Hemingway S Art Of Non Fiction

Ernest Hemingway devoted a large part of his writing life to nonfiction in the form of newspaper and magazine journalism and especially in the form of five full-length books. His nonfiction, however, is usually taken only as a diversion from the main business of his career, fiction, and examined only for light shed on the fiction. In this study - the first devoted exclusively to Hemingway's nonfiction books, the heart of his effort as a fact writer - the work is considered in its own right as a central part of his achievement.

New, carefully focused essays providing a thorough examination of Hemingway's groundbreaking non-fictional work. Published in 1932, Death in the Afternoon reveals its author at the height of his intellectual and stylistic powers. By that time, Hemingway had already won critical and popular acclaim for his short stories and novels of the late twenties. A mature and self-confident artist, he now risked his career by switching from fiction to nonfiction, from American characters to Spanish bullfighters, from exotic and romantic settings to the tough world of theSpanish bullring, a world that might seem frightening and even repellant to those who do not understand it. Hemingway's nonfiction has been denied the attention that his novels and short stories have enjoyed, a state of affairs this Companion seeks to remedy, breaking new ground by applying theoretical and critical approaches to a work of nonfiction. It does so in original essays that offer a thorough, balanced examination of a complex, boundary-breaking, and hitherto neglected text. The volume is broken into sections dealing with: the composition, reception, and sources of Death in the Afternoon; cultural translation, cultural criticism, semiotics, and paratextual matters; and the issues of art, authorship, audience, and the literary legacy of Death in the Afternoon. The contributors to the volume, four men and seven women, lay to rest the stereotype of Hemingway as a macho writer whom women do not read; and their nationalities (British, Spanish, American, and Israeli) indicate that Death in the Afternoon, even as it focuses on a particular national art, discusses matters of universal concern. Contributors: Miriam B. Mandel, Robert W. Trogdon, Lisa Tyler, Linda Wagner-Martin, Peter Messent, Beatriz Penas Ibáñez, Anthony Brand, Nancy Bredendick, Hilary Justice, Amy Vondrak, and Keneth Kinnamon. MiriamB. Mandel teaches in the English Department of Tel Aviv University.

Examines Hemingway's newspaper and magazine journalism and his five non-fiction books, and discusses the tenuous differences between fiction and non-fiction in his writing

In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works.

This study explores Hemingway's newspaper and magazine journalism, his introductions and prefaces to books by others, his program notes on painting and sculpture exhibitions, and his statements in self-edited interviews. In doing so, it throws a new, oblique light on what has usually been regarded as his major work--his short stories and novels. Originally published in 1968. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

From the acclaimed master of historical fiction comes an epic saga about a reluctant hero, the Roman Empire, and the rise of a new faith. Jerusalem and the Sinai desert, first century AD. In the turbulent aftermath of the crucifixion of Jesus, officers of the Roman Empire acquire intelligence of a pilgrim bearing an incendiary letter from a religious fanatic to insurrectionists in Corinth. The content of this letter could bring down the empire. The Romans hire a former legionary, the solitary man-at-arms, Telamon of Arcadia, to intercept the letter and capture its courier. Telamon operates by a dark code all his own, with no room for noble causes or lofty beliefs. But once he overtakes the courier, something happens that neither he nor the empire could have predicted. In his first novel of the ancient world in thirteen years, the best-selling author of Gates of Fire and Tides of War returns with a gripping saga of conquest and rebellion, bloodshed and faith.

The early 2000s, and Martin, an expat student recently arrived in Moscow to write a doctoral thesis on the heroines of Russian literature, needs all the guidance he can get to fathom the mysterious Russian soul. Distracted from his studies by the bright lure of nightclubs, vodka, ready money and real women, his restless explorations of the city lead him to dark and unexpected places . . . 'Powerful . . . An ambitious debut' The Independent on Sunday 'A rich debut. Back to Moscow is a book to get lost in' Emma Jane Unsworth, author of Animals 'The rare novel whose last paragraphs offer up a genuine epiphany, wholly earned and wholly unexpected. An act of magic' Kevin Brockmeier, author of The Illumination

Traces Hemingway's critical fortunes over the ninety years of his prominence, telling us something about what we value in literature and why scholarly reputations rise and fall.