Abstract

Far more often than Hemingway's work, the writings of James Agee, John Dos Passos, Arthur Koestler, and George Orwell are examined for their politics, and their politics of form. But Hemingway's multi-focal aesthetic situates him alongside these more obviously politicized writers. Built upon his famous "iceberg" theory of omission, and imitating film rather than single-shot still photography, Hemingway's multi-focal aesthetic confronted the problem of "official" history and interwar doubts over language's ongoing capacity for expression.

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Additional Information

ISSN
1548-4815
Print ISSN
0276-3362
Pages
pp. 7-21
Launched on MUSE
2007-06-25
Open Access
No
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