Posts Tagged ‘Ernest Hemingway’
August 22, 2016 | by Dan Piepenbring
- Say what you will about Ernest Hemingway, the guy knew how to market himself. He’s remained in print for many decades after his death, which is no mean feat—but more impressively still, he’s found a second life in the comics, where his boastful machismo thrives. Robert Elder writes, “I found him battling fascists alongside Wolverine, playing cards with Harlan Ellison, and guiding souls through purgatory … He’s appeared alongside Captain Marvel, Cerebus, Donald Duck, Lobo—even a Jazz Age Creeper. Hemingway casts a long shadow in literature, which extends into comic books. It’s really only in comics, however, where the Nobel Prize winner gets treated with equal parts reverence, curiosity and parody … In the forty-plus appearances I found across five languages (English, French, German, Spanish and Italian), Hemingway is often the hypermasculine legend of Papa: bearded, boozed-up and ready to throw a punch. Just as often, comic book creators see past the bravado, to the sensitive artist looking for validation.”
- Today in defensibly colorful language: “We’ve had yet another month of record-breaking temperatures—and a corresponding spike in Google searches for hot as balls, a phrase that’s gotten popular as balls (mostly in the U.S.) in the past ten years or so … The difference between X as balls and Y as fuck, Y as shit and Y as hell is that although they all look like similes, only X as balls functions as one … Similes, unlike emphatic particles, are truly evocative. If you hear hot as balls, you might picture someone having to unstick a sweaty scrotum from their inner thigh. And it’s easy to imagine sagging wrinkliness when someone says old as balls … If we let as balls go the way of as hell, it’ll eventually be used mainly as an emphatic particle rather than a pure simile, and we’ll inevitably lose some of that evocative imagery.”
- In the past five years, the Internet has gotten really good at this whole “angry mob” thing—just ask Gawker’s former editor in chief, Max Read, who watched as the digital media slowly recalibrated its approach to privacy: “Not so long ago, it was actually sort of okay to publish a short excerpt from a celebrity’s sex tape to your otherwise mainstream gossip blog. ‘Okay’ is relative here, of course … Still, the extent of mainstream condemnation was cheeky expressions of disgust … What was okay (if naughty) in 2012 is, in 2016, regarded as indefensible. The reaction to the enormous judgment against Gawker makes it clear where public opinion now lies: in sharp if muddled defense of privacy rights, even for public figures. But what has changed isn’t just the outer boundary of what’s appropriate to publish, but where it can be published. Gawker’s biggest mistake in a way was that it had failed to realize that it was no longer the bottom-feeder of the media ecosystem. Twitter and Reddit and a dozen other social networks and hosting platforms have out-Gawkered Gawker in their low thresholds for publishing and disregard for traditional standards, and, even more important, they distribute liability: there are no bylines, no editors, no institution taking moral responsibility for their content.”
- Deep in Siberia, the photographer Pablo Ortiz Monasterio took pictures of midcentury Russian laboratories—frozen in time, in a sense, but still functioning, and still very easy to get lost in. José Manuel Prieto writes, “What is most astonishing about this genuine relic of Soviet science that Monasterio has brought to light, apart from the very seventies-ish psychedelic palette, is the precarious nature of the installations, the austere conditions in which the scientists worked and lived. None of those immaculate laboratories illuminated by fluorescent lighting that Hollywood has made us come to expect. Unplugged science, I might be tempted to call it, if it were not for the tangles of cables that appear in so many of the images.”
- Despite his formidable title and his penchant for mass bloodshed, William the Conqueror was actually a nice guy, historians tell us: he was jolly, solicitous, probably fun to drink mead with. Their support for these claims rests on an eleventh-century Latin text written after the king’s funeral—which it turns out they’ve been misreading for 950 years. The historian Marc Morris “decided to go back to the original text, which was written by a Burgundian monk called Hugh of Flavigny after William’s burial in Saint Stephen’s Church at Caen in Normandy … He asked a Latin expert, Professor David D’Avray of University College London, to translate it. The new version revealed that the adjectives do indeed appear in the text, but in relation to a little-known abbot. The praise was not about William but ‘this admirable man,’ Abbot Richard of Verdun.”
August 15, 2016 | by Dan Piepenbring
- Try to stay calm, everyone, but I have some very exciting news: it’s about Hemingway’s antlers. Back in 1964, Hunter S. Thompson stole a set of elk antlers right off the guy’s wall, only three years after he’d shot himself … Thompson felt bad about it and meant to return the antlers promptly, but you know how it is, the decades go by, stuff piles up in your garage, and you just sort of forget that you have these priceless antlers sitting around, and then it’s 2005 and you’re dead, too. So it fell to Thompson’s widow, Anita, to return the property to the Hemingways last week: “They were warm and kind of tickled … They were so open and grateful, there was no weirdness … Still, it’s something that was stolen from the home. They were grateful to have them back. They had heard rumors. Sean Hemingway, the grandson, was the first family member that I’d heard from. He spoke with other Hemingway family members and he said that everyone agreed that he should have them. He lives in New York, where he curates a museum. So now that I’m back from Ketchum we’re actually shipping them to Sean.”
- Finally, New York’s newspaper of record has taken it upon itself that humblest of tasks: defining punk. Since 1976, the punk-rock spirit has been noxious, amorphous, and utterly unreconstructed. That was okay, but isn’t it better to have the Gray Lady trotting out a bunch of musician types to tell you what it’s really all about? One twenty-five-year-old says that punk as “like a massive piece of denim, and with that denim you can make something really cool. You can make a jacket, you can make some cool jeans, or you can make a cushion or a cover. There’s nothing that’s wrong or right about it, it’s just a thing that gives anything you want to do some backing.”
- Walter Benjamin wrote of the age of the mechanical reproduction—how quaint! In 2016, a good 3-D scanner-printer combo can do what mere mechanics never could; we have arrived, as Noah Charney writes, in the Age of the Mechanical Reproduction. “When we speak of scanned and printed works of art, copies made by computers and a fabrication mechanism rather than a human hand, it is a different story altogether. It might look good, but what about Benjamin’s ‘aura’? … A danger arises when amateurs and bogus experts aren’t able to tell the difference between what’s real and what’s reproduced. Worse, they might see the digital copy and decide that it is not worth the effort to see the original. They might not think that the work is better, but it is unarguably more convenient to access.”
- Two new books, American Girls and Girls and Sex, see a kind of crisis in young women today, and of course social media is to blame—these girls’ parents didn’t grow up with Instagram, so Instagram can only be the enemy. Zoe Heller raises an eyebrow: “To be sure, certain kinds of sexism have been amplified—or perhaps transmitted more efficiently—in the Internet era, and girls are now under pressure to present themselves as pliable sexual creatures at a much earlier age than they have been in the past. But even in the far-off 1970s and 1980s, young women experienced their share of exploitation, abuse, and unsatisfactory sex … If the good old days were never as good as both writers are wont to imply, the dark days of our present era are not quite as unremittingly desperate either.”
- Hitchcock/Truffaut, a book of atypically intimate interviews between the two filmmakers, turns fifty this year, and it’s still “one of the sharpest, most enthralling studies of creative thought” in print, Nathan Heller says: “As Truffaut presses Hitchcock on decision after decision, in film after film, an elaborate, reasoned logic rises to the fore—a point that both directors, similarly inclined toward meticulous visual formalism, were keen to drive home. Hitchcock is occasionally self-dismissive in a way that seems self-blind. My first destination, on paging through, was the discussion of Rear Window, from 1954, which to me seems Hitchcock’s greatest … Yet the director’s account extends from indifference to dissatisfaction. He dismisses the Franz Waxman score—whose weaving through a wash of overlapping urban sounds is striking even today—as disappointing. Not even the most deterministic director in the movies, it would seem, could see a clear path to his full achievement.”
August 2, 2016 | by Terry McDonell
Befriending George Plimpton.
George’s questions were like trampolines, a technology he admired. They bounced you higher—to the next question. This was particularly true when he was talking about writers and writing.
“Did you know that the great Camus played goal for the Oran Football Club?” he asked me when we were walking past an Algerian restaurant near his apartment on Seventy-Second Street. I was unaware but said that I did think Gabriel García Márquez had written a soccer column for a while in Bogota.
“Alas,” George sighed, “Le colonisateur de bonne volonte was never moved to write about it. Imagine, the existential goalkeeper.”
“Alas,” I said, and he gave me a look. Read More »
June 28, 2016 | by Iris Smyles
Hosting a national blurb contest.
Walt Whitman, the “American bard,” who was named after a shopping mall in Huntington, New York, where I grew up, is often credited with having invented the book blurb. On the spine of his debut, Leaves of Grass, he had printed in gold leaf a line teased from a letter he’d gotten from Ralph Waldo Emerson: “I greet you at the beginning of a great career.” Emerson was right: Whitman continues to rank among America’s finest careerists.
Gertrude Stein, unable to break through to the literary mainstream, wrote herself a novel-length blurb entitled The Autobiography of Alice B. Toklas. Writing as Alice, her live-in companion, she described at length Gertrude’s prodigious, if misunderstood, genius. This 252-page press kit was an immediate best seller, prompting Stein to embark on a national tour, which she described in Everybody’s Autobiography, a sequel explaining why you should hire her for speaking engagements.
Ernest Hemingway’s first short-story collection, In Our Time, was published with no fewer than six blurbs—on the cover. I can’t remember if he won the Nobel before or after he finished taping the beer commercials. With Toni Morrison, it was definitely before: Pulitzer, Nobel, Chipotle wrapper, in that order.
Will my novels secure my literary legacy the way Morrison’s and Hemingway’s did theirs? Will I ever see my name engraved on a line of high-quality toilets, I sometimes wonder, after hours of furious literary labor? Will I be immortal, like Whitman, transcending with my “song” the conventional boundaries of self? Will Kohler, the premier name in luxury flushing, ever ask me to be their spokeswoman? Read More »
June 7, 2016 | by Lesley M.M. Blume
A hopeless affair with America’s greatest—and deceased—man of letters.
Last year, I confessed to my best friend that I had fallen in love with another man. When she heard this man’s identity, she knew I was in trouble.
“First of all,” she told me, “you’re married. And so is he.”
“I know,” I said miserably.
“Plus, he has a mistress,” she pointed out.
“Yes,” I conceded.
“And, you know,” she went on, “he also happens to be dead.” Read More »
February 2, 2016 | by Matt Gallagher
Falling in—and falling out—with Hemingway.
As a young man of a certain kind, I read a lot of Hemingway growing up. My sixteen-year-old self, full of angst and emo aches, found a kindred spirit in Jake Barnes, even if Jake’s brooding was much deeper, darker, and more significant than my own. The northern Michigan of the Nick Adams stories bore a passing resemblance to the Tahoe Basin, where I grew up, and my earliest attempts at creative work were pale imitations of “The End of Something” and “The Three-Day Blow.” The Old Man and the Sea bored me to video games the first time I tried it, but that didn’t stop me from extolling Santiago’s badassness at the dinner table.
This was pre-9/11 America, in a suburban, white-collar community far removed from battle or turmoil. My parents were both children of World War II veterans, and both had protested the Vietnam War; as a result, my brother and I had been raised with a healthy respect for the military, mixed with a healthy skepticism toward the application of military force. While my Hemingway obsession did confuse my mom a bit, she later told me she figured at least it wasn’t drugs, or French philosophy. Read More »