Search "Ernest Hemingway"

Volume 5: A Collection of Short Stories From New And Engaged Writers In The Best Tradition of Ernest Hemingway from our fifth annual short story literary contest. Also included are top essays from our college scholarship competition through Hemingway''s high school alma mater, Oak Park-River Forest High School. (2020)

"A definitive biography of the iconic actor and Hollywood legend Mickey Rooney (1920-2014) and his extravagant, sometimes tawdry life, drawing on never-before-seen excerpts from Rooney''s diary and exclusive interviews with Mickey, and with those who knew him best, including his heretofore unknown mistress of sixty years"--

The "original, first-rate, serious, and beautiful" short fiction (New York Times Book Review) that introduced J. D. Salinger to American readers in the years after World War II, including "A Perfect Day for Bananafish" and the first appearance of Salinger''s fictional Glass family. Nine exceptional stories from one of the great literary voices of the twentieth century. Witty, urbane, and frequently affecting, Nine Stories sits alongside Salinger''s very best work--a treasure that will passed down for many generations to come. The stories: A Perfect Day for Bananafish Uncle Wiggily in Connecticut Just Before the War with the Eskimos The Laughing Man Down at the Dinghy For Esmé--with Love and Squalor Pretty Mouth and Green My Eyes De Daumier-Smith''s Blue Period Teddy

From the bestselling author of Charlie and the Chocolate Factory and The BFG! Someone''s been stealing from the three meanest farmers around, and they know the identity of the thief--it''s Fantastic Mr. Fox! Working alone they could never catch him, but now Boggis, Bunce, and Bean have joined forces, and they''ve concocted a cunning plan to dig him out of his hole once and for all. What they don''t know is they''re not dealing with just any fox. Mr. Fox would rather die than surrender, and he just happens to have a fantastic plan of his own . . . This special edition of Roald Dahl''s beloved story has a beautiful full-color interior and large trim to feature Quentin Blake''s iconic art.

This is a collection of essays from Hemingway scholar Robert Gajdusek. Gajdusek attempts to shift attention away from Hemingway''s adventurous life and toward the intricate and demanding modernist texts he wrote. He traces outside influences on Hemingway during his time in Paris in the early 1920s. Among his close friends and associates at the time were James Joyce, Ezra Pound, Gertrude Stein, Ford Madox Ford and F. Scott Fitzgerald - he was very much a part of the heady movements and intellectual idealism of his era. These essays, while occasionally pointing out Hemingway''s special intellectual journey, focus primarily on the texts themselves, working to bring to light the fascinating and highly intricate structures and designs that imbed Hemingway''s philosophy and message at unexpected levels.

These wide-ranging tales of menace, tragedy, and comedy offer ample proof that “in the short story, as well as the novel, Graham Greene is the master” (The New York Times). Written between 1929 and 1954, here are twenty-one stories by a “master storyteller” (Newsweek). Whatever the crime, whatever the pursuit, whatever the mood—from the tragic and horrifying to the ribald and bittersweet, Graham Greene is “the ultimate chronicler of twentieth-century man’s consciousness and anxiety” (William Golding). In “The End of the Party,” a game of hide-and-seek takes a terrifying turn in the dark. In “The Innocent,” a romantic gets a rude awakening when he finds a hidden keepsake from a childhood crush. A husband’s sexual indiscretion is revealed in a most public and embarrassing way in “The Blue Film.” A rebellious teen’s flight from her petit bourgeois life includes a bad boy, a gun, and a plan in “A Drive in the Country.” In “A Little Place off the Edgware Road,” a suicidal man’s encounter with a stranger in a grubby cinema seals his fate. A young boy is ushered into a dark world when he discovers the secrets adults hide in “The Basement Room.” And in “When Greek Meets Greek,” a clever con between two scoundrels carries an unexpected sting. In these and more than a dozen other stories, Greene confronts his usual themes of betrayal and vengeance, love and hate, faith and doubt, guilt and grief, and pity and pursuit.

Essay from the year 2008 in the subject American Studies - Literature, grade: 1,7, http://www.uni-jena.de/ (Institut für Anglistik/ Amerikanistik), course: Academic Writing, language: English, abstract: Relationships between parents and their children are never easy, because they belong to different generation, and have therefore different values in life. This often leads to conflicts. But in the short story Soldier’s Home by Ernest Hemingway the protangonist Krebs and his mother do not have an usual generation conflict. Krebs has a changed character, because he has been to war. He does not have an aim in his life anymore. Krebs’s mother embodies the community’s values, and she makes Krebs start an adult life against his will. This includes that she encourages him to find a job, and a girlfriend. Moreover, she wants him to believe in God, and to show affection for her and the rest of the family.

Caustic, brilliant, uncompromising, accomplished, Lillian Hellman, one writer noted, can "take the tops off bottles with her teeth". Her career as a playwright began in 1938 with The Children''s Hour, the first of seven plays that would bring her international attention and praise. Thirty years later, Hellman unleashed her peerless wit and candor on the subject she knew best: herself. An Unfinished Woman is a rich, surprising, emotionally charged portrait of a bygone world -- and of an independent-minded woman coming into her own. Wendy Wasserstein''s introduction to this new edition provides a fascinating literary and historical context for reexamining Lillian Hellman''s life and achievement.

This book offers a forum for discussion, involving the reader in what becomes an active definition of literary journalism...Lively and readable, it also concerns the very essence of literature itself, showing how writers have reshaped styles to permit passages across the borders between fact and fiction, in the process investigating what these borders might be, and if they exist at all.

Chicago, 1920: Hadley Richardson is a shy twenty-eight-year-old who has all but given up on love and happiness when she meets Ernest Hemingway and is captivated by his energy, intensity and burning ambition to write. After a whirlwind courtship and wedding, the pair set sail for France. But glamorous Jazz Age Paris, full of artists and writers, fuelled by alcohol and gossip, is no place for family life and fidelity. Ernest and Hadley''s marriage begins to founder, and the birth of a beloved son serves only to drive them further apart. Then, at last, Ernest''s ferocious literary endeavours begin to bring him recognition - not least from a woman intent on making him her own . . .

Beyond Fair Chase is for anyone concerned about the future of hunting. In simple but powerful text, it describes the ethical way to hunt, from preparation to shooting to care after the shot. Never before have so many issues been linked together in an ethical context.

Oscar Blas Fernandez Mesa played baseball for Ernest Hemingway''s team in Cuba. In this unique memoir, he writes: "For twenty years now, I have been recording my memories. I commit these memories to paper to honor Ernest Hemingway and the kindness he showed to me when I was a child. I also write to share many of the factual details that have never been fully known about his involvement with Cuban children, especially from a totally Cuban point of view."

Illuminates the development of Hemingway’s themes and techniques and his future course as a stylist and writer. In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, 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. Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile. The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.

In this definitive study of Hemingway''s masterpiece on bull-fighting, Miriam Mandel addresses not only Hemingway''s tome, but the bullfighting and the Spain of his time.

Beginning with 1953, entries for Motion pictures and filmstrips, Music and phonorecords form separate parts of the Library of Congress catalogue. Entries for Maps and atlases were issued separately 1953-1955.

With Hemingway''s work arousing a new surge of interest, the need is eviu00addent for a new, responsible critical approach to his craft. It is to this point, of dealing with the writer''s artistry, that Grebstein addresses himself--to "those aspects of structure, language, and narrative technique which distinguishes his writing from all other." And in a manner that is genuinely new in Hemu00adingway criticism Mr. Grebstein underu00adtakes a thorough analysis of the elements of craft which characterized Hemingway''s skill as a writer. An important addition to this book is the Appendix which reprints several significant passages which were deleted from two of the major works, A Fareu00adwell to Arms and For Whom the Bell Tolls.

This book explores the ways in which the American writers Gertrude Stein, Ernest Hemingway, and Zora Neale Hurston used modernist primitivism to assert a uniquely American literary identity in the face of European cultural hegemony. The extended Introduction traces the history of primitivism from a classical rhetorical trope to its emergence in the twentieth century as aesthetic, exemplified by Picasso and his use of African masks, that combined new work in the human sciences especially anthropology and psychology, with new ideas in the visual arts to challenge traditional ideas of realism and artistic accomplishment. The first two chapters bring together visual evidence, published and unpublished writings, and linguistic theory to give the first detailed account of the theoretical and gender concerns of the Stein-Picasso collaboration, which culminated in Picasso''s Les demoiselles d''Avignon and Stein''s Melanctha. In the final two chapters, the author shows how both Hemingway and Hurston participated in the racialist scientific debates of the 1920s and used primitivism to find their respective artistic voices: Hemingway in his use of American Indians in recasting his life narratives in the Nick Adams stories, and Hurston in her attempts to use her anthropological training to construct a mythic African-American past.

A close reading of one of Hemingway''s short story collections. It guides readers towards understanding how Hemingway tested old ideas of family, gender, race, ethnicity and manhood.

Discusses Hemingway''s labor over the novel that became "A Farewell to Arms," including his various attempts at the beginning, his 42 versions of an ending, and his choice of a title.