Posts Tagged Hemingway

Writers and their typewriters

22 January 2013
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underwood_319

The Underwood 319

Bitter cold has returned to the North Country. Below zero nights and daytime highs in the single digits have chased us inside again. We are indoor people once again watching the cold world through cold panes of glass.

For some time now I have strategizing on ways to “jump-start” MontanaWriter and a few other writing projects that have been languishing. To this end I have been spending time gathering ideas and images on Pinterest.

A collector by nature, Pinterest is the perfect “hobby” for me, for it easily combines all my hobbies… and I have had many over the years. The combination of visualness and acquisitiveness is a perfect fit for my visually restless mind. Late to the Pinterest party though I am, I am nonetheless in love.

My mind has been on writing and typewriters of late. One of the things I have been “collecting” is pictures of writers at their typewriters.

My last posting was a picture taken with my iPhone of my Underwood 319 and a scan of a poem draft. Today I post a few lines about typing and some pictures of some of my favorite writers working on their typewriters.

Enjoy!

 

Typing Poem

 

Dylan_typing

Bob Dylan Typing

Eliot_typing

T.S. Eliot Typing

Faulkner_typing

William Faulkner Typing

Hemingway_typing

Ernest Hemingway Typing

JohnDMacDonald_Typing

John D. MacDonald Typing

Spillane_typing

Mickey Spillane Typing

Strummer_typing

Joe Strummer Typing

 

 

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Music Monday: Guy Clark

30 July 2012
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I “discovered” Guy Clark when I was living in Chicago in the early 1980s. Someone gave me a cassette tape of his. I took it to Houston with me and then up to Michigan where I would listen to it on evenings when I was feeling homesick for all things Western.

If I remember correctly, I probably had just a couple of dozen cassette tapes in those days: Waylon, Willie, Johnny Cash, Jimmy Buffett, Springsteen, Tom Waits, Dylan and that one Guy Clark one.

Clark has long been popular with song writers and critics. A number of artists have had hits with his songs including The Highway Men who covered “Desperadoes Waiting on a Train.”

“Hemingway’s Whiskey” is one my favorite Guy Clark songs. On the last Monday in July and my youngest brother’s birthday, it seems like  just the thing.

Enjoy!

 

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On the literary art of cooking and camps

28 May 2012

One of my new Kindle purchases is The Brave Cowboy by Edward Abbey.  It was a recent Kindle Daily Deal and since it has long been on my must-read list, I quickly snatched it up at the one-day-only price of .99 cents.

The opening cowboy poem, “The Ballad of the Brave Cowboy,” immediately caught my ear and eye… and I suspect that sometime down the road I will review it here.

But what really struck me was the beginning of the novel: a description of cooking over an open fire. Reading it I immediately thought of Hemingway’s description of the same thing in “The Big Two Hearted River.”

With Memorial Day and the beginning of summer, memories of campfires and camps are on my mind.

These two passages seem like just the thing on a Memorial Day Weekend.

Enjoy!

 from The Brave Cowboy, by Edward Abbey

 

HE WAS SITTING ON HIS HEELS IN THE COLD LIGHT of the dawn, drawing pale flames through a handful of twigs and dry crushed grass. Beside him was his source of fuel: a degenerate juniper tree, shriveled and twisted, cringing over its bed of lava rock and sand. An under-privileged juniper tree, living not on water and soil but on memory and hope. And almost alone. To the north across the rolling mesa of lava there was a broad scattering of junipers, perhaps two or three to an acre, but here where the man squatted before his fire there was only the one, and south and west of the five volcanoes there were none at all, nothing organic but a rudimentary form of bunch grass and the tough spiny yucca.

The man coaxing his tinder into flame was not much interested in the burnt-out wasteland around him. Occasionally he would glance to the southeast and toward the city several miles away, stretched out like a long gray shadow on the other side of the river, or would take a look at the chestnut mare limping among the black rocks beyond the wash, its forelegs held stiffly together, its iron shoes scraping on the stone. But for the most part he concentrated his attention on his small sprightly fire and when he did look away from it his hands continued their work of breaking and adding sticks of wood.

After a while, when the fire had been built up to about the size of a small fryingpan and a residue of glowing charcoal had accumulated, he lifted a canteen from a branch of the tree, filled a small smoke-blackened pan with water and pushed it lidless halfway into the bed of the fire. He watched it closely for several minutes, waiting for the first globule of superheated air to appear on the bottom of the pan. As he waited he broke a dead stick into short lengths and laid the pieces carefully on the embers.

A cool morning, even in the sunlight. Surfaces exposed to the sun were becoming warm but the air remained chill and sharp, as though the sunlight passed from source to object without heating the intervening medium.

The bubble appeared. The man reached out toward the juniper and pulled a wrinkled beaten old cavalry saddlebag close to his heel, unbuckled its one remaining strap and removed from the interior a black skillet, battered and ancient, then a cylindrical tin labeled Handyman Tube Patching Kit, a can of pork and beans, a punch-type canopener and a slab of salted mutton wrapped in a greasy back copy of the Duke City Journal.

The mare on the other side of the wash was staring toward the river, flexing her soft rubbery nostrils, twitching her ears. There was a dim fragrance of tamarisk in the air, and a tension, an electricity, in the old aching silence.

The man wiped his nose once on his sleeve, sniffing a little, then unwrapped the mutton, opened his jack-knife and sawed several strips of meat into the skillet, which he set directly on the fire. A dimple in the bottom of the skillet reversed its curvature with a sudden ping, like a plucked violin string, making one of the slices jump. He wiped the blade of the knife on his jeans, closed it and put in back in his pocket, while the meat sizzled and smoked in the skillet. He opened the can of beans and poured them over the meat; the gluey mess spread steaming around the mutton strips, spluttering against the hot metal.

By now the water was simmering in the open pan, its surface beginning to vaporize. The man unscrewed the lid from the tube patching kit and emptied a certain amount of a brown granular material into the water, measuring by eye. Instantly the aroma of hot coffee graced the air and an involuntary smile appeared on his hungry, lean face.

Within five minutes everything was ready, or ready enough, and ready almost simultaneously: the coffee cooked and diffused densely through the boiling water, the mutton fried, the beans hot and smoky. The man began to eat, using his fingers for the meat, scooping the beans from the skillet with a sawed-off tablespoon and gulping down the scalding coffee in quick short draughts direct from the pan.

When he was finished he leaned back against the bole of the crouching juniper, wiped his mouth on the back of his hand and sighed contentedly. After a moment he pulled at the yellow string dangling from his shirtpocket and drew out a small white cotton sack of tobacco….

Abbey, Edward (2011-08-21). The Brave Cowboy (Edward Abbey Series) (Kindle Locations 94-129). RosettaBooks. Kindle Edition.

 

From “Big Two-Hearted River,” by Ernest Hemingway

 

He started a fire with some chunks of pine he got with the ax from a stump.   Over the fire he stuck a wire grill, pushing the tour legs down into the ground with his boot. Nick put the frying pan and a can of spaghetti on the grill over the flames. He was hungrier. The beans and spaghetti warmed. Nick stirred them and mixed them together. They began to bubble, making little bubbles   that rose with difficulty to the surface. There was a good smell. Nick got out a bottle of tomato ketchup and cut four slices of bread. The little bubbles were coming faster now. Nick sat down beside the fire and lifted the frying pan off. He poured about half the contents out into the tin plate. It spread slowly on the plate. Nick knew it was too hot. He poured on some tomato   ketchup. He knew the beans and spaghetti were still too hot. He looked at the fire, then at the tent; he was not going to spoil it all by burning his tongue. For years he had never enjoyed fried bananas because he had never been able to wait for them to cool. His tongue was very sensitive. He was very hungry. Across the river in the swamp, in the almost dark, he saw a mist rising. He looked at the tent once more. All right. He took a full spoonful from the plate.  ”Chrise,” Nick said, “Geezus Chrise,” he said happily.

He ate the whole plateful before he remembered the bread. Nick finished the second plateful with the bread, mopping the plate shiny. He had not eaten   since a cup of coffee and a ham sandwich in the station restaurant at St. Ignace. It had been a very fine experience. He had been that hungry before, but had not been able to stand it. He could have made camp hours before if he had wanted to. There were plenty of good places to camp on the river. But this was good.

Nick tucked two big chips of pine under the grill. The fire flared up. He had forgotten to get water for the coffee. Out of the pack he got a folding canvas bucket and walked down the hill, across the edge of the meadow, to the stream. The other bank was in the white mist. The grass was wet and cold as he knelt on the bank and dipped the canvas bucket into the stream. It bellied and pulled held in the current. The water was ice cold. Nick rinsed the bucket and carried it full up to the camp. Up away from the stream it was not so cold.

Nick drove another big nail and hung up the bucket full of water. He dipped the coffee pot half full, put some more chips under the grill onto the fire and put the pot oil. He could not remember which way he made coffee. He could remember an argument about it with Hopkins, but not which side he had   taken. He decided to bring it to a boil. He remembered now that was   Hopkins’s way. He had once argued about everything with Hopkins. While he waited for the coffee to boil, he opened a small can of apricots. He liked to open cans. He emptied the can of apricots out into a tin cup. While he watched the coffee on the fire, he drank the juice syrup of the apricots, carefully at first to keep from spilling, then meditatively, sucking the apricots down. They were better than fresh apricots.

The coffee boiled as he watched. The lid came up and coffee and grounds ran down the side of the pot. Nick took it off the grill. It was a triumph for Hopkins. He put sugar in the empty apricot cup and poured some of the coffee out to cool. It was too hot to pour and he used his hat to hold the handle of the coffee pot. He would not let it steep in the pot at all. Not the first cup. It should be straight. Hopkins deserved that….
…Nick drank the coffee, the coffee according to Hopkins. The coffee was bitter. Nick laughed. It made a good ending to the story. His mind was starting to work. He knew he could choke it because he was tired enough. He spilled the coffee out of the pot and shook the grounds loose into the fire. He lit a cigarette and went inside the tent.

 

 

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The annual rite

1 March 2012
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Nick slipped off his pack and lay down in the shade. He lay on his back and looked up into the pine trees. His neck and back and the small of his back rested as he stretched. The earth felt good against his back. He looked up at the sky, through the branches, and then shut his eyes. He opened them and looked up again. There was a wind high up in the branches. He shut his eyes again and went to sleep. ~ Hemingway, cf. “Big Two-Hearted River”

Longtime and regular readers of MontanaWriter may know that each year I re-read Hemingway’s “Big Two-Hearted River”… my secular Lenten discipline I suppose. Usually I wait for April to arrive before I read it again. This year, maybe because it has been so unseasonably warm… maybe because I have been feeling of late the need to be re-connected with the most essential parts of myself, I opened Hemingway’s book of collected short stories earlier than usual and  – for the 30th time at least –  read the story again.

Hemingway was the first writer that mattered to me. The first that showed me what literature could be. The first that made me want to read and to care about art and beauty.

Hemingway occupies a special place in my pantheon of writers… along with Yeats and Heaney and Auden and Whitman and Keats and Shelley and Blake and Milton… The list is long, but he is the first non-poet I put on the list.

Hemingway has always seemed poetic to me… the most poetic of all prose writers. It is is something in the rhythm of his language and his use of space. You see it especially in some of his short stories and in The Old Man and the Sea. This is one of the reasons that it has always seemed strange to me that so few women I know like to read Hemingway.

Hemingway understood… better than any prose writer I know… that the key to great writing is to leave things out. If things are written well we do not have to be told specifically what a character thinks or believes, we do not need to know the character’s back-story, we can tell by actions: actions (not back-story) reveal character.

We are never told by Hemingway that the character of Nick in “The Big Two-Hearted River” is trying to use a fishing trip to keep from thinking about something great and terrible. A lesser writer – and let’s face it, most writers are “lesser” writers – would tell us this fact directly. They would write something like, “Nick tried not to think of the terrible time when….” or, “Nick who had just ….” Even more likely they would start their story by creating a long back-story, a whole novel, and end with what Hemingway wrote as a final scene. They would not trust themselves to tell the story the way Hemingway does nor trust their readers.

Hemingway trusted his talent enough to leave things out. He writes the story in a way that even though almost everything is left out… left unsaid… we can still know by what Nick is doing what is happening. It is a marvelously difficult way to write… the most difficult. It places immense demands on the writer and the reader. It is daring writing. It is poetic prose. It is the kind of writing we should all aspire to.

It wasn’t by accident that the Gettysburg address was so short. The laws of prose writing are as immutable as those of flight, of mathematics, of physics. ~ Hemingway, cf. letter to Max Perkins

* * * * * * * * * *

If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things. ~ Hemingway, cf. Death in the Afternoon

 

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Poetry Review: “(lines from) Leaves of Grass” by Walt Whitman

14 January 2012

(copyright © m.a.h. hinton)

If I were ever to teach a class to aspiring American poets, I would have one required text, The 1855 Edition of The Leaves of Grass. Hemingway famously wrote in The Green Hills of Africa that all modern American fiction comes from one book Huckleberry Finn. A similar thing can be said for Walt Whitman and The 1855 Edition of The Leaves of Grass, all modern poetry comes from Whitman.

William Blake and Walt Whitman are the two poets who come closest to the literary archetype of poet/prophet. The poet as prophet is a label that is used much too frequently by reviewers and writers in talking about poets and their work. It is the inevitable result of theological and Biblical illiterates reaching into the religious realm to grasp metaphors and language about concepts they are not mature enough to understand, like when young children try to puzzle out the language of sex – only mis-information and confusion can result.

The trouble with approaching Whitman in the environment of a blog like this is, of course, one of space. Great, long poems cannot realistically be posted here, and most of Whitman’s best work is long indeed. The imperfect solution to to excerpt some lines, but that is always dis-satisfying. It would be like talking about Picasso’s Guernica by looking at just the right corner of the whole painting or studying Hitchcock’s Rear Window by looking at a 2 minute clip from the middle of the movie. How much of the artist and their work can really be appreciated doing that?

And yet… how do you talk about Whitman, or Milton, or Byron, or Shelley at his best without excerpting lines?

So without further delay, some random lines from the greatest of all American Poets (not from the 1855 edition but from Leaves of Grass none the less)… lines chosen by listening with a pencil and my ear.

Enjoy!

 

A dread beyond, of I know not what, darkens me.

I shall go forth,
I shall traverse The States awhile—but I cannot tell whither or how long;
Perhaps soon, some day or night while I am singing, my voice will suddenly cease.

2
O book, O chants! must all then amount to but this?
Must we barely arrive at this beginning of us?… And yet it is enough, O soul!
O soul! we have positively appear’d—that is enough.

 

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Great Opening Lines

19 March 2011
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I have been thinking of great first lines and first paragraphs for short stories and novels. The first line and first paragraph of a story are essential for drawing a reader in. They are the first impression… the first glimpse through the door into a world we have never been and are uncertain whether we even want to enter. If that first glimpse strikes our fancy, we will open the door wider and walk in. If it leaves us cold, or does not resonate with us, we will simply keep passing… to the next door and the next… until we find one to our liking.

Here are a few great opening lines that came instantly to mind. I am forgetting a number of them I am sure. Great opening paragraphs will have to come another day.

In the meantime, enjoy!

Great Opening Lines

“Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.”
~ 100 Years of Solitude, Gabriel Garcia Marquez.

“None of them knew the color of the sky.”
~ “Open Boat,” Stephen Crane

“Happy families are all alike; every unhappy family is unhappy in its own way.”
~ Anna Karenina, Leo Tolstoy

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
~Pride and Predjudice, Jane Austen

“In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains.”
~A Farewell to Arms, Ernest Hemingway

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair.”
~A Tale of Two Cities, Charles Dickens

“In the fall the war was always there but we did not go to it any more.”
~“In Another Country,” by Ernest Hemingway

“The seller of lightning rods arrived just ahead of the storm.”
~“Something Wicked this Way Comes,” Ray Bradbury

“This is the saddest story I have ever heard.”
~The Good Soldier, Ford Madox Ford

“He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.”
~The Old Man and The Sea, Ernest Hemingway

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Book Review: Green Hills of Africa by Ernest Hemingway

21 December 2010
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A poor scan of a great cover

There remain hundreds of books on my reading “to do” list, yet sometimes I find myself re-reading an old favorite. With poetry this is a fairly straight forward venture. I browse through the volume looking at notes I have made, lines I have underlined or otherwise marked in some way. It is interesting to see where my tastes have changed, to be reminded of lines, to see again poetic influences I may even have forgotten about on anything but a sub-conscious level.

With a novel or book of non-fiction this is a different experience altogether by definition. Re-reading a novel or full length non-fiction work is more of commitment. And since it is more of a commitment, it needs to be a real special book.

Ernest Hemingway’s Green Hills of Africa is such a book for me.  It is special for me because it was the book, more than any other, that introduced me to real writing and real literature. It was the book that made me want to read something more than comic books and sports biographies.

I spend a part of every working day in and out of a middle school media center (library). In middle school, juvenile fiction is king. It has also become huge business. In the early 1970s, there was not a lot of juvenile fiction… and what there was did not interest me in the least.

In 1972-73, I was in 7th grade and 12 years old. I did not want to read about kids like me, I wanted to read about men. I knew about the kid world… what I wanted to know about was the world of adults… the real world.

One day I pulled down a copy of Hemingway’s Green Hills of Africa from the library that was in our English teacher’s classroom. I suppose I liked the cover and that it was about Africa and hunting. Who knows why we choose some of the books we do?

Whatever the reason, that moment changed my life. Until that moment, when I had to read something I always chose non-fiction (and that is probably another reason I chose it). As soon as I finished Green Hills of Africa, I started The Sun Also Rises and after that… book after book, novel after novel, poetry book after poetry book until this day.

I am pleased to say that The Green Hills of Africa holds up well. It is Hemingway. It is memoir in muscular prose. Ostensibly it is about a safari he and wife, Pauline, took to Africa in 1933. It is more than mere travelogue though, for Hemingway intersperses with details of his hunting, discussions of writers and literature: Twain, Dostoevsky, Stendahl, Flaubert, and Tolstoy. All these writers I began reading within a few years of having first read The Green Hills of Africa, precisely because Hemingway recommended them.

When I am in the middle school media center, I will often look at the books that are there. There is no Hemingway. There are plenty of books about boys and girls, and many of these are very well written… but there are few about men and women doing the kind of things that many middle schoolers want to know about. There are no books that would have appealed to me.

My life was changed because I picked up The Green Hills of Africa and discovered great writing and great literature, because I found out about Tolstoy and Stendahl and Dostoyevsky. I am forever grateful for that serendipitous moment. I am forever grateful that I had access to adult-level books like this in my classroom when I was just 12 years old.

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Quicklist 15 Authors – A Challenge

7 November 2010
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A high school classmate posted the following on Facebook: 15 Authors in 30 seconds.

Rules: Don’t take too long to think about it. Fifteen books you’ve read that will always stick with you. First fifteen you can recall in no more than 15 minutes.

My Quick List:
The Sun Also Rises by Ernest Hemingway
Travels with Charly by John Steinbeck
Collected Poems of W.B. Yeats
Collected Poems of John Milton
Selected Poems by W.H. Auden

No More Parades by Ford Madox Ford
Black Elk Speaks by John John Neihardt
Complete Sherlock Holmes by Sir Arthur Conan Doyle
Count of Monte Cristo by Alexandre Dumas
Maltese Falcon by Raymond Chandler
All the Pretty Horses by Cormac McCarthy
Life Work by Donald Hall
I, The Jury by Mickey Spillane
The Green Fool by Patrick Kavanaugh
Aran Islands by John M. Synge

An interesting exercise. Try it sometime.

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Spring on the Big Two-Hearted River

24 March 2010
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Every spring for more than 25 years now, I re-read Hemingway’s “The Big Two-Hearted River.” It is to my mind the best story about fishing ever written. It is also one of the 5 best short stories ever published.

In the early 1980‘s my friend Bob and I camped and fished the Escanaba River in the Upper Peninsula of Michigan. He was summering in Minnesota at that time and I was in Saginaw, Michigan. In honor of Hemingway and friendship we met and spent a week drinking, fishing and camping on the river. Where we camped, just below a bend in the river, there were wild raspberries. In the evening we ate trout and raspberries and drank Jim Beam.

Hemingway’s main character in “The Big Two-Hearted River,” Nick, was a bait fisherman. It is a personal failing I have always been able to overlook, but I know there are real fly-fisherman out there who cannot. I wish that I could be a purest about fishing, but I can’t. In fishing as well as in beer and bourbon, I am no snob.

I think I remember reading one time that Hemingway’s typewriter had a broken space bar so that he always had two spaces between words. Even if that were not true, it should be. Hemingway writes closer to poetry than almost any prose writer I know. Maybe it was having each word so isolated on a sheet of paper.

When you are standing in a stream fishing, you can look down and see the stony bottom. In the summer light each stone seems to glow with colors unlike any of its counterparts. When the light is right sometimes you see the smooth shadows of trout moving across the rocks. When you reach down to pick up a rock that especially catches your eye you always find that it is much deeper than your eye tells you it is. When you pull it up, it is a wet jewel that dazzles. But in the air it quickly dries and its color fades. When you toss it back in, it blinks and dances to the bottom. Resting again among its kind in a different place upon the bottom of the stream, it re-acquires most of its former glory.

I do not get to fish much these days. I know there will be a time when I will get to fish again. When I will be able to stand in a stream again and feel the tug of a trout on the end of my line.

I do not get to fish, but I can still read. So I re-read “The Big Two-Hearted River” every spring and I remember the rivers and streams I have fished from Montana to Michigan. I remember trout I have held wet and  trembling in my hand. I remember long summer afternoons and cool mountain mornings. I remember beauty and the way beauty can renew and recharge you. I read “The Big Two-Hearted River” and it is spring again.

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