When Bernice Daniels bought the Whitehead Street house in 1961 from Patrick, Gregory, and Mary Hemingway, she lived in it a few years before deciding to sell tickets and open it to the public. Knowing nothing about the history of the house, she turned to Toby Bruce (and probably Betty) who were quick to make up stories which to their minds were colorful and corny, such as the fabrication about the "last penny" spent on the swimming pool and the tasteless "urinal" adapted for the cats drinking nearby. In September 1934, Hemingway wrote to Gerald and Sara Murphy cheerfully describing his decision to build a swimming pool where he could have daily exercise following work. Thus the pool was hardly a subject of acrimony between the Hemingways.

Bernice Daniels was serious about restoring the Key West house in the manner of its original state. She evidently purchased Spanish-style furniture which was readily available in Miami and stemmed from the Spanish revival of the 1930s. The Country Club Plaza district in Kansas City, Missouri, and even some buildings in Bozeman, Montana, give evidence in the stucco walls, wrought iron work, and the roofs of the popularity of the style in that period. The over-all attempt is legitimate; it's simply not truthful when passed off as the original furnishings.

   Some of the winter people rode by the house on bicycles. They
   were laughing. In the big yard of the house across the street a
   peacock squawked. (THHN 262)

In the 1930s, William Demeritt was the Superintendent of the 7th Lighthouse District. In addition to his lighthouse duties, he developed an aviary' on the lighthouse property. This was the source where the Hemingways obtained the peacocks which roamed the grounds of 907 Whitehead Street. They roosted in the trees near the house at night and were very noisy, sometimes to the neighbors' distress. To this day, Patrick Hemingway has a fondness for the loud peacock call of Cawwwww.

In 1985, Patrick and I searched in vain for any songbirds in the yard of the Key West house. None of the redstarts, ovenbirds, or yellow-throated warblers, ever plentiful in Pat's childhood, were to be seen. The enthusiastic spraying for mosquitoes in Key West may account for the decline of the bird life in the place Audubon so valued.

Pat also tells of the pet raccoons kept in a large cage in the yard. Esther Chambers painted a tropical scene with flamingos and palm trees on the back of the cage. Beginning with four raccoons, the number dwindled to a loving couple--Roger Herbert and Miriam Hopkins. The two were fastidious in their habits, carefully picking up and devouring the canned dog food they were fed. One morning Hemingway discovered Roger Herbert munching on his partner, Miriam Hopkins, despite having had a full meal of the dog food. Infuriated by this scene of connubial cannibalism, Hemingway grabbed his shotgun and killed Roger.

In 1985, to journalists from the Palm Beach television station, WPTV, assembled at Key West, and again in a feature article by author Mark Burrell in the Miami Herald of 21 August 1994, Patrick Hemingway made clear that there were no cats on the property at 907 Whitehead Street. True, Ernest Hemingway was fond of cats, as seen in the proliferation of cats at his home in Cuba. But during the Key West years he didn't possess a single cat. The current owners of the house and operators of the house tours make false Statements when they insist that the current crop of six-toed cats is descended from cats the Hemingways owned.

Pat Hemingway tells the story that on one occasion a neighbor's cat wandered into the yard.... "It had been in an accident, just run over by a car, and it had a terrible back injury and wasn't going to live. So my dad, who was very kind-hearted to animals, decided to put it out of its misery and shot it and gave it to the yard man, Jimmie, to bury." Mysteriously, the cat revived and was soon seen dragging itself around but with only one eye. After publication of the Burrell article, the Miami Herald received a letter to the editor which corroborated Patrick Hemingway's account:

   September 8, 1994, "Tropics."

      It did my heart good to read Mark Burrell's August 21 article
   on Ernest Hemingway. I lived and grew up at 919 Whitehead
   Street until my marriage in 1944. My sisters and I were the
   neighborhood children who owned the cat Hemingway shot in
   the eye. He had not been run over, but was crippled from birth,
   and walked with an erratic gait. We doubt seriously that Hemingway
   shot him for any humanitarian reason. He was just practicing
   for his big game hunts to Africa! We always knew
   Hemingway had shot him, but when we try to tell people the
   real story they don't believe it.

      The six-toed cats were ours; the first a gift to my mother
   from a lady who also loved cats like we do. I still have a six-toed
   cat. Thanks to Mr. Burrell and Patrick Hemingway for, setting
   the record straight.

      O.K. Jaycocks, Key West

Unlike the tense, quarrelsome atmosphere depicted by the tour guides under the current 907 Whitehead Street management, Ernest Hemingway spent many productive writing years surrounded by family, bountiful hunting and fishing, and a circle of like-minded friends. Welcome home, Patrick? The house today bears little resemblance to Patrick Hemingway's memory of what he called in a Playboy article written in December 1968, "a magical childhood." Yet, there are telling details. Like the cement sidewalk with its imprint of a young girl's foot in Willa Cather's Lucy Gayheart, the house holds tight to small features of the past. Pat showed me the bathroom floor tile where the outline of an, iron burned an image. He pulled aside the leaves of a Spanish bayonet in the yard to expose a tiny green frog living within.

   This is a grand house. Do you remember it across from the light
   house? One that looked like a pretty good Utrillo, somewhere
   between that and Miro's Farm. (Ernest Hemingway to Waldo
   Peirce, Key West, 15 April 1932, SL 358.)

NOTES

(1.) Small and large details concerning the house at 907 Whitehead Street and the life within were told to me by Patrick Hemingway.

(2.) Editor Susan Beegel informed me of the web site for the architecture as well as the name of Key West Librarian/Historian, Mr. Thomas L. Hambright, who provided information. about the lighthouse keeper.

(3.) Alan Goodrich, Head Archivist, and James B. Hill, Audiovisual Archivist, guided me through the Key West photo file at the John F. Kennedy Library.

(4.) Following up on Pat's memory of the Johnson Wax ad with the photographers capturing shots of the interior of the house in the 1930s, I was able to call in 1997 the S.C. Johnson & Sons headquarters, still in Racine, WI, and speak to Mr. James E May, Director of Corporate Public Relations. He and his successor, Ms. Therese Van Ryne, plus Ms. Clara Norred were tremendously helpful in locating the one advertisement.

(5.) From the 1985 visit to the Key West conference, I remembered Scott Donaldson reading aloud the manuscript piece, "A Key West Girl" Scott Donaldson very kindly shared his remembrance of where he had found the ms. page at the Kennedy Library and James Roth, Curator of the Hemingway Collection, tracked it down.

WORKS CITED

Author Acknowledgement: Quotations from the published works of Ernest Hemingway listed below are reprinted by permission of Scribner, a Simon and Schuster imprint, and The Random House Group, Ltd.

Burrell, Mark. "For Whom the Bull Tolls?" Tropic The Miami Herald (21 August 1994): 6-13; 16. Encyclopedia of the Confederacy. New York: Simon and Schuster, 1993.

Hemingway, Ernest. Ernest Hemingway: Selected Letters, 1917-1961. Ed. Carlos Baker. New York: Scribner's, 1981.

--. The Fifth Column. New York: Scribner's, 1940.

--. Green Hills of Africa. New York: Scribner's, 1935.

--. To Have and Have Not. New York: Scribner's, 1937.

Hemingway, Patrick. "My Papa, Papa." Playboy Magazine (December 1969): 197-200; 263-268.

Hemingway, Pauline. Unpublished letters. January 1932 and 6 May 1932. Hemingway Collection. John F. Kennedy Library. Boston, MA.

Jaycocks, O.K. "Letter to the Editor." Tropic: The Miami Herald (8 September 1994): n. pag.

Johnson Wax Ad. Archives of S.C. Johnson and Sons, Inc. 1930s.

Miller, Linda Patterson. Ed. Letters from the Lost Generation. New Brunswick, NJ: Rutgers UP, 1993.

WPTV 5. "Hemingway in Key West." Focus: A Special Edition. January 1985. Palm Beach, FL.