Utilisateur:Arapaima/ E. Hemingway divers docs

He is our poet, in prose, about fear and the imagined encounter -- before we die -- with death. Fear was his subject matter, fear was his stock in trade. Hemingway, a brave man, was stalked by fear from the start.

but fear of death remains the concern of the finished short story (Indian Camp).

The edition of In Our Time published in Europe in 1924 was made up of vignettes, often one or two paragraphs long, many based on such reportage. Edmund Wilson, celebrating that book, announced that Hemingway has almost invented a form of his own. The short story built of sparse details that serve as metaphor for undivulged background and descriptive material is Hemingway's invention and the basis for much contemporary storytelling. Early in his career, he staked out fear as the territory over which he prowled more powerfully than anyone else.

In The Snows of Kilimanjaro (1936) , Harry's fear of having sold himself (Scribner's had marketed Hemingway's burly attractiveness in order to sell his books) becomes in this story interchangeable with death.

Another fear, and perhaps a lure, was alive in him from the end of 1928. In that year his father, Clarence, killed himself; Hemingway wrote about that form of separate peace in letters, agonized about it in daily conversation, wrote it into the short story Fathers and Sons and into the ending of For Whom the Bell Tolls (1940). Called by death, alert to it, he enjoyed a sadly short flowering, from 1924 to 1936. In 1929 he published his most perfect novel, and one of the century's great ones, A Farewell to Arms.

His short story In Another Country begins with a paragraph exquisite in its spare lyricism and resignation:

Hemingway transformed demanding, often risky activities like fishing, hunting and bullfighting into analogues for writing. Fear of death, in his work, is often the same as the writer's fear of failure.

XXXXXXXXXXXXXX

Notes modifier