Dear Papa Dear Hotch

Table of contents

A biography of Charles Webb Murphy, the ebullient and mercurial owner of the Chicago Cubs from 1905 through 1914.

Few if any writers have made a mark as broad and deep as Ernest Hemingway, whose life and work—and even image—continue to permeate American culture more than a half-century after his death in 1961. And never has there been a chronology of the writer’s life and times as comprehensive, detailed, and useful as The Hemingway Log. For more than a dozen years, Brewster Chamberlin “has been compiling and wonderfully annotating and continuously updating what amounts to almost a daybook calendar of Hemingway’s life,” as author Paul Hendrickson noted in his acclaimed Hemingway’s Boat: Everything He Loved in Life, and Lost. At long last available to readers and scholars, this chronology extends from the birth of Mark Twain (whose Huckleberry Finn, Hemingway said, was the source of all modern American literature) to the 2013 publication of the second volume (of a projected seventeen) of the Hemingway letters. Throughout, the events and dates that had any influence whatsoever on the writer are detailed day by day. Who won the Nobel Prize in literature each year, for instance, or the Pulitzer? What works of poetry, fiction, or drama were published? What was happening in the world and in the country, and how did it relate to Hemingway? Within this clarifying context, the chronological facts of the writer’s own life and work unfold: literary production and publishing; travels and households; activities and relevant occurrences; relations with family, friends, lovers, and enemies. Drawing on biographies, memoirs, and various Hemingway collections and websites, as well as the full range of original sources such as letters, fishing logs, notebooks, and manuscripts, The Hemingway Log presents the most extensive and accurate chronology of Hemingway’s life and times—and in the process clears up many of the inconsistencies and factual errors that riddle accounts of the writer’s life and work. Any future scholar of Hemingway will find the book not just invaluable but absolutely necessary, and any serious reader of Hemingway will find it irresistible.

From the first North American scholar permitted to study in residence at Hemingway's beloved Cuban home comes a radically new understanding of “Papa’s” life in Cuba Ernest Hemingway first landed in Cuba in 1928. In some ways he never left. After a decade of visiting regularly, he settled near Cojímar—a tiny fishing village east of Havana—and came to think of himself as Cuban. His daily life among the common people there taught him surprising lessons, and inspired the novel that would rescue his declining career. That book, The Old Man and the Sea, won him a Pulitzer and, one year later, a Nobel Prize. In a rare gesture of humility, Hemingway announced to the press that he accepted the coveted Nobel “as a citizen of Cojímar.” In Ernesto, Andrew Feldman uses his unprecedented access to newly available archives to tell the full story of Hemingway’s self-professed Cuban-ness: his respect for Cojímar fishermen, his long-running affair with a Cuban lover, the warmth of his adoptive Cuban family, the strong influences on his work by Cuban writers, his connections to Cuban political figures and celebrities, his denunciation of American imperial ambitions, and his enthusiastic role in the revolution. With a focus on the island’s violent political upheavals and tensions that pulled Hemingway between his birthplace and his adopted country, Feldman offers a new angle on our most influential literary figure. Far from being a post-success, pre-suicide exile, Hemingway’s decades in Cuba were the richest and most dramatic of his life, and a surprising instance in which the famous American bully sought redemption through his loyalty to the underdog.

Ernest Hemingway: A Literary Life includes new research on the best-known of the posthumous publications: A Moveable Feast, 1964 (and the 2009 A Moveable Feast: The Restored Edition); Islands in the Stream, 1970; and The Garden of Eden, 1986. Linda Wagner-Martin provides background and intertextual readings—particularly of the way Hemingway’s unpublished stories (“Phillip Haines was a writer”) and his fiction from Men Without Women and Winner Take Nothing interface with the memoir. The revised edition also highlights and provides background on Hemingway’s treatment of F. Scott Fitzgerald and Gertrude Stein, his life in Paris in the 1920s, and his connection to the poetry scene there—putting this in conversation with Mary Hemingway’s edits of A Moveable Feast. The new chapters also illuminate the reception of Islands in the Stream and a new way of understanding the role of gender and androgyny in The Garden of Eden. On a whole, the book draws from extensive archival research, particularly correspondence of all four of Hemingway’s wives.

Major changes in media in the late 19th and early 20th centuries challenged traditional ideas about artistic representation and opened new avenues for authors working in the modernist period. Modernist authors’ reactions to this changing media landscape were often fraught with complications and shed light on the difficulty of negotiating, understanding, and depicting media. The author of Competing Stories: Modernist Authors, Newspapers, and the Movies argues that negative depictions of newspapers and movies, in modernist fiction, largely stem from worries about the competition for modern audiences and the desire for control over storytelling and reflections of the modern world. This book looks at a moment of major change in media, the dominance of mass media that began with the primarily visual media of newspapers and movies, and the ways that authors like Ernest Hemingway, Zora Neale Hurston, James Joyce, Djuna Barnes, and others responded. The author contends that an examination of this moment may facilitate a better understanding of the relationship between media and authorship in our constantly shifting media landscape.

A stunning portrait of the complicated woman who becomes Ernest Hemingway's fourth wife, tracing her adventures before she meets Ernest, exploring the tumultuous years of their marriage, and evoking her merry widowhood as she shapes Hemingway's literary legacy. Mary Welsh, a celebrated wartime journalist during the London Blitz and the liberation of Paris, meets Ernest Hemingway in May 1944. He becomes so infatuated with Mary that he asks her to marry him the third time they meet—although they are married to other people. Eventually, she succumbs to Ernest's campaign, and in the last days of the war joined him at his estate in Cuba. Through Mary's eyes, we see Ernest Hemingway in a fresh light. Their turbulent marriage survives his cruelty and abuse, perhaps because of their sexual compatibility and her essential contribution to his writing. She reads and types his work each day—and makes plot suggestions. She becomes crucial to his work and he depends upon her critical reading of his work to know if he has it right. We watch the Hemingways as they travel to the ski country of the Dolomites, commute to Harry's Bar in Venice; attend bullfights in Pamplona and Madrid; go on safari in Kenya in the thick of the Mau Mau Rebellion; and fish the blue waters of the gulf stream off Cuba in Ernest's beloved boat Pilar. We see Ernest fall in love with a teenaged Italian countess and wonder at Mary's tolerance of the affair. We witness Ernest's sad decline and Mary's efforts to avoid the stigma of suicide by claiming his death was an accident. In the years following Ernest's death, Mary devotes herself to his literary legacy, negotiating with Castro to reclaim Ernest's manuscripts from Cuba, publishing one-third of his work posthumously. She supervises Carlos Baker's biography of Ernest, sues A. E. Hotchner to try and prevent him from telling the story of Ernest's mental decline, and spends years writing her memoir in her penthouse overlooking the New York skyline. Her story is one of an opinionated woman who smokes Camels, drinks gin, swears like a man, sings like Edith Piaf, loves passionately, and experiments with gender fluidity in her extraordinary life with Ernest. This true story reads like a novel—and the reader will be hard pressed not to fall for Mary.

Presents a collection of essays by leading academic critics on the structure, characters, and themes of the novel.