Three Stories by Hemingway Introduction All Hemingway’s works, his novels, collections of stories, essays and reports taken together form a well-defined unity. They contain certain themes, motifs, plots, types of characters, artistic techniques, which run through all his works…
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The paper in which Hemingway worked offered reporters the directions to follow to improve their writing: “Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative” (cited in Tyler 15). This includes the distance, reflected in a deliberately emotionless manner of narration, the replacement of description by the show to let the reader evaluate his reading, the functionality and thingness of the prose. Every detail fixes the impression of an event in the story or interlude. This also includes character comparisons, unambiguous and even deliberately limited. Hemingway’s Style Like every great writer, he sought and found his own way in literature. One of his main goals was clarity and brevity of expression; he wanted “to strip language clean, to lay it bare down to the bone” (cited in Bloom 74). Hemingway’s famous short and exact phrase became a subject of controversy in literature – whether the understatement really exists. According to Hemingway, it does. It is based on the deep layers of collective consciousness, on the universal categories of culture, which is raised by the artist in his work and which are enshrined in the customs, ceremonies, various forms of folk festivals, folk subjects of peoples of the world. In those early years, Hemingway also discovered his “dialogue” – his characters are exchanging small phrases, accidentally broken, and the reader feels behind these words, something significant and hidden in the mind, something that cannot be expressed directly. All of Hemingway’s works were interpreted and considered in terms of “being lost”, when the main thing is a search for identity, for example, injured by war, which lost its ideals and its place in the world. Therefore, the object of Hemingway’s study was the tragedy of his contemporaries, thrown into the brutal world of wars, murders and violence, alienation of people from one another. His collections of short stories offer the best samples of psychological narration. This paper considers three stories from two collections: The Killers (1927), Hills Like White Elephants (1927), and The Snows of Kilimanjaro (1936). The works of this period defined the main features of Hemingway’s style of and the main type of his characters. All of them are deeply sensitive and really suffering people. However, centuries old Anglo-Saxon and even sporty self-control causes them to talk quietly, biting one’s lip. His characters can be considered as hard-boiled, though some argue that: T. S. Eliot called Hemingway “the writer of tender sentiment, and true sentiment” (cited in Meyers 19). Hemingway’s dialogue is deliberately sloppy and seemingly insignificant. This is just a mask, sometimes hiding the grimace of pain, which in fact must not be shown to others. And anyway, why should he speak of self-evident things? Dialogue, according to Hemingway, is an easy thing for him, but it would be wrong to assume that this is just a naturalistic account of everyday conversations. No, this is a special kind of seemingly artless, but strictly deliberate selection and sharpening. A short chain of not interconnected phrases performs the basic task – to show the decaying ties of shifted and fragmented world, as it is directly perceived by a troubled mind, not, as it is organized later by a cool mind and fit into the traditional forms. The way of expressing information without any explanation of the
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The author states that the contrast of the fear and the sweetness make for an interesting dynamic and quite a bit of drama in the novel. But romantic love may not be what is depicted in the novel. Hemingway may be playing with the reader’s perception, and forcing him/her to step outside the comfort of relying on the narrator.
Even though the novel depicts Santiago’s heroic struggles against the forces of nature the theme of individualism and interdependence is quite evident in the novel. The novel is not divided into any chapters or parts. However, the novel can be divided into three parts depending on the plot structure of the novel.
He is no longer the champion or “campeon” in strength, fishing, and even in his own life. His wife is dead, he has no family in Cuba, and the young boy, Manolin, his assistant, is his only remaining “friend.” After weeks of having no catch and quickly falling into poverty, Manolin’s father instructs Manolin to go with another boat.
No author can escape from the set of these influences, and why should one try to escape? The totality of past experiences of an author cleverly interpolated into the plot makes a short story beautiful, touching and meaningful. It appeals to the emotions of the reader.
Ernest Hemingway gained eminent fame and popularity throughout his life. Undeniably, his life, works, impact and legacy continue to be distinguished and celebrated today. The influence of Ernest Hemingway's books about American literature was substantial and endures at present.
However, these writers also witnessed several downfalls during the course of their lives because of the obstacles that they had to undergo in order to sustain themselves as well as their families and loved ones because they were not able to gain fame and fortune
Language is often said to be means of communication. Human life presents several instances and circumstances which cannot be described in words alone. Writing about these instances for a common individual would probably be a very mundane experience however when is penned down by a prolific writer like Hemingway the experience goes beyond mortality.
1). Hemmingway crafts these themes in with an autobiographical theme which not only addresses the human life but incorporates motifs of human life into the writer’s lost opportunity to be a writer (Ammary 2008/09, 123). Becnel and Bloom (2009) argued that although The Snows of Kilimanjaro focuses on the writer, it incorporates human motifs by revealing the writer’s own passions and remorse (p.
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