Posts Tagged ‘Ernest Hemingway’
October 16, 2015 | by The Paris Review
The two things I like most about annotated classics are the annotations and the pictures—which are really the point, if you think about it: you can read the text itself in any edition. Truth be told, sometimes the annotations aren’t very interesting, but the pictures rarely disappoint. Such is the case with the new Annotated Poe from the Belknap Press. Some are illustrations that were made to accompany Poe’s works: there’s great stuff from Arthur Rackham, Harry Clarke, Aubrey Beardsley, and Gustave Doré, such as his very cosmic (very Little Prince) depiction of a line from “The Raven”: “Doubting, dreaming dreams no mortal ever dared to dream before.” But the book also includes art that was influenced, sometimes obliquely, by Poe: a still from Batman in 1966 shows Adam West quoting a line from Poe’s poem “To One in Paradise”—a nod perhaps to the fact that Bob Kane, Batman’s creator, came up with the idea for the masked detective while visiting the Poe Cottage in Fordham, New York. And still other art in the book feels simply like a wonderful excuse to draw connections across time: a moody photographic close-up by Lisette Model of a pair of legs striding the nighttime pavement made the cut because Poe’s description of a man’s “agitated restlessness” in “The Man of the Crowd” prefigures Model’s candid street photography, which appeared a century later. —Nicole Rudick
As a child, I understood the harrowing effect of my sullen and unloving behavior on my parents, yet continued to behave rottenly anyway. Ben Marcus’s story in this week’s New Yorker, “Cold Little Bird,” about a ten-year-old boy who suddenly begins to withhold affection from his parents, is a chilling evocation of the pressure-cooker tension that can arise in family life. Marcus teases striking images out of dense thickets of metaphor; here his writing is spare, the story proceeding in a series of clipped passages. He captures the subtle features of relationship maintenance; one of the best scenes involves the advance-and-retreat dynamics of tactical apologies. In its refusal to diagnose, the story offers no release valve. I persevered to the end and felt uncomfortable, then guilty, then gladdened by the knowledge that I had never been as bad as this little shit, then embarrassed by that thought, then terrified of my own (nonexistent) child; then impressed that Marcus had been able to provoke in me a parent’s anxiety I had never known existed. —Henri Lipton
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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 »