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Ernest Hemingway was an intricate and dedicated writer who devoted a significant portion of his life to writing multiple genres of stories. Throughout his stories, the similarities in his style and technique are easily noted and identified. Two of the short stories he wrote contain themes and motifs that specifically explain the plotline. The first story, “The Snows of Kilimanjaro,” sets its scene in the depths of a desolate area in Africa, where the main characters, Harry and his wife, decide to make their home. After living there for a few years, Harry ventures out and falls into a thorn bush, thus infecting his leg with gangrene. A few weeks later, he finds himself on the brink between life and death, unable to treat such a severe infection. Throughout the whole story, his life is flashing before his eyes as he recalls all of the major events that occurred in his past. By nightfall, Harry is acting unusual, and he begins to feel as if life is not worth living anymore. After he drifts off to sleep that evening, his wife goes to check on him and discovers that her husband has passed away (Hemingway 52-77). The second great work of Hemingway, “The Short, Happy Life of Francis Macomber,” is also set in a deserted section of Africa. Francis and his wife, Margot, are on a safari adventure along with their tour guide named Wilson. The way these three characters interact with each other creates tension and provides an adequate plot for the story. The trip begins with the couple intending on hunting big game. At first they track down a lion that continuously roars throughout the night, and later decide to chase after buffalos. To add to the complications of the trip, Margot has an intimate relationship with their tour guide. The story c...
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...Short Happy Life of Francis Macomber.’” Short Stories for Students. Ed. Kathleen Wilson. Vol. 1. Detroit: Gale, 1997. 211-18. 27 vols. Gale Virtual Reference Library. Web. 29 Oct. 2009.
“‘The Snows of Kilimanjaro.’” Short Stories for Students. Ed. Jennifer Smith. Vol. 11. Detroit: Gale, 2001. 243-51. 27 vols. Gale Virtual Reference Library. Web. 29 Oct. 2009.
Stallman, R. W. “A New Reading of ‘The Snows of Kilimanjaro.’” The Houses That James Built: And Other Literary Studies. New York: Ohio University, 1961. 173-99. Rpt. in Short Story Criticism. Ed. Carol T. Gaffke and Anna J. Sheets. Vol. 25. Detroit: Gale, 142 vols. 89-92. Print.
Stoltzfus, Ben. “‘Sartre, Nada, and Hemingway's African Stories.’” Comparative Literature Studies. New York: Garrett, 2005. 205-28. Rpt. in Short Story Criticism. Ed. Jelena Krstović. Vol. 117. Detroit: Gale, 142 vols. 214-21. Print.
One observation that can be made on Hemingway’s narrative technique as shown in his short stories is his clipped, spare style, which aims to produce a sense of objectivity through highly selected details. Hemingway refuses to romanticize his characters. Being “tough” people, such as boxers, bullfighters, gangsters, and soldiers, they are depicted as leading a life more or less without thought. The world is full of s...
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
“Winter Dreams.” Short Stories for Students. Ed. Carol Ullmann. Vol. 15. Detroit: Gale, 2002. N. pag. Gale Virtual Reference Library. Web. 23 Mar. 2011.
Waldhorn, Arthur. Ernest Hemingway: A Collection of Criticism (Contemporary Studies in Literature). Chicago: Syracuse University Press, 1978.
Survival and Love in Charles Frazier’s "Cold Mountain" I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.
The narrator portrays her degrading identity through her cultural detachment from Europe and Africa. The novel does not only tell the story through the exile she has suffered. At times, the narrator’s nocturnal writing offers the reader her inner thoughts, but it also displays her initiative to confide within her exile through nostalgia and lyricism. An analysis of multiple passages - regarding writing and geogra...
Have you ever seen a movie or television show where the setting or weather has no impact on the story at all? The use of weather in any work, including written, has a major impact on the feel and overall meaning of a work. Two such works are “The Snows of Kilimanjaro” by Ernest Hemingway, and “Death of a Ball Turret Gunner” by Randall Jarrell. At first glance these two works seem to have little in common, one is a short story, the other a poem; one is written about a man who has contracted gangrene and is close to death, the other about fighting in World War II. There is one idea that is shared between these two however, and that is the use of weather, primarily the cold, to impart different meanings on the works. Weather is a powerful tool
"Hills like White Elephants" is not the normal story where you have a beginning, middle and end. Hemingway gave just enough information so that readers could draw their own conclusions. The entire story encompasses a conversation between two lovers and leaves the reader with more questions than answers. Ernest Hemingway was a brilliant writer. People that study Hemingway's works try to gain insight and draw natural conclusions about Hemingway and his life. Hemingway led a difficult life full of martial affairs and misfortune. Some of these experiences have set the foundation for Hemingway's greatest works. This essay will analyze the influence that Hemingway's separation from Pauline and divorce from Hadley had on "Hills like White Elephants."
"Ernest J. Gaines." Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 300. Detroit: Gale, 2011. N. pag. Artemis Literary Sources. Web. 9 May 2014.
Baym, Nina, and Robert S. Levine. "The Snow of Kilimanjaro." The Norton Anthology of American Literature. 8th ed. Vol. D. New York: W. W. Norton &, 2012. 826-42. Print.
The Cambridge Companion to Ernest Hemingway; edited by Scott Donaldson; Cambridge U. P.; New York, NY; 1996
Even after the imposition of the written language in Africa during the 19th century, the oral tradition abided as an essential part of African societies (Obiechina 123). Until these days, the rural population and urban population alike have remained in close touch with the local oral traditions (Obiechina 124). Since the authors themselves have been raised experiencing both traditions – the written form of literature as well as the oral tradition, it comes as no surprise that the modern African novels blend the two traditions in the novels. This is reflected by authors’ implementation of oral stories into their novels (Obiechina 124). The term for the engagement of stories within the storylines of the novels is called the narrative proverb
The Green Hills of Africa is Hemingway’s second non-fiction work, set in 1933, following the author and his second wife, Pauline, on a big-game safari in Africa. It was first serialized and then published in 1935. The first run was of 10,500 copies selling at $2.75 a piece. While many smaller critics passed their typical glossy review of Hemingway, those at the height of literary criticism bombarded it. Particularly with respect to what Hemingway claimed the novel was. In the foreword of the novel, Ernest Hemingway writes, “The writer has attempted to write an absolutely true book to see whether the shape of a country and the pattern of a month’s action can, if truly presented, compete with a work of the imagination.”1 Fittingly the critical response to Hemingway’s second non-fiction work examined the novel in that respect, as well as in its achievement as a free-standing novel.
Montgomery, Marion. "The Leopard and the Hyena: Symbol and Meaning in The Snows of Kilimanjaro.'" The University of Kansas City Review 27 (1961) : 277-82. Rpt. in Short Story Criticism. Vol. 25. New York: Gale, 1997. 81-83.
Schipper, Mineke. "Mother Africa on a Pedestal: The Male Heritage in African Literature and Criticism." Women in African Literature Today. Ed. Eldred Durosimi Jones. Trenton, N.J.: Africa World Press, 1987. 35-53.