"An Evening with Patrick Hemingway, Editor of True at First Light" At this year's centennial conference in Oak Park, Patrick Hemingway spoke after a celebratory dinner about the experience of editing True at First Light, his father's just published fictional memoir of the 1953-54 African safari. Hemingway scholars and enthusiasts in the audience also enjoyed an opportunity to ask Patrick questions about the book. Mr. Hemingway's extemporaneous remarks are reproduced here.
"First Perspectives on True at First Light"
Rose Marie Burwell, Carl Eby, Robert Fleming, Robert Gajdusek, Suzanne del Gizzo, Hilary K. Justice, Robert W. Lewis, Linda Miller, Debra Moddelmog, Michael Reynolds.
Ten Hemingway scholars with diverse critical approaches offer their first impressions of the just-published memoir, True at First Light, and the new set of literary, critical, historical, biographical, and textual problems it poses.
"The True at First Light Manuscripts"
Stephen Plotkin and John Delaney.
Archivists at the John F. Kennedy and Princeton Libraries describe the manuscripts of Hemingway's African book, opened for scholarly investigation on 21 July 1999.
"The Tribal Legacy of Nick Adams"
The Nick Adams stories not only chronicle Hemingway's attempt to recapture the father of his boyhood years, but also young Hemingway's growing disillusionment with his increasingly, estranged and absent father. Following his father's advice, Hemingway attempts to "select his own ancestors" in creating his earliest fictional self, Nick Adams. This essay traces the development of this fictional self through the Nick Adams stories, and, argues that the Ojibway culture Hemingway knew as a youth provides a "tribal" legacy for the characters, themes, characteristic writing style, and narrative structures of these stories.
"Hemingway's Trout Fishing in Paris: A Metaphor for the Uses of Writing" Stephen L. Tanner
Trout fishing and writing share a deep affinity. The "fish business" in the Nick Adams stories and The Sun Also Rises is significant both as narrative art and as a revelation of Hemingway's emerging artistic vision, of the way he began to answer the primary questions of how to transform life into art and, more specifically, of how place should function in literary art. A consideration of the trout-fishing matter in his writing in relation to comments on the writing process in the deleted metafictional coda of "Big Two-Hearted River" (titled "On Writing" by Philip Young), as well as in A Moveable Feast, Green Hills of Africa, and The Garden of Eden, reveals how important memory and sense of place were in his version of literary creation.
"Configuring There as Here: Hemingway's Travels and the `See America First' Movement"
Miriam B. Mandel
Hemingway's penchant for unfamiliar landscapes and for energetic physical involvement with rough, untamed terrain set him apart from the sedate touring preferred by literary predecessors like Henry James and Edith Wharton. He practiced a different kind of tourism, in which the traveler "passes" as a native in the settings he visits, changing himself from outsider to insider. This focus derives from the patriotic "See America First" imperative promulgated during his childhood. For two decades, the "See America First" campaign promoted large, open landscapes and advocated active physical and psychological involvement with those landscapes. Hemingway subscribed to the basic concept of intense and personal interaction with such landscapes, but redefined it to include the foreign travel pointedly excluded by the "See America First" movement.
"She `Never Had a Room of Her Own': Hemingway and the New Edition of Kiki's Memoirs"
Mark Gaipa and Robert Scholes
The English translation of the Memoirs of Kiki of Montparnasse is back in print after many years. For students of Hemingway, this is an important event for a number of reasons. First, because it includes one of, Hemingway's liveliest pieces of critical prose--the introduction written especially for the English version published in Paris in 1930. Second, because of Kiki's importance in the Paris of the 1920s. Finally, this is an important book for all those interested in modernism and the position of women during the period when modernism flourished.
"Hemingway vs. Stendhal, or Papa's Last Fight with a Dead Writer"
Paul W. Miller
From about 1935 to 1950, Hemingway cultivated the image of the writer as a prize fighter successively challenging and defeating more and more formidable dead writers--such as Ivan Turgenev (1818-83), Guy de Maupassant (1850-93) and Stendhal (1783-1842)--in a struggle to become literary champion of the world. Hemingway's pugilistic analogies provide at least a rough chronology of his changing literary values and goals, indicated by the dead authors he successively brought into the ring with him. Tracing the development of these off-repeated analogies between artist and prizefighter may help us better understand the gradual transformation of Hemingway the sensitive, objective artist who in the 1920s had modeled his art on Turgenev's, into the "new" Hemingway of the 1930s and 1940s, a self-publicist more skillful than anyone since Stendhal in developing a heroic persona.
"Doomed Biologically: Sex and Entrapment in Ernest Hemingway's `Cross, Country Snow'"
Olivia Carr Edenfield
Reluctance to take on the responsibilities and restrictions of fatherhood resonates throughout Ernest Hemingway's "Cross-Country Snow," first published in Transatlantic Review in 1925. Nick is sad at having to give up the freedom of skiing with his longtime friend George in Switzerland for domestic life back in the States. Rather than blame Helen, however, as Hemingway is said to have blamed Hadley, Nick knows that his own desire has entrapped him. Ironically, the descriptions of skiing, usually linked by critics to Nick's love of freedom, simultaneously describe the act of making love, the experience that has brought his days of independence to an end. Though somewhat reluctant and a little bitter, Nick accepts the modifications of his life resulting from his desire just as he accepts the limitations that his knee imposes upon his skiing.
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|Publication:||The Hemingway Review|
|Article Type:||Brief Article|
|Date:||Sep 22, 1999|
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