Cover

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pp. 1-1

Title Page, Copyright

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pp. ii-iii

Contents

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pp. v-v

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Acknowledgments

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pp. vi-viii

Support comes in many forms. Joanna Hildebrand Craig deserves more credit than words can say. From the time she rst expressed interest in publishing my Faulkner–Hemingway project in 2004—mid-dissertation, awkward graduate student stage—she has been enormously helpful and supportive in giving feedback, providing advice, answering questions, answering more questions, and helping me ...

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Introduction

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pp. 1-19

If we substituted “bullghting” with “writing” and “bullghters” with “writers” in the above passage, then we would begin to understand just how strongly competitiveness shaped Hemingway’s views of writing. He saw bullghters and writers as motivated by their peers to seek greatness, to follow set codes, and to outperform their contemporaries in professions that, to his mind ...

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1. Modernism, Postwar Manhood, and the Individual Talent Maturing in the 1920s

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pp. 21-51

After the Armistice, two young men returned to their respective hometowns after professedly heroic war experiences. Each donned an officer’s uniform that had been tailored but not earned through rank; each, though, had a cane and wealth of stories describing his combat heroics. the younger one had been severely injured by mortar and machinegun fire in Italy ...

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2. Petulant Jibes, Catfishlike Uncatfishivity, and Hemingwaves

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pp. 52-102

By the early 1930s, Faulkner and Hemingway had become sure of their professional reputations and, as such, wanted to be the era’s elite American writer. Faulkner, writing to his wife about the Southern Writers’ Conference in Charlottesville, Virginia, was optimistic about his future as a prominent Southern modernist. Indeed, he was the center of attention at the conference, both for his artistic renown and his inebriated behavior, ...

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3. "Glad to Shoot It Out": Ranking and Dueling in the 1940s

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pp. 103-152

It could have been a riposte in an ongoing duel, or merely an objective view of a few American writers. It was probably some of both, though it sounded a lot like a confrontational, challenging response to an under-graduate’s question. While answering questions in a University of Mississippi Creative Writing class in April 1947, Faulkner was asked to rank his contemporaries. His answer initiated the definitive episode in his ongoing ...

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4. Nobel Laureates, Wolves, and Higher Ranking Writers

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pp. 153-205

For Faulkner and Hemingway, the 1950s would be their last full decade. they further protracted their sparring, received the highest literary honors, and made their last marks on the ever-closer wall of oblivion, an image that Faulkner oen invoked. More poignantly, they doubtless realized that they were American modernism’s old guard and that new, younger ...

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5. RIVALS, MATADORS, AND HUNTERS

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pp. 206-246

Artists of all kinds—writers, musicians, painters, and so on—have been known to influence and “talk” to each other through their work. One can look at similar tensions and exchanges between contemporary writers: Wright and Hurston, Ellison and Baraka, the “Men of 1914,” and numerous others. Such intertextual ricocheting creates a dialectic of competition and ...

Bibliography

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pp. 247-256

Index

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pp. 257-263