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About Ernest Hemingway: A Biography
Product Description The first full biography of Ernest Hemingway in more than fifteen years; the first to draw upon a wide array of never-before-used material; the first written by a woman, from the widely acclaimed biographer of Norman Mailer, Peggy Guggenheim, Henry Miller, and Louise Bryant. A revelatory look into the life and work of Ernest Hemingway, considered in his time to be the greatest living American novelist and short-story writer, winner of the 1953 Pulitzer Prize for Fiction and the Nobel Prize in Literature in 1954. Mary Dearborn's new biography gives the richest and most nuanced portrait to date of this complex, enigmatically unique American artist, whose same uncontrollable demons that inspired and drove him throughout his life undid him at the end, and whose seven novels and six-short story collections informed--and are still informing--fiction writing generations after his death. Review Acclaim for Mary V. Dearborn’s ERNEST HEMINGWAY“The most fully faceted portrait of Hemingway now available.” — The Washington Post “A fresh perspective. . . . Keenly dispassionate, coolly discerning. . . . A kind of extended autopsy, not only of Hemingway’s life, but his reputations as a model of American virility and as an enduring literary figure.” —USA Today“Perceptive and tough-minded. . . . Dearborn skillfully covers an enormous range of rich material.” —The New York Times Book Review “Fresh. . . . Impeccably researched. . . . Hemingway fans will find something interesting on almost every page.” —Houston Chronicle “A compelling portrait. . . . Dearborn captures Hemingway in all of his extremes, the story of a hugely flawed and endlessly compelling human being producing enduring art.” — Star Tribune About the Author MARY V. DEARBORN received a doctorate in English and Comparative Literature from Columbia University, where she was a Mellon Fellow in the Humanities. Excerpt. © Reprinted by permission. All rights reserved. Prologue One evening in the mid-1990s I attended a panel on Ernest Hemingway and his work at New York’s Mercantile Library. The Mercantile was known for lively programming arranged by its then director, Harold Augenbraum, and this evening was no exception. Hemingway had been somewhat under fire of late. A controversial 1987 biography by Kenneth Lynn had left Hemingway fans reeling with the rev- elation that Ernest had been dressed as a girl in his early years, which Lynn argued had shaped the author’s psyche and sexuality. The previous year Hemingway’s posthumously published novel, The Garden of Eden, had revealed a writer seemingly obsessed with androgyny, its hero and heroine cutting and dyeing their hair to become identical, beyond gender—just as in the explicit sex scenes they move beyond traditionally male and female roles. At roughly the same time, Hemingway and his place in the Western literary tradition came under full-on attack, as readers, scholars, educators, and activists urgently questioned what “dead white males” like Hemingway had to say to us in a multicultural era that no longer accords them automatic priority. The so-called Hemingway code—a tough, stoic approach to life that seemingly substitutes physical courage and ideals of strength and skill for other forms of accomplishment—increasingly looked insular and tiresomely macho. That night at the Mercantile Library, these issues were roiling the waters. Should we still read Hemingway? Are his concerns still relevant? Was Hemingway gay? (The short answer is no.) Why could he not create a complicated female heroine? Does Hemingway have anything at all to say to people of different races and ethnicities? On the plus side, does his intense feeling for the natural world take on greater significance at a time of growing environmental consciousness? If we were to continue to read Hemingway, we needed to take note of how we read him, it seemed. The discussion after the panel was animated. The moderator called on a bu
