Hemingway, Race, and Art: Bloodlines and the Color Line

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Introduction: The Specter of Race in Hemingway’s Grave New World 1 one “Indian Camp” and “The Doctor and the Doctor’s Wife”: Deconstructing the Great (White) Man 27 two Beyond the Camp, Behind the Myth: Native American Dissolution and Reconstituted Whiteness in “Ten Indians,” “Fathers and Sons,” and “The Indians Went Away” 51 three The Truth’s in the Shadows: Race in “The Light of the World” and “The Battler” 69 four Killin’ ’Em with Kindness: Hemingway’s Racial Recognition in “The Porter” 91 five “The Snows of Kilimanjaro,” “The Short Happy Life of Francis Macomber,” and Green Hills of Africa: (Re)drawing the Color Line, or Reimagining the Continent in Shades of Black and White 111 six The First Shall Be Last, the Last Shall Be First: Erasing and Retracing the Color Line in “The Good Lion,” True at First Light, and Under Kilimanjaro 137 Epilogue: Contextualizing Hemingway’s Grand Complication 159 Notes 165 Works Cited 187 Index 193 contents ...