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Adams agrees, putting Nicks book in his pocket and following his son farther on into the woods where Nick knows they can find black squirrels.Even though Hemingway indicated at one point that the story documented his discovery of his fathers cowardice (Young, Reconsideration 33n), it is a mistake, of course, to read Hemingways life in his fiction, as some earlier criticism has done.He could have but rarely used curse words in print.
Thompson, Raymond Carver, Elmore Leonard, Ray Bradbury, Denis Johnson, Bret Easton Ellis, even Anne Beattie.
As Russell Banks put it, “Men writing in America have to contend with the shade of Hemingway, and the longstanding tradition of manliness he tried to represent.
He isn’t just satisfying hunger, for that “empty feeling” is as emotional as it is physiological, a cold, metallic jolt that wipes away both hunger and sadness in the same gulp.
But it is the Hemingway style, developed slowly as he toiled away at his first book of short stories while in Paris, that distinguished his stories from reportage, a style long afterwards as codified as answers in a sophomore lit exam: Short simple declarative sentences; limited choice of words; a shortage of adjectives; Biblical phrases and cadence; stream of consciousness passages.
Certainly, however, there is no one-to-one correspondence Mrs.
Hemingway was, for example, a Congregationalist, not a Christian Scientist (Baker 11)but the impact of his parents relationship on Nicks development echoes the effect that the tension between Dr. Hemingway had on the young Ernest (Reynolds 102-03).A lesser writer might have added a period there and continued in a new sentence with “And then I lost. .” But Hemingway has set up the exultant ending of the paragraph by allowing the description of the oysters and wine to rush right into it, barely contained by a comma.Hemingway doesn’t resort to easy descriptives like “sensual,” “velvety” or “flinty,” much less allude to oysters’ alleged effect on the libido.In this story, the character portrayal of Doctor and Mrs.Paul Smith notes: To read Reynoldss Young Hemingway, especially chapters 3-5, along with this story is to see how close it comes to an explicit presentation of his parents characters, the dissolution of their once happy family and their marriage (63).The comma halts the sentence right in the middle like a deep sigh.The line neither trembles nor shocks; instead it creates an immediate mood that is carried, line by sad line, to an ending that could end no other way, with neither a bang nor a whimper, about the cold randomness of life and death.Yet for the first time in my impressionable life—I was 15—I knew I’d never read something that struck, touched and awed me so in a few simple words.The first clause of the opening line hangs there, fraught with a sense of something grim and never ending; the second clause seems full of both regret and resignation.Clearly, any writer’s life informs his work—Melville did serve on a whaling ship and Twain on Mississippi paddlewheelers—which for Hemingway meant being able to capture the truth about how “The marvelous thing about [gangrene] is that it’s painless. Few writers understood war so poignantly as Hemingway, the minutiae of bullfighting, what it takes to land a big fish or cook trout in a skillet. he heats the materials of his imagination in the furnace of his passions,” so Hemingway was able to forge the essence of an experience into a human emotion, as when, in , he wrote, “As I ate the oysters with their strong taste of the sea and their faint metallic taste that the cold white wine washed away, leaving only the sea taste and the succulent texture, and as I drank their cold liquid from each shell and washed it down with the crisp taste of the wine, I lost the empty feeling and began to be happy and to make plans.” In purely sensory terms the description is both tantalizingly true and emotionally charged.As William Hazlitt said of Lord Byron, “Instead of taking his impressions from without. The repetition of the word “taste” both “strong” and “faint” is carried along by the lilting consonance of “ld” are voluptuous while the near rhymes of “crisp” and “taste” are bracing.