Hemingway’s Mysterious, Thrilling Style

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Hemingway’s Mysterious, Thrilling Style
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Ernest Hemingway was a writer who “made the English language new, changed the rhythms of the way both his own and the next few generations would speak and write and think,” Joan Didion wrote, in 1998. NewYorkerArchive

We all know the “life” of the man who wrote that paragraph. The rather reckless attractions of the domestic details became fixed in the national memory stream:

The didactic momentum of the biography was such that we sometimes forgot that this was a writer who had in his time made the English language new, changed the rhythms of the way both his own and the next few generations would speak and write and think.

The peculiarity of being a writer is that the entire enterprise involves the mortal humiliation of seeing one’s own words in print. The risk of publication is the grave fact of the life, and, even among writers less inclined than Hemingway to construe words as the manifest expression of personal honor, the notion that words one has not risked publishing should be open to “continuing investigation” by “serious students of literature” could not be calculated to kindle enthusiasm.

It might seem safe to assume that a writer who commits suicide has been less than entirely engaged by the work he leaves unfinished, yet there appears to have been not much question about what would happen to the unfinished Hemingway manuscripts.

This “African novel” seems to have presented at first only the resistance that characterizes the early stage of any novel. In September of 1954, Hemingway wrote to Bernard Berenson from Cuba about the adverse effect of air-conditioning on this thing he was doing: “You get the writing done but it’s as false as though it were done in the reverse of a greenhouse.

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