Posts Tagged ‘Ernest Hemingway’
October 5, 2015 | by Dan Piepenbring
- If you were conducting a kind of Hemingway Grand Tour, traveling the world in search of all things Papa, I’d tell you to get a better hobby—but if you insisted, I would tell you to make sure you visit northern Michigan, the site of Hemingway’s sometimes neglected formative years. “Havana, Key West, Ketchum, Paris, Pamplona—these locales tend to conjure vintage Papa: a kerchiefed, bloated, rum-drunk Nobel laureate. Petoskey? Not so much. The gatekeepers of Hemingway’s legend have largely ignored the place … But if you want to understand the writer, you have to start here. Michigan-era Hemingway is threshold Hemingway—young and raw, before the fame and subcutaneous padding and sixteen-daiquiri lunches. It’s where he experimented in delinquency, learned to cast a fly rod, stepped unmoored into the wilderness and first tinkered with a prose style that would one day make him famous.”
- In times of internal strife and quandary, it’s seldom a good idea to turn to the precepts of dead white men. But during her midlife crisis, Alison Gopnik found solace in the ideas of David Hume, which remain progressive even today: for Hume, “the metaphysical foundations don’t matter. Experience is enough all by itself. What do you lose when you give up God or ‘reality’ or even ‘I’? The moon is still just as bright; you can still predict that a falling glass will break, and you can still act to catch it; you can still feel compassion for the suffering of others. Science and work and morality remain intact … Give up the prospect of life after death, and you will finally really appreciate life before it. Give up metaphysics, and you can concentrate on physics. Give up the idea of your precious, unique, irreplaceable self, and you might actually be more sympathetic to other people.”
- From the renowned creators of camera obscura and camera lucida, it’s Camera Restricta, which “will force you to actually spend time admiring a picturesque landscape rather than worrying about composing the best shot.” Basically, it’s a camera that can tell if other people have already photographed the thing you’re trying to photograph, thus saving you a lot of time and preventing any kind of White Noise–esque Most Photographed Barn in America phenomenon.
- On Eka Kurniawan’s Beauty Is a Wound, an Indonesian novel now available in English, which is playful and agreeably profane even as it tackles the darkest chapters of its nation’s history, such as 1965’s anti-communist purge: “The narrator’s voice ranges from merciless and brusque to tender and doleful. One of the men is terrorized by the ghosts of slaughtered Communists, who make him ‘think that he was making love to his wife’ when, in fact, ‘he was fucking the toilet hole.’ Scenes of brutality—of rape, incest, bestiality—are undercut by macabre humor. Dewi Ayu’s eldest daughter, Alamanda, is in love with Kliwon, her childhood sweetheart, but she is forced to marry the Japanese soldier Shodancho, twenty years her senior, who drugs and rapes her. Alamanda buys an impenetrable ‘anti-terror garment’ that transforms her underwear into a literal iron fortress.”
- Most of us have accepted that this “Internet” isn’t just a passing trend; it’s time, then, to put some serious thought into how to curb the trolls, whose power is on the rise. “With enough effort, expertise, and good faith, a comments section can showcase the worthwhile, efface the worthless, and downrank the dubious. But in mass media and mega-platforms—where most of the action is—comments sections are all too often cybercesspools of trashing and trolling, obsessive annotators, and regressive instigators … The original sin of Internet culture was the exploitation of user-generated content to enrich a lucky few at the top of dominant platforms. Spreading that wealth … would be a good first step toward taming trolls and shaming sock-puppeteers.”
August 10, 2015 | by Robert Anthony Siegel
At the Guggenheim, writers and artists cross-pollinate.
Writers have always been in love with the visual arts. Just think of Frank O’Hara’s sly poem “Why I Am Not a Painter,” which is actually all about the creative entanglement of the two forms—tinged with yearning and a wry bit of envy:
I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,
And it isn’t just poets. Hemingway, that great champion of muscular prose, credited Cézanne as one of his masters—a guy who painted pictures of rooftops. More recently, Don DeLillo has haunted the outer edges of the art world in novels such as The Body Artist, Falling Man, and 2010’s Point Omega, which begins and ends with a description of Douglas Gordon’s video installation 24 Hour Psycho. Read More »
July 20, 2015 | by Dan Piepenbring
- In its early days, America decided to differentiate itself from its oppressors across the pond by giving the language a bit of a face-lift: we borrowed words from other tongues, reclaimed British words that had fallen into disuse, and—this is the really American part—just made a bunch of stuff up. In 1919, H. L. Mencken published The American Language, a lexicon of uniquely U. S. neologisms: “rubber-neck, rough-house, has-been, lame-duck, bust, bum, scary, classy, tasty, lengthy, alarmist, capitalize, propaganda, whitewash, panhandle, shyster, sleuth, sundae, alright, go-getter, he-man, goof. Only in America can you go upstate for the weekend. Here, we engineer, stump, hog, and squat on a piece of land. We’ve stolen loads from Spanish: corral, ranch, alfafa, mustang, canyon, poncho, plaza, tornados, patio, bonanza, vigilante, mosey, and buckaroo. Americans are very talented coiners of words—including of talented, another new one that sent British writers into spasms of horror.”
- In the late nineteenth and early twentieth centuries, well before Technicolor, films were colorized, stenciled, tinted, and toned by hand, frame by laborious frame. The results were unlike anything on screens today: “Such coloring provided a sensual quality, making moving images seem enticingly tactile … Because each hand-colored print had to be dyed separately, no two copies were colored in exactly the same way. In rare cases, colorists embellished entire scenes. More often, they painted only particular elements—a scarlet dress, golden coins, red-orange lava erupting from volcanoes, or fountains glittering in pinks, yellows, and golds. Mistakes were common. In one frame, dye might drip from a woman’s costume across an arm or a leg. In another frame, a yellow face might revert to black and white, or a brush stroke might slip outside its edges.”
- Paradoxically, our definition of “difficult” fiction has remained more or less unchanged since the bloom of modernism nearly a century ago: we look for arcane syntax, twisting sentence structures, vast political symbolism. Shouldn’t difficulty have evolved by this point? “We need difficult books like The Wallcreeper: books that refuse to cater to established appetites, that take the risks necessary to reorient our aesthetic and ideological assumptions. Traditional difficulty is an oxymoronic and empty concept, but truly difficult novels should be praised to the skies, especially considering the political obstacles keeping so many of them from the audiences they deserve.”
- A new edition of Green Hills of Africa—Hemingway’s chronicle of hunting big game in Africa, first published in 1935—reminds of his talents as a stylist and his bizarre, almost religious fascination with the rituals of killing: “if I killed it cleanly,” he writes, “they all had to die and my interference in the nightly and the seasonal killing that went on all the time was very minute and I had no guilty feeling at all.” And he was such a nice guy, too.
- Today in thought experiments come to life: What if you took a K-pop band and removed the K from the equation? A new project called I’m Making a Boy Band—think This Is Spinal Tap, but with more social commentary and better teeth—has created EXP, the first K-pop band with zero Asian members. The group poses questions “about nationhood, cultural appropriation, and gender roles.” “We get lots of comments saying, Your boys haven’t worked, or, Your boys haven’t endured the training process … We get comments from fans saying, Your boys are gay. In more Western-centric countries, K-pop is seen as flamboyant. The understanding is that if you’re a K-pop fan, you’re used to this soft look. But suddenly, when non-Asians do it, it’s seen as very strange.”
May 18, 2015 | by Sadie Stein
Your Monday needs something. But what? Could it be … a 1974 clip of Orson Welles reminiscing about his “friendship” with Ernest Hemingway? It has everything: titanic ego-clashing, disingenuous concern-trolling, bullfighting, damning with faint praise, posthumous character assassination. Welles claims to have been the only one with the courage to mock the great man. Welles is chomping on a cigar. Read More »
April 24, 2015 | by Cody C. Delistraty
Hemingway, Fitzgerald, and sexual anxiety.
History tends to compare Ernest Hemingway and F. Scott Fitzgerald—and why not? As contemporaries and rivals, the two make natural foils for each other. Hemingway, we’re told, epitomizes a certain archetypal masculinity; he presented himself as a hunter, a boxer, a war veteran, and a ladies’ man; accordingly, he wrote in a spare, economical style, mostly about war, solitude, and adventure. Fitzgerald, on the other hand, we know as a social striver, someone who prided himself on his budding elitism and his (incomplete) Princeton education, who was known to have his pocket square and his hair-part always just right. He wrote about socioeconomic status in prose that was, at least next to Hemingway’s, often lyrical and adorned, and most would readily agree that he’s the more effeminate of the two. But the sexual identities of these men, formed by their peculiar childhoods and the Lost Generation artists they surrounded themselves with, weren’t as self-evident as many modern readers might think.
There’s a classic story of the homosexual tensions bubbling just beneath the surface between Hemingway and Fitzgerald. It takes place in the men’s room at Michaud’s, at the time an upscale brasserie in Paris. As Hemingway claims in A Moveable Feast—and claims is just the word, because his own sexual insecurities tended to manifest in an unfair emasculation of Fitzgerald—Fitzgerald told him: Read More »
April 2, 2015 | by Dan Piepenbring
From Ernest Hemingway’s letter to Colonel Charles T. Lanham, April 2, 1945. Hemingway described Lanham as “the finest and bravest and most intelligent military commander I have known”; he did, in fact, go on to make general. Original spelling and punctuation retained.
Now I just feel homesick, lonely and useless. But will pull out of it. Because have to.
Also have cut out heavy drinking … and since Liquor is my best friend and severest critic I miss it. Also have explained to my old girls there is nothing doing—and this light drinking, righteous Life isn’t comparable to always haveing at least two bottles of Perrier Jouet in the ice bucket and the old Kraut Marlene [Dietrich] always ready to come in and sit with you while you shave […] Read More »