“The Three Kings: Hemingway, Faulkner, and Fitzgerald”

Author(s):  
Richard Ford

In this chapter, the author reflects on how he came to read William Faulkner, Ernest Hemingway, and F. Scott Fitzgerald—whom he describes as the three kings. The author begins by recalling a few years ago reading in Exile's Return, Malcolm Cowley's book on the 1920s, the teenage correspondence between Cowley and Kenneth Burke. He admits that reading was his very problem in Mississippi. He also remembers the first time he read Fitzgerald's story “Absolution” and how he came to know who Faulkner was. According to the author, 1962 was the year he would first read Faulkner, Fitzgerald, and Hemingway. He read The Sun Also Rises, Absalom, Absalom!, and The Great Gatsby. He argues that Faulkner was the best of all three, and the very best of any American writing fiction this century. He concludes by discussing what he and his generation might have learned from the three writers.

Author(s):  
Adam R. McKee

The Lost Generation is a group of expatriate American writers who came of age during World War I and who subsequently became prominent literary figures. The term can also be used to refer to the whole of the post-World War I generation. The term was coined by Gertrude Stein (1874–1946) in a comment to Ernest Hemingway (1899–1961) in which she declared, ‘You are all a lost generation’. Hemingway subsequently used this phrase as an epigraph to his novel The Sun also Rises (1926), which is often seen as emblematic of the Lost Generation’s literary tradition.


Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 2269-2277
Author(s):  
Arpita Sawhney

Ernest Hemingway is admittedly one of the most outstanding American writers of the twentieth century. The literary lion of the twenties, he has been a colourful personality all through his life.  In the words of Archibald Macleish, he was “famous at twenty-five; thirty a master.”  The Sun Also Rises, widely considered as Hemingway’s best novel, is a brilliant achievement in organizing post-war tensions, pressures, and situations. It offers a concentrated picture of the 1920s.


Author(s):  
Elisa Correa dos Santos Townsend ◽  
Christiane Heemann

 http://dx.doi.org/10.5007/2175-8026.2017v70n1p297O livro de Lesley Blume retrata o "making of" de O Sol Também se Levanta, de Ernest Hemingway, ao estudar as personalidades que o inspiraram e as imensuráveis mudanças que trouxe para o mundo literário. Blume é um historiador e jornalista cultural bem sucedido da América do Norte que - entre outras realizações - cobriu as eleições presidenciais dos Estados Unidos de 2000 e a catástrofe de 11 de setembro de 2001. Este livro, lançado em 7 de junho de 2016, já se tornou uma fonte de polêmica em face de suas revelações sobre o romance de estreia de Hemingway que deu voz à chamada "Geração Perdida". Durante o verão de 1925, Ernest Hemingway e um grupo de amigos desordenados foram a Pamplona, na Espanha, para o conhecido festival anual de touros San Fermín. Posteriormente, ao longo das próximas semanas, ele conduziu a expedição como uma orquestra de águas turbulentas e selvagens - um prato cheio de motivação criativa para um escritor - incluindo embriaguez, lutas, competitividade sexual, infidelidades noturnas e ressacas, experiências essas que resultaram em seu pioneiro romance O Sol Também se Levanta.


Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 2269-2277
Author(s):  
Arpita Sawhney

Ernest Hemingway is admittedly one of the most outstanding American writers of the twentieth century. The literary lion of the twenties, he has been a colourful personality all through his life.  In the words of Archibald Macleish, he was “famous at twenty-five; thirty a master.”  The Sun Also Rises, widely considered as Hemingway’s best novel, is a brilliant achievement in organizing post-war tensions, pressures, and situations. It offers a concentrated picture of the 1920s.


2015 ◽  
Vol 7 (4) ◽  
pp. 106
Author(s):  
John Marinan

<p>Ernest Hemingway’s novel <em>The Sun Also Rises</em> is an early example of paraliptic narration, or the rhetorical technique of revealing by omission. Jake Barnes, the narrator, fits this bill because he exhibits startling incommunicability with respect to tale-telling and “reading” of other characters. I argue that this technique, gives Jake Barnes autistic qualities. At the same time, cognitive literary theorists have indicated that autistic readers might have difficulty understanding narrators of this type due to what they call “mindblindness”. They argue that without T.O.M. (Theory of Mind Mechanism), readers cannot make appropriate judgments about the narration. I argue the counter-point; invoking Kenneth Burke, I argue that autistic readers can understand paraliptic narrators because they can identify with them.</p>


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