Ernest Hemingway casts a long shadow in literature--reaching beyond his status as a giant of 20th-century fiction and a Nobel Prize winner--extending even into comic books. Appearing variously with Superman, Mickey Mouse, Captain Marvel, and Cerebus, he has even battled fascists alongside Wolverine in Spain and teamed up with Shade to battle adversaries in the Area of Madness. Robert K. Elder's research into Hemingway's comic presence demonstrates the truly international reach of Hemingway as a pop culture icon. In more than 120 appearances across multiple languages, Hemingway is often portrayed as the hypermasculine legend: bearded, boozed up, and ready to throw a punch. But just as often, comic book writers see past the bravado to the sensitive artist looking for validation. Hemingway's role in these comics ranges from the divine to the ridiculous, as his image is recorded, distorted, lampooned, and whittled down to its essential parts. As Elder notes, comic book creators and Hemingway share a natural kinship. The comic book page demands an economy of words, much like Hemingway's less-is-more "iceberg theory," only in graphic form. In addition, he turned out to be the perfect avatar for comic book artists wanting to tell history-rich stories, as he experienced beautiful places during the most chaotic times: Paris in the 1920s, Spain during the Spanish Civil War, Cuba on the brink of revolution, France during World War I and during World War II just after the Allies landed in Normandy. Hemingway in Comics provides a unique lens for considering one of our most influential authors. Not only for the dedicated Hemingway fan, this book will appeal to all those with an appreciation for comics, pop culture, and the absurd.

Three interconnecting short stories starring Ernest Hemingway comprise the latest graphic novel by the beloved Norwegian cartoonist, Jason.

A YA graphic novel about unlikely friends—a tin man seeking a heart and a high schooler trying to come to terms with the death of her grandmother In Justin Madson’s debut graphic novel, Tin Man, a girl and her brother befriend the titular Tin Man with unexpected results. Solar is in her last year of high school and is reeling from the recent death of her grandmother. She has abandoned her plans for the future and fallen in with a bad crowd. Her little brother, Fenn, doesn't understand why she's changed—she doesn't even want to help him build their rocket in the garage anymore. Campbell is a tin woodsman—a clunky metal man whose sole purpose in life is to chop down trees. He longs for more, however, and decides to seek out a heart, believing that, with one, he will be able to feel things he has never felt before and, therefore, change his life. Equal parts The Iron Giant, The Wizard of Oz, Edward Scissorhands, and Freaks and Geeks, Tin Man is a story about finding friendship in the unlikeliest of places.

Hemingway as viewed through the lens of men's pulp magazines During the 1950s, Hemingway was in two plane crashes, won a Nobel Prize, published a best-selling novel, and had five movies released based on his work. He had always been a public figure, but during these years his fame rose to that of celebrity. Splashed on the pages of men's magazines were articles titled "Hemingway, Rogue Male," "Hemingway: America's No 1 He-Man," "Hemingway: War, Women, Wine, and Words," and "Hemingway: King of the Vulgar Words and Seduction." These articles appeared not in the mainstream men's magazines like Esquire, Field & Stream, and Playboy, but in the pulp men's adventure magazines of Vagabond, Rogue, Modern Man, Male, Bachelor, Sir Knight!, and Gent. Kitschy, extreme, and often misogynistic, these magazines capture the hyper-masculinity of the postwar decade. And Hemingway was portrayed as a role model in all of them. Using these overlooked and sensational magazines, David M. Earle explores the popular image of Ernest Hemingway in order to consider the dynamics of both literary celebrity and midcentury masculinity. Profusely illustrated with magazine covers, article blurbs, and advertisements in full color, All Man! considers the role that visuality played in the construction of Hemingway's reputation, as well as conveys a lurid and largely overlooked genre of popular publishing. More than just a contribution to Hemingway studies, All Man! is an important addition to scholarship in the modernist era in American literature, gender studies, popular culture, and the history of publishing.

"A time capsule and a life story told through photos, letters, and mementos,"--page [4] of cover.

A collection of early zines that present comics at their most painterly and poetic.