Who better to tell the real story of Ernest Hemingway than Hemingway himself? In this amazing book, Frank DeMarco provides the great American author's own fascinating interpretation of his life and the Hemingway myth. DeMarco also explains communication with the nonphysical world, describing precisely how it can be accomplished. Perhaps most important, Afterlife Conversations with Hemingway demonstrates that the afterlife is not a fantasy but a necessary part of life, without which our existence would not have meaning.

Get to know the man behind the legend in this extraordinary collection of interviews with the Nobel Prize–winning author who defined American literature. Hemingway was not only known for his understated style, but for his public image as America’s greatest author and journalist—and for the grand, expansive, adventurous way he lived his life. The prickly wit and fierce dedication to his craft that defined Hemingway’s life and work shine through in this unprecedented collection of interviews.

These firsthand interviews and newspaper accounts constitute a valuable edition to the sizable and ever-growing Hemingway shelf. They let Papa speak his mind, and the inimitable Hemingway voice comes through clearly: the boastfulness, the fierce ambition, the love of prizefighting and the bullring, the snappish impatience with questions (and questioners) he didn't like, and the high seriousness and dedication to his craft. The pieces from the early days are largely short snippets from newspapers; it is only later - from the 1940s on - that Hemingway begins to get the star treatment from publications such as the New Yorker or George Plimpton's Paris Review. Consequently the best comes last. A splendid, delicious book - for Hemingway fans, one well worth savoring.

The hoax proposed to John Baird by a two-bit con man in a seedy Key West bar was shady but potentially profitable. With little left to lose, the struggling, middle-aged Hemingway scholar agreed to forge a manuscript and pass it off as Papa's lost masterpiece. But Baird never realized his actions would shatter the history of his own Earth . . . and others. Now the unsuspecting academic is trapped out of time - propelled through a series of grim parallel worlds - and pursued by an interdimensional hitman with a literary license to kill.

National Book Critics Circle Award Finalist A brilliantly conceived and illuminating reconsideration of a key period in the life of Ernest Hemingway that will forever change the way he is perceived and understood. Focusing on the years 1934 to 1961—from Hemingway’s pinnacle as the reigning monarch of American letters until his suicide—Paul Hendrickson traces the writer's exultations and despair around the one constant in his life during this time: his beloved boat, Pilar. Drawing on previously unpublished material, including interviews with Hemingway's sons, Hendrickson shows that for all the writer's boorishness, depression and alcoholism, and despite his choleric anger, he was capable of remarkable generosity—to struggling writers, to lost souls, to the dying son of a friend. Hemingway's Boat is both stunningly original and deeply gripping, an invaluable contribution to our understanding of this great American writer, published fifty years after his death.

New, carefully focused essays providing a thorough examination of Hemingway's groundbreaking non-fictional work. Published in 1932, Death in the Afternoon reveals its author at the height of his intellectual and stylistic powers. By that time, Hemingway had already won critical and popular acclaim for his short stories and novels of the late twenties. A mature and self-confident artist, he now risked his career by switching from fiction to nonfiction, from American characters to Spanish bullfighters, from exotic and romantic settings to the tough world of theSpanish bullring, a world that might seem frightening and even repellant to those who do not understand it. Hemingway's nonfiction has been denied the attention that his novels and short stories have enjoyed, a state of affairs this Companion seeks to remedy, breaking new ground by applying theoretical and critical approaches to a work of nonfiction. It does so in original essays that offer a thorough, balanced examination of a complex, boundary-breaking, and hitherto neglected text. The volume is broken into sections dealing with: the composition, reception, and sources of Death in the Afternoon; cultural translation, cultural criticism, semiotics, and paratextual matters; and the issues of art, authorship, audience, and the literary legacy of Death in the Afternoon. The contributors to the volume, four men and seven women, lay to rest the stereotype of Hemingway as a macho writer whom women do not read; and their nationalities (British, Spanish, American, and Israeli) indicate that Death in the Afternoon, even as it focuses on a particular national art, discusses matters of universal concern. Contributors: Miriam B. Mandel, Robert W. Trogdon, Lisa Tyler, Linda Wagner-Martin, Peter Messent, Beatriz Penas Ibáñez, Anthony Brand, Nancy Bredendick, Hilary Justice, Amy Vondrak, and Keneth Kinnamon. MiriamB. Mandel teaches in the English Department of Tel Aviv University.