Search "Ernest Hemingway"

Vols. for 1921-1969 include annual bibliography, called 1921-1955, American bibliography; 1956-1963, Annual bibliography; 1964-1968, MLA international bibliography.

Includes entries for maps and atlases.

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 The first two chapters bring together visual evidence, published and unpublished writings, and linguistic theory to give the first detailed account of the theoretical and gender concerns of the Stein-Picasso collaboration, which culminated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.

""Rick Barton should have been a San Francisco legend," wrote author and artist Etel Adnan in a 1998 essay. Barton (American, 1928-1992) was born and raised in New York and settled in the Bay Area in the 1950s. Working primarily in pen or brush and ink, in a kaleidoscopic linear style, Barton ceaselessly recorded the world around him. His intricate sheets capture the intimate interiors and social spaces, lovers and friends, and architectural and botanical subjects that fascinated him. Bringing together more than sixty drawings, two accordion-folded sketchbooks, and printed books and portfolios, this catalogue presents the work of a significant and, until now, unheralded figure of the Beat era. Complementing the images are a deeply researched essay by Rachel Federman, curator of the accompanying exhibition at the Morgan Library & Museum, and an excerpt of Adnan''s essay, the first and previously the only published account of Barton"--

"Gerald and Sara Murphy took Paris by storm in the 1920s, inserting themselves into the avant-garde circles of dance, music, and art. Lively and engaging, Making It New sheds new light on the European fascination with the Murphys and provides key insights into their life and art."--Cecile Whiting, author of Pop L.A.: Art and the City in the 1960s "By telling and retelling the story of the Murphys from various viewpoints, Making It New aims to be the first comprehensive study of their contribution to Modern Art. This book should be of wide interest to both scholars and general readers."--Elizabeth Hutton Turner, author of Americans in Paris: Man Ray, Gerald Murphy, Stuart Davis, Alexander Calder

Vols. for 1980- issued in three parts: Series, Authors, and Titles.

Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-

In the California apple country, nine hundred migratory workers rise up "in dubious battle" against the landowners. The group takes on a life of its own-stronger than its individual members and more frightening. Led by the doomed Jim Nolan, the strike is founded on his tragic idealism-on the "courage never to submit or yield."

Hemingway''s letters, many previously unpublished, trace his literary apprenticeship in the legendary milieu of expatriate Paris (1923-1925).

Ketchum, Idaho - Christmas, 1959: Blizzard-bound, Ernest Hemingway occupies himself with wine and prose, recreating his own rendition of Charles Dickens''s classic "A Christmas Carol". The story he spins carries echoes of himself. Afflicted by depression and concern over what he feels are his failing artistic powers, he reaches back to a timeless story of renewal, and to memory, to kindle a sense of joy and redemption.