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the killers ernest hemingway literary analysis
the killers ernest hemingway literary analysis
critical analysis of old man and the sea
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Novelists strive to tell stories. They use specific words, phrases and literary devices to ensure that the story they are telling is an exceptional one. Occasionally authors paint the picture for us with their words and other times they force us to paint the picture ourselves. Ernest Hemingway had a style that can be described as minimalistic. He gave you only the surface of the story using specific word choice and dialogue and you had to put the pieces together to complete the idea. This unique use of skills has resulted in him being an author who is greatly studied. In his works, The Old Man and the Sea, The Garden of Eden and The Sun Also Rises we see him write in short, scant sentences that force us to draw our own conclusions about the rest of the story. This technique has earned him both criticism and fame. It is definitely not a style easily imitated. His dialogue techniques are similar as he uses short responses from characters and …show more content…
This form of writing was not something that other writers were doing and it was questioned. Hemingway is quoted as saying that he got into the habit of counting words during his time as a reporter. He learned that less is more and that carried over to his novels. (Lamb) When reading his novels such as The Sun Also Rises and The Old Man and the Sea, we see that Hemingway’s use of shorter sentences make the characters more real to the reader. The lack of flowery, flowing prose allows Hemingway to get straight to the point and walk the reader through some very tough subject matter more effectively. What seems simple and undone to others is poetic to some. “Short sentences slow down the pace of a narrative as the reader unconsciously pauses for an instant when a sentence ends, and also because the breaks between sentences force the reader to concentrate in order to grasp the transitions from one sentence to another.”
Because of the above, it is helpful to have some understanding of his theory. In Death in the afternoon, Hemingway (1932,191) points out that no matter how good a phrase or a simile a writer may have, he is spoiling his work out of egotism if he puts it in where it is not absolutely necessary. The form of a work, according to Hemingway, should be created out of experience, and no intruding elements should be allowed to falsify that form and betray that experience. As a result, all that can be dispensed with should be pruned off: convention, embellishment, rhetoric. It is this tendency of writing that has brought Hemingway admiration as well as criticism, but it is clear that the author knew what he was doing when he himself commented on his aim:
Meter, M. An Analysis of the Writing Style of Ernest Hemingway. Texas: Texas College of Arts and Industries, 2003.
It was Ernest Hemingway’s belief that “for a true writer each book should be a new beginning where he tries again for something that is beyond attainment” (Nobel Prize Speech). This means that each time someone puts pen to paper, he should strive for such realness that it seems unreal. Rhetoric, or use of language, is the most critical aspect of writing. This is because a skilled use of rhetoric not only allows the writer to convey his ideas to an audience, but also manipulate the way the audience perceives them. Hemingway is extremely well-known for his use of rhetoric, which includes his figurative language, syntax, and other types of literary devices. Hemingway uses syntax, figurative language, and the placement of his stories and chapters
His style was described as “an attempt to get at minds and souls and what goes on within.” Also as “oblique, inferential, suggestive rather than overt, explicit, explanatory.” And yet somehow, “Mr. Hemingway can pack a whole character into a phrase, an entire situation into a sentence or two.”
“The plain was rich with crops; there were many orchards of fruit trees...but the nights were cool and there was not the feeling of a storm coming.'; The elaboration and choice of diction in this book is extraordinary. Hemingway uses so many words to describe the little things in this book. “There was a great splashing and I saw the starshells go up and burst...biting his arm, the stump of his leg twitching,'; is another great example of how he uses much elaboration in the novel.
In Ocean at the End of the Lane, Neil Gaiman revisits Sussex, England and explores his childhood through the eyes of a fictitious little boy. The little boy, who is also the narrator, has an imagination far beyond the imagination of any adult and often faces a difficult time connecting with other people. He does not relate with many people, except for the Hempstock women. The Hempstocks are three-generations of women with super powers, who live together on a farm. They have lived on this farm for hundreds of years without any outside help from other men. Lettie’s a third-generation Hempstock, and the narrator’s greatest friend. Lettie’s imagination is as big as the narrators, and this leads to a great understanding between the two. Mrs. Hempstock, Lettie’s mother, is mostly concerned with feeding the narrator and reporting to the narrator’s father. Old Mrs. Hempstock, Lettie’s grandmother, is
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
Hemingway’s writing style is not the most complicated one in contrast to other authors of his time. He uses plain grammar and easily accessible vocabulary in his short stories; capturing more audience, especially an audience with less reading experience. “‘If you’d gone on that way we wouldn’t be here now,’ Bill said” (174). His characters speak very plain day to day language which many readers wouldn’t have a problem reading. “They spent the night of the day they were married in a Bostan Hotel” (8). Even in his third person omniscient point of view he uses a basic vocabulary which is common to the reader.
Hemingway has a very simple and straightforward writing style however his story lacks emotion. He makes the reader figure out the characters’ feelings by using dialogue. “...
... seemingly simplistic. Hemingway discovered a way to demonstrate the complexity of the human spirit and identity through simplistic diction, word choice, and sentence structure. The story is only a small part of the deeper inner complex of the narrative. The short story allows a fluidity of thoughts between the individual and the characters without ever actually describing their thoughts. With no ending the story is completely left to interpretation providing no satisfactory ending or message.
In his novel A Farewell to Arms, Ernest Hemingway transfers his own emotional burdens of World War I to his characters. Although considered to be fiction, the plot and characters of Hemingway’s novel directly resembled his own life and experience, creating a parallel between the characters in the novel and his experiences. Hemingway used his characters to not only to express the dangers of war, but to cope and release tension from his traumatic experiences and express the contradictions within the human mind. Hemingway’s use of personal experiences in his novel represents Freud’s Psychoanalytic theory regarding Hemingway’s anxieties and the strength and dependency that his consciousness has over his unconsciousness.
Many important American writers came to prominence during the Jazz Age, but their commonalities often stopped there. From lyrical to sparse, many different styles can be seen among these authors, such as those of Henry James, Edith Wharton, F. Scott Fitzgerald, James Joyce, and Ernest Hemingway. One stylistic technique, stream of consciousness, was most associated with Joyce. Yet, Hemingway also used this technique with regularity and it is an important element in his war novel, A Farewell to Arms. This technique uses the interior monologue of a character to convey information, and thus the reader is allowed a more fluid picture of the true thoughts of the character, in this case, Lieutenant Frederick Henry. Also, the information contained in these stream of consciousness passages would not have been as effectively expressed in traditional prose style.
Hemingway has a way of making his readers believe that the feats and strengths that his characters obtain in his novels are actually possible. Although this statement may be too critical, and maybe there is a man out there, somewhere on the coast of Cuba who at this very moment is setting out to the open sea to catch a marlin of his own. The struggle many readers have is believing the story of Santiago’s physical powers and his strength against temptation bring forward the question of whether or not The Old Man and the Sea is worthy to be called a classic. Hemingway’s Santiago brought Faulkner and millions of other readers on their knees, while to some, believed Hemingway had swung his third strike. As we look further into Hemingway’s The Old Man and the Sea, we can analyze the criticism and complications of the character Santiago. He is portrayed as a faulty Jesus, an unrealistic and inhuman man, and again still a hero to those who cannot find happiness in their life.
Narration: Hemingway's style of writing in this book seemed like he directly translated the story from spanish. There were The structure of the sentences are not the usual way people would word sentences. For instance, Robert Jordan was meeting Pilar for the first time, and instead of saying “What is your name?” He asked, “How are you called.” Which is the direct translation of what you say in spanish when asking someone’s name.
One of the modern features demonstrated by A Farewell to Arms is the style used by Hemingway. His modern style forces the reader to look for hidden truth while reading the text which contains some unclear and very long passages. The author tries to master the chaos of two worlds: a world of war and a world of love by creating his own, self-sufficient, and symbolic work. When one theme moves into the foreground, the other one recedes into the background. The sequence of action runs parallel in both themes, so the reader gets the feeling of reading a single main theme rather than two. He leaves for the reader the freedom of judging and deciding what is right or wrong. Hemingway does not spend a lot of time directly dealing with the emotions or thoughts of characters. He tells the story in many long uninterrupted dialogues and actions using this dry sort of tone. He omits describing facial gestures and emotions in his text. That gives the sense of boredom and monot...