War + Ink
New Perspectives on Ernest Hemingway’s Early Life and Writings
Publication Year: 2013
Comprised of sixteen elegantly written essays, War + Ink revisits Hemingway’s formative experiences as a cub reporter in Kansas City. It establishes a fresh set of contexts for his Italian adventure in 1918 and his novels and short stories of the 1920s, offers some provocative reflections on his fiction and the issue of truth-telling in war literature, and reexamines his later career in terms of themes, issues, or places tied to his early life. The essays vary in methodology, theoretical assumptions, and scope; what they share is an eagerness to question—and to look beyond—truisms that have long prevailed in Hemingway scholarship.
Highlights include historian Jennifer Keene’s persuasive analysis of Hemingway as a “typical doughboy,” Ellen Andrew Knodt’s unearthing of “Hemingwayesque” language spread throughout the correspondence penned by his World War I contemporaries, Susan Beegel’s account of the 1918 Spanish Flu Pandemic and its previously unrecognized impact on the young Hemingway, Jennifer Haytock’s adroit analysis of “destructive spectatorship” in The Sun Also Rises, Mark Cirino’s groundbreaking discussion of the instantaneous “life review” experienced by Hemingway’s dying characters (an intrusion of the speculative and the fantastic into fiction better known for its hard surfaces and harsh truths), and Matthew Nickel’s detailed interpretation of the significance of Kansas City in Across the River and Into the Trees. A trio of scholars—Celia Kingsbury, William Blazek, and Daryl Palmer—focus on “Soldier’s Home,” offering three very different readings of this quintessential narrative of an American soldier’s homecoming. Finally, Dan Clayton and Thomas G. Bowie reexamine Hemingway’s war stories in light of those told by today’s veterans.
War + Ink offers a cross section of today’s Hemingway scholarship at its best—and reintroduces us to a young Hemingway we only thought we knew.
Published by: The Kent State University Press
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Title Page, Copyright Page.
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The editors of this collection wish to thank Michelle Webb and Katherine Pope, who provided invaluable editorial assistance during this project, as well as the staff of The Kent State University Press—especially Joyce Harrison, Acquiring Editor, and Mary Young, Managing Editor—and the...
Steve Paul, Gail Sinclair, and Steven Trout
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Ernest Hemingway was not yet nineteen years old when he both launched his writing career and absorbed the brutal force of war into body and soul. Fresh out of high school, the kid from Oak Park, Illinois, landed in what might seem the unlikeliest of places. First came his apprenticeship in a smoky Kansas City newsroom, which introduced Hemingway to the gritty...
Chapter 1: Hemingway in Kansas City The True Dope on Violence and Creative Sources in a Vile and Lively Place
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It’s unknown whether Ernest Hemingway wrote that four-paragraph news story. This was the Monday morning paper, and typically Sunday was his day off. He’d been a cub reporter at the newspaper for all of one month...
Chapter 2: Ernest Hemingway, 1917–1918 First Work, First War
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Ernest Hemingway, confident of a job through the auspices of his Uncle Tyler, arrived in Kansas City on October 15, 1917, at the age of eighteen years and three months. A worthy Oak Park son, he was respectful, responsible, eager, and ambitious. Moreover, he was a wit, a quick study, a...
Chapter 3: Love in the Time of Influenza Hemingway and the 1918 Pandemic
Susan F. Beegel
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In 1918, a virulent strain of influenza emerged that would spread around the world, fueled by World War I with its patriotic rallies and parades, its streams of refugees, and its mass movements of troops, such as the 1.5 million American soldiers sent to Europe in the last six months of the war (Crosby 31). Before the 1918 flu burned itself out, it had killed between...
Chapter 4: Hemingway A Typical Doughboy
Jennifer D. Keene
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The phrases Hemingway and typical doughboy are rarely, if ever, paired in the same sentence. From the vantage point of someone who has spent her academic career studying the American soldiers’ experiences in World War I, I would like to advance the notion that in many respects..
Chapter 5: “Pleasant, Isn’t It?” The Language of Hemingway and His World War I Contemporaries
Ellen Andrews Knodt
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One of the markers of Hemingway’s style that impressed reviewers was the fresh, stripped-down language of his early work. The New York Times, reviewing In Our Time in 1925, says that Hemingway is able to write “a whole character into a phrase, an entire situation into a sentence or two”...
Chapter 6: Looking at Horses Destructive Spectatorship in The Sun Also Rises
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One of the most prominent characteristics of Ernest Hemingway’s The Sun Also Rises is Jake Barnes’s intense concentration on his present moment— where he goes, what he eats, how much he pays. Jake’s concentration on the present, however, suggests an avoidance of his past, in which he...
Chapter 7: Idealism, Deadlock, and Decimation The Italian Experience of World War I in Ernest Hemingway’s A Farewell to Arms and Emilio Lussu’s Sardinian Brigade
Patrick J. Quinn and Steven Trout
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In Hemingway’s fiction, the Italian theater of World War I is a theater of the absurd, alongside which even the notorious Western Front has a measure of dignity and purpose. France may have “ghastly show[s]” like the Somme or Verdun, but it is there that the real war is being fought and where its final outcome will be decided (Hemingway, A Farewell to Arms...
Chapter 8: The Fragmented Origins of Ernest Hemingway’s “A Natural History of the Dead”
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In early 1929, after returning to Key West from his father’s funeral, Ernest Hemingway interrupted his efforts to revise A Farewell to Arms and drafted a sketch about another wounded soldier on the Italian front.1 “In the mountains,” the scene opens, “the snow fell on the dead outside...
Chapter 9: A Way It Never Was Propaganda and Shell Shock in “Soldier’s Home” and “A Way You’ll Never Be”
Celia M. Kingsbury
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In his biography of Hemingway, The Writer As Artist, Carlos Baker titles his third chapter “The Way It Was.” According to Baker, “[t]he primary intent of [Hemingway’s] writing, from first to last, was to seize and project for the reader what he often called, ‘the way it was’” (48). But writers as...
Chapter 10: All Quiet on the Midwestern Front “Soldier’s Home”
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What is expected of combat soldiers in wartime—voluntarily exposing themselves to sudden death and participating in a form of licensed killing— is proscribed to most citizens in peacetime, and the extreme dialectic between the killing environment of the Western Front and the postwar Oklahoma town that Harold Krebs returns to in “Soldier’s Home” is the...
Chapter 11: Hemingway’s “Soldier’s Home” The Kansas Welcome Association, Abbreviations, and World War I Archives
Daryl W. Palmer
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It goes without saying that Ernest Hemingway learned something from "The Star Copy Style,” the reporter’s rules of engagement at the Kansas City Star. As Hemingway explained to a reporter from the same paper in 1940: “‘Those were the best rules I ever learned for the business of writing. I’ve...
Chapter 12: Getting to the Truth Hemingway, Cather, and the Testimony of Two World Wars
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In January 2006, I read Willa Cather’s One of Ours for the first time in an interdisciplinary course I co-taught that semester with colleague Daryl Palmer of our English department. As we worked through the novel with our students, Daryl asked me to comment on the authenticity of Willa...
Chapter 13: The Need for Narrative in Our Time Hemingway’s “Tragic Adventure” and Regis University’s Stories from Wartime
Thomas G. Bowie Jr.
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For the past several years at Regis University in Denver, Colorado, in a team-taught course on war and memory, our focus has been primarily on the testimony of veterans, both those speaking live to the seminar and those whose testimony fills our archive—the Regis Center for the Study of War Experience—or on the written work of veterans that speaks in powerful ways to our students. Weekly, we deal with a number of narratives...
Chapter 14: That Supreme Moment of Complete Knowledge Hemingway’s Theory of the Vision of the Dying
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Although Hemingway’s interest in death and dying has become so accepted and well covered that any further comment risks retreading the stereotype of his frequently lampooned death “obsession,” I wish to examine a strain of this subject more traditionally applied to Hemingway’s contemporaries and more explicitly metaphysical literary forebears. Hemingway’s writing career...
Chapter 15: Dangerous Families A Midwestern Exorcism
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According to his fictional account, Hemingway’s experience with cold and insensitive parents constitutes early demoralizing wounds that never completely heal. The childhood traumas that haunt Nick Adams in such stories as “Indian Camp,” “Ten Indians,” and “Three Shots” engender a...
Chapter 16: Hemingway and Women at the Front Blowing Bridges in A Farewell to Arms, The Fifth Column, and For Whom the Bell Tolls
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One of the central issues on which critics of A Farewell to Arms focus is the vexed relationship between love and war, a response Hemingway invites with his punningly ambiguous title. Certainly Frederic Henry rejects the arms of war in his “separate peace” (243), an act of desertion validated by the confused and murderous actions of the Italian officers in the army he
Chapter 17: Ac ross the Canal and into Kansas City Hemingway’s Westward Composition of Absolution in Across the River and into the Trees
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This essay is concerned with iceberg variations in the symbolic landscape throughout Across the River and into the Trees.1 The paysage moralisé of Across the River and into the Trees is an important function in Hemingway’s calculus, and when analyzed closely, key allusions in conjunction with the
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Page Count: 276
Publication Year: 2013