Race and Identity in Hemingway s Fiction explores how Hemingway negotiates race as a defining element of American identity. His interest in race and racial identity emerged in his writing and his personal life, through attention to skin color, performance of racial identity, and experimentation and immersion in tribal life and rituals. This study imagines what Hemingway s fiction would look like if his non-white characters were brought out of the background and asks how Hemingway s conception of American identity transforms when it is constructed on the basis of race.

William Faulkner has long been considered the great racial interrogator of the early twentieth-century South. In "Hemingway, Race, and Art", author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entire nation. Though Hemingway wrote extensively about Native Americans and African Americans, always in the back of his mind was Africa. Dudley sees Hemingway's fascination with, and eventual push toward, the African continent as a grand experiment meant to both placate and comfort the white psyche, and to challenge and unsettle it, too. Dudley demonstrates how Hemingway's interest in race was closely aligned to a national anxiety over a changing racial topography. Affected by his American pedigree, his masculinity, and his whiteness, Hemingway's treatment of race is characteristically complex, at once both a perpetuation of type and a questioning of white self-identity. "Hemingway, Race, and Art" expands our understanding of Hemingway and his work and shows how race consciousness pervades the text of one of America's most important and influential writers. -- From publisher's description.

"This book: Provides the fullest introduction to Hemingway and his world found in a single volume ; Offers contextual essays written on a range of topics by experts in Hemingway studies ; Provides a highly useful reference work for scholarship as well as teaching, excellent for classes on Hemingway, modernism and American literature."--Publisher's website.

The American short story has always been characterized by exciting aesthetic innovations and an immense range of topics. This handbook offers students and researchers a comprehensive introduction to the multifaceted genre with a special focus on recent developments due to the rise of new media. Part I provides systematic overviews of significant contexts ranging from historical-political backgrounds, short story theories developed by writers, print and digital culture, to current theoretical approaches and canon formation. Part II consists of 35 paired readings of representative short stories by eminent authors, charting major steps in the evolution of the American short story from its beginnings as an art form in the early nineteenth century up to the digital age. The handbook examines historically, methodologically, and theoretically the coming together of the enduring narrative practice of compression and concision in American literature. It offers fresh and original readings relevant to studying the American short story and shows how the genre performs American culture.

The subject of endless biographies, fictional depictions, and critical debate, Ernest Hemingway continues to command attention in popular culture and in literary studies. He remains both a definitive stylist of twentieth-century literature and a case study in what happens to an artist consumed by the spectacle of celebrity. The New Hemingway Studies examines how two decades of new-millennium scholarship confirm his continued relevance to an era that, on the surface, appears so distinct from his—one defined by digital realms, ecological anxiety, and globalization. It explores the various sources (print, archival, digital, and other) through which critics access Hemingway. Highlighting the latest critical trends, the contributors to this volume demonstrate how Hemingway's remarkably durable stories, novels, and essays have served as a lens for understanding preeminent concerns in our own time, including paranoia, trauma, iconicity, and racial, sexual, and national identities.

To many, the life of Ernest Hemingway has taken on mythic proportions. From his romantic entanglements to his legendary bravado, the elements of Papa’s persona have fascinated readers, turning Hemingway into such an outsized figure that it is almost impossible to imagine him as a real person. James Hutchisson’s biography reclaims Hemingway from the sensationalism, revealing the life of a man who was often bookish and introverted, an outdoor enthusiast who revered the natural world, and a generous spirit with an enviable work ethic. This is an examination of the writer through a new lens—one that more accurately captures Hemingway’s virtues as well as his flaws. Hutchisson situates Hemingway’s life and art in the defining contexts of the women he loved and lost, the places he held dear, and the specter of mental illness that haunted his family. This balanced portrait examines for the first time in full detail the legendary writer’s complex medical history and his struggle against clinical depression. The first major biography of Hemingway in over twenty years, this monumental achievement provides readers with a fresh, comprehensive look at one of the most acclaimed authors of the twentieth century.

Both Ernest Hemingway and F. Scott Fitzgerald grew up in the Midwest and were strongly influenced by Romantic music, anchored by the aesthetic tastes of the German immigrants who settled across that region. Hemingway's ear for form and Fitzgerald's penchant for lyricism stem from early and frequent exposure to such masters as Johannes Brahms and Franz Schubert. Nostalgia is typically associated with romanticism, and the acoustic longing found in Hemingway and Fitzgerald's fiction resonates with it, characterized in the narrative voices in Hemingway's Winner Take Nothing, Fitzgerald's Tender Is the Night, and other of their fiction from the early thirties. Understanding that each writer has his own kind of musical biography charts new ways to read material we already think we know. Reading their work within a musico-historical context means acknowledging it as an extension of the 19th century; it means reading them as Romantic Modernists. This work reads each author's prose musically, considering how Romantic music inspired their craft and distinguished their work through the pivotal juncture of the early to mid-1930s, when each man faced an artistic crisis of conscience. Initial chapters provide background information in music history. Following chapters focus on how the life of each author was shaped by music and how they worked with specific influences that grew out of steady interactions with it, evidence of which is found in archival documents and collections.