how did ernest hemingway’s experiences in world war i inspire him to write “a very short story”?
August 21, 2017 Pulitzer Prize Judging Board Columbia University 709 Pulitzer Hall 2950 Broadway New York, NY USA 10027 Dear Pulitzer Prize Judging Board: The Old Man and the Sea by American author, Ernest Hemingway deserved the Pulitzer Prize it received because of the author ‘s use of craft elements, the realness of all of the characters and events, and the lasting themes that are relevant to the year it was written that were created by this realness, which in turn created a legacy. The first
Throughout life, the people that you may encounter and form relationships with will be the ones that shape who you are and ultimately influence your decisions, actions and personality. In “The Battler” by Ernest Hemingway, Nick Adams, a young man of roughly twenty years of age encounters an older gentleman named Ad Francis, a once-famous boxer who claims to have gone “crazy” after his life as a fighter. Ad is accompanied by his best friend Bugs, a black man who accompanies him on his travels throughout
Ernest Hemingway was one of the greatest writers of the century. He was born at the close of the old century but was able to see the Disorders of the new century. Hemingway was marvelous in bringing about his pictorial effects for his readers even in his drunken state. Hemingway was skilled in the way he presented the “real” and “concrete” to be the first essentials in his writing. He put life back on the page so that we could see the grim reality of the truth. Hemingway’s
Ernest Hemingway was born on July 21, 1899 in a small community of Oak Park, Illinois. He was the second child out of six, with four sisters and one brother. The area Ernest grew up in was a very conservative area of Illinois and was raised with values of strong religion, hard work, physical fitness and self-determination. His household was a very strict one that didn’t allow any enjoyment on Sundays and disobedience was strictly punished. Ernest’s father taught him good morals and values that he
He wrote A Moveable Feast, a memoir of his years in Paris, and retired permanently to Idaho. There he continued to battle with deteriorating mental and physical health.
When he wasn’t writing, Hemingway spent much of the 1930s chasing adventure: big-game hunting in Africa, bullfighting in Spain and deep-sea fishing in Florida. While reporting on the Spanish Civil War in 1937, Hemingway met a fellow war correspondent named Martha Gellhorn (soon to become wife number three) and gathered material for his next novel, For Whom the Bell Tolls, which would eventually be nominated for the Pulitzer Prize.
In the summer of 1933, the Hemingway family and their Key West friend, Charles Thompson, journeyed to Africa for a safari which Ernest mentioned in The Green Hills of Africa. After much deliberation, he finally published it in 1935, which was a pseudo-non-fiction portrayal of his safari. As with his other tales, one could immediately see that Ernest was obsessed with heroism and bravery.
All this while, Ernest continued work on his book of short stories, ‘Men Without Women’. His works, ‘Cat in the Rain’, ‘Out of Season’, ‘A Canary for One’ were revelations of his marital woes.
Hemingway was admitted to the Mayo Clinic under a false name on 30 November 1960 and remained there until 22 January 1961. He was treated for a long list of problems including diabetes, cirrhosis of the liver, hypertension, paranoia, and severe depression. Electro-shock therapy was administered and, while it relieved some of the depression, it damaged his memory. Hemingway was released to Mary’s care and they went to their home in Ketchum, Idaho. Ketchum is located near Sun Valley, an area Hemingway loved the first time he saw it with Martha in 1939. The house he and Mary bought there in 1959 is rather grim and forbidding but the views of the Sawtooth Mountains are spectacular. Here Hemingway struggled to organize his Paris sketches. Increasingly frustrated, Hemingway attempted suicide twice in late April. He was returned to the Mayo Clinic under heavy sedation on 25 April and endured more electroshock therapy. Against Mary’s advice, the clinic released Hemingway on 26 June and he returned to Ketchum. Early Sunday morning on 2 July 1961, while Mary slept upstairs, Hemingway unlocked a storage room and retrieved his Boss double-barreled shotgun. In the foyer of his home he put the barrels to his head and pulled the trigger.
Once again Hemingway captured the frustrations and anxieties of postwar Europe. Indeed, A Farewell to Arms seems a prequel to The Sun Also Rises; one can imagine Frederic going on to the sort of purposeless life led by Jake in the previous novel. The public responded wildly to this story of two lovers damaged by events they neither caused nor were able to avoid. Scribner’s Magazine serialized the novel in six parts from May through October 1929 and published a first edition of 31,050 copies. The elation of his first commercial success was dampened by the news Hemingway received on 6 December 1928, that his father had shot and killed himself after suffering a long illness and some financial difficulties.
Other members of Hemingway’s immediate family also committed suicide, including his father, Clarence Hemingway, his siblings Ursula and Leicester, and possibly his granddaughter Margaux Hemingway. Some believe that certain members of Hemingway’s paternal line had a hereditary disease known as haemochromatosis (bronze diabetes), in which an excess of iron concentration in the blood causes damage to the pancreas and also causes depression or instability in the cerebrum. Hemingway’s father is known to have developed haemochromatosis in the years prior to his suicide at age fifty-nine. Throughout his life, Hemingway had been a heavy drinker, succumbing to alcoholism in his later years.
Best of all he loved the fall The leaves yellow on the cottonwoods Leaves floating on the trout streams And above the hills The high blue windless skies Now he will be a part of them forever
“We have come out of the time when obedience, the acceptance of discipline, intelligent courage and resolution were most important, into that more difficult time when it is a man’s duty to understand his world rather than simply fight for it.
“I love sleep. My life has the tendency to fall apart when I’m awake, you know?”
― Ernest Hemingway
A great deal has been made of the effect of that wounding. Certainly the Austrian Minnenwerfer which threw the projectile across the river, to explode among the men Hemingway had just brought cigarettes and chocolate to, disabused him of any lingering belief in his own immortality. In Melville’s memorable phrase from another war, what like a bullet can undeceive. Except that Hemingway was hit by more than a bullet: at the explosion hundreds of metal fragments ripped into his legs, and he thought he was dying. He tried to breathe and could not. He tried to move and could not. He felt his soul flutter up and away from his body like a weightless handkerchief. He survived that trauma, but did not soon outlive it. Time and again, in his fiction, he revisited the moment of his wounding and its aftermath. For years, he had difficulty sleeping without a light.
Seventy-one years ago Ernest Hemingway suffered the shock—or rather the two shocks—of his young life. He came to World War I at 18, fresh from a few months as a cub reporter in Kansas City and only a year out of Oak Park high school. His war didn’t last long. He served as a Red Cross ambulance driver in Italy for only five weeks before he was badly wounded at Fossalta di Piave near midnight on July 8, 1918.
Both Fitzgerald and Hemingway were avid readers, alive to the intellectual currents of their day, especially the contradictions and clashes of ideas and ideologies. Both writers, for example, were very much concerned with the problem of untenable belief—and also with the need to believe. In this light, Berman offers fresh readings of such works as Fitzgerald’s The Great Gatsby, “Bernice Bobs Her Hair,” and “The Diamond as Big as the Ritz” and Hemingway’s “The Killers,” A Farewell to Arms, and The Sun Also Rises. Berman invokes the thinking of a wide range of writers in his considerations of these texts, including William James, Alfred North Whitehead, Walter Lippman, and Edmund Wilson.
, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
What I enjoy most about Hemmingway’s stories is that they make you think. at least if you can get engaged in them in the first place! Rarely did I finish a story with a total feeling of ambivalence and lack of curiosity. Almost always I was left with questions and I think this sense of incompletion was critical to Hemmingway’s writing style, demonstrated in his abbreviated sentence structure, staccato word flow and ambiguous sections of dialogue.
On the rating I waffled between a 3 and 4. It was different reading Hemmingway as a 45-year-old than it was as a teenager. When I first ready this collection of stories I was considering a career as a writier, possibly as a journalist, and I was exploring as much of the literary canon as possible. In some ways, I was much more open to different things than I am now, especially works of critical acclaim. Nowadays I read mostly for pleasure in my leisure hours and have fallen into a bit of a rut On the rating I waffled between a 3 and 4. It was different reading Hemmingway as a 45-year-old than it was as a teenager. When I first ready this collection of stories I was considering a career as a writier, possibly as a journalist, and I was exploring as much of the literary canon as possible. In some ways, I was much more open to different things than I am now, especially works of critical acclaim. Nowadays I read mostly for pleasure in my leisure hours and have fallen into a bit of a rut as far as the genres I favor.