E hemingway the writer of the last generation. Contents Introduction

The structure of the course work . The course work consist of introduction, two chapters four paragraphs , conclusion and list of literature.


Chapter I. Ernest Hemingway – as an American famous novelist

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   Ernest Hemingway’s biography
   

Ernest Hemingway was a novelist, short story writer, and journalist. He published seven novels, six short story collections, and two non-fiction works, and won the Nobel Prize for Literature in 1954. More works, including three novels, four short story collections, and three non-fiction works, were published posthumously. Several of his works are now classics of American literature. In 1961, like his father, a brother and a sister, Hemingway committed suicide. A niece, Margaux Hemingway, the Hollywood star, also committed suicide.What places Hemingway among the twenty top American writers is the style he developed, that set the benchmark for 20th century prose writing in the whole of the English speaking world. He changed the nature of American writing by reacting against the elaborate style of 19th century writers and by creating a style, in the words of literary critic, Henry Louis Gates, of Harvard, ‘in which meaning is established through dialogue, through action, and silences, a fiction in which nothing crucialor at least very little, is stated explicitly.’When Hemingway was awarded the Nobel Prize, the citation commented that it was for his ‘mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style.’ His first novel, The Sun Also Rises is written in the minimal, lean, muscular, stripped-down prose for which he became famous and which influenced the writers who came after him¹.Perhaps most famous for his war novel, For Whom the Bell Tolls, he began his fiction writing with short stories, in which he taught himself how to edit his prose, stripping it to the bone and creating a greater intensity by the omission rather than the inclusion of detail. The result is to create significant connections and meaning beneath the surface of a sparse, apparently simple, almost monosyllabic narrative, using the simple sentences that a child might use. He also employs cinematic techniques such as cutting quickly from one scene to the next and of splicing one scene into another. Intentional scene omissions allow the reader to fill in the gap, creating for herself a three-dimensional prose. As a result of that example it became almost impossible for 20th Century fiction writers to revert to the kind of prose that preceded Hemingway’s.It wasn’t just writers and critics that showed enthusiasm for Hemingway’s works: he had a huge following among general fiction readers. His universal themes of love, death, war and loss permeate his writings in the same way that they did that of Shakespeare and many other great writers, as well as being recurring themes in American literature. The critic, Susan Beegel, in spite of an objection to what she sees as an anti-Semitic, homophobic thread in his works, sums it up thus: ‘Throughout his remarkable body of fiction, he tells the truth about human fear, guilt, betrayal, violence, cruelty, drunkenness, hunger, greed, apathy, ecstasy, tenderness, love and lust.’The extent of Hemingway’s presence in the popular culture is testament to his significance as a 20th century literary figure. There are several bars named ‘Harry’s Bar’ around the world, in recognition of the bar in the novel Across the River and Into the Trees. There are also many restaurants called ‘Hemingway’s.’ A line of furniture includes ‘the Kilimanjaro bedside table’ and a ‘Catherine’ sofa; a line of Hemingway safari clothes has been created and there is an expensive Hemingway fountain pen. His novels have been made into films, sometimes more than once, and several short stories have been adapted for film and television².
Ernest Hemingway (1899-1961), born in Oak Park, Illinois, started his career as a writer in a newspaper office in Kansas City at the age of seventeen. After the United States entered the First World War, he joined a volunteer ambulance unit in the Italian army. Serving at the front, he was wounded, was decorated by the Italian Government, and spent considerable time in hospitals. After his return to the United States, he became a reporter for Canadian and American newspapers and was soon sent back to Europe to cover such events as the Greek Revolution.
During the twenties, Hemingway became a member of the group of expatriate Americans in Paris, which he described in his first important work, The Sun Also Rises (1926). Equally successful was A Farewell to Arms (1929), the study of an American ambulance officer’s disillusionment in the war and his role as a deserter. Hemingway used his experiences as a reporter during the civil war in Spain as the background for his most ambitious novel, For Whom the Bell Tolls (1940). Among his later works, the most outstanding is the short novel, The Old Man and the Sea (1952), the story of an old fisherman’s journey, his long and lonely struggle with a fish and the sea, and his victory in defeat.
Hemingway – himself a great sportsman – liked to portray soldiers, hunters, bullfighters – tough, at times primitive people whose courage and honesty are set against the brutal ways of modern society, and who in this confrontation lose hope and faith. His straightforward prose, his spare dialogue, and his predilection for understatement are particularly effective in his short stories, some of which are collected in Men Without Women (1927) and The Fifth Column and the First Forty-Nine Stories (1938). HemingwaydiedinIdahoin 1961.
On its surface, Ernest Hemingway’s For Whom the Bell Tolls presents the Spanish Civil War as a binary conflict: a struggle between Fascism and Socialism. This violent division of Spain is a useful example of political extremism and its unfortunate consequences, especially considering the divided condition of American and European politics today. Hemingway successfully captures the polarized condition of the interwar period, and yet both Fascist and Republican characters in the novel demonstrate an ongoing contest between political allegiance and moral belief. Hemingway uses instances of tragedy in the text to reveal a common humanity amongst his characters, which blurs the line between their seemingly distinctive ideologies. Though scholars find his political and ethical opinions to be elusive in his works, Hemingway asserts two main consistencies throughout: the merit of sacrifice in the name of one’s beliefs, and the unfortunate necessity of killing for a cause. While his Republican protagonists claim atheism in allegiance to their ideology, those of merit display a feverish sense of religiosity in their devotion to “the movement.” In this sense of passion, the Catholic authoritarian Fascists and secular egalitarian Republicans are quite similar. Despite the United States’ strong opposition to Fascist ideology, this American author includes several humanizing portrayals that suggest their allegiance to cultural tradition rather than to authoritarianism. While critics have often questioned Hemingway’s lack of conviction for the Republican cause, his consideration of both sides of the conflict ultimately reveals a common ground between these adversaries that points to the hope of resolution across this great ideological schism. In light of the polarization troubling both Hemingway’s day and contemporary politics, this search for unity is preferable to endorsing such divisions by advocating for one side.
Literary critics and historians alike find Hemingway difficult to label in his political and religious views. At the beginning of the Spanish Civil War, Hemingway voiced overt opposition to intervention in Spain, proclaiming, “we were fools to be sucked in once on a European war and we should never be sucked in again” (quoted in Nilsson 81). This rhetoric, when compared to his later work The Spanish Earth (1937)—a film created in the interest of commissioning American support in the struggle against fascism—demonstrates a drastic fluctuation with respect to Hemingway’s personal position. His opposition to interventionism is also negated in For Whom the Bell Tolls (1940), as the main protagonist Robert Jordan is an American man fighting for the cause of Spanish liberation: he is even branded by his new comrades with the pet name “Ingles.” Hemingway’s play The Fifth Column (1938) seems unconcerned with the means taken for victory in the war, a striking difference from his preoccupation with the implications of violence in For Whom the Bell Tolls (Nilsson 86). As summarized by literary critic Michael K Solow, this collection of work proves “Hemingway had apparently come full circle—from apolitical certainty to political idealism and back again” (111). Hemingway’s religious sways are similarly undefined. While raised by devout Christian parents, Hemingway converted to Catholicism at the age of twenty-eight for marriage and proved religiously indifferent throughout his lifetime, despite a preoccupation with biblical themes in many of his works (Johnson).

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