Documentary filmmaker Ken Burns is at it again.
Monday, April 5, the creator of prize-winning documentaries on the American Civil War, Jazz Music, and Baseball, teamed with director and producer, Lynn Novick, for a new documentary on American literature icon Ernest Hemingway. It will be a six-hour documentary broadcast over three nights.
The film preview promises to smash the man behind the myth and dispel many misplaced notions many have about the American literature legend.
If you talk to enough American literature scholars, you get the sense that many readers don’t even bother to read Hemingway because of the chauvinistic reputation attached to his bull-fighting, hard drinking, multiple marriages (four in all), killing animals for sport, and writing about the scourge of war.
We are, after all, living in the era of the MeToo Movement (the social movement against sexual abuse and sexual harassment), a crusade against bullying, responsible drinking habits, and overall--a kinder gentler era than when Hemingway was plying his trade.
Many think the macho image often attributed to Hemingway is unreasonably exaggerated.
Author Gioia Diliberto in her biography of Hadley Hemingway (Hemingway’s first wife), titled “Paris without End,” wrote: "For all his macho posturing, Hemingway at his best wrote love stories that brilliantly charted the emotional nuances in relationships between men and women.” “His great talent,” Diliberto explained, “was in evoking the most intimate moments of longing, and all his fictional love stories flow from the central love story in his own life -- his marriage to Hadley."
Verna Kale, Professor of English and Associate Editor of The Hemingway Letters Project at Pennsylvania State University, echoing Diliberto’s sentiments, said that Hemingway’s popular success, and the adaptation by fiction writers of his innovations, “obscure how innovative his work was in its time. He refused to follow political or literary trends, and as a result his work has the kind of longevity that makes him widely read and studied today, and I do believe he qualifies as one of the greatest American writers--not just of novels but of short stories and what we now call creative nonfiction.”
Kale provided a sneak peek into what to expect from the upcoming PBS documentary. “His reputation as a masculine icon and celebrity may have undermined the appreciation of his work,” Kale observed. “Both the documentary film and the ongoing project to publish Hemingway's correspondence show that he was a complicated person, full of contradictions. The film and his letters show the sides of him that are often overlooked: his sensitivity, his concern for family and friends, his interests in art and music, his commitment to anti-fascism.” Kale did point out that the film hardly sugar coats his character flaws. Hemingway could be “violent, angry, and proud,” Kale said.
Others aren’t so infatuated by the iconic status that Hemingway enjoys.
Writer and public intellectual, Gore Vidal, told political commentator Pat Buchanan in 1984: “I have a very low view of Hemingway; he’s sort of a Field & Stream writer. His gift for publicity propelled him ever forward. He didn’t develop.”
Later in the interview with Buchanan, Vidal, said “For Whom the Bell Tolls is an embarrassing book which even he came to realize that.”
Novelist Kurt Vonnegut remarked in 1990, following the rise of the feminist movements, Hemingway is “a little hard to read nowadays.”
The brawny image of Hemingway wasn’t so pronounced in his novels as it was in the Esquire magazine pieces that he wrote in the 1930’s in which he projected himself to be tough as nails, vulgar, an adventurous outdoorsman, and a hopeless playboy and carouser.
Even in the prime of his career, Hemingway’s contemporaries pelted him with some harsh criticism.
In 1927, writer Virginia Woolf blasted Hemingway’s “self-conscious virility” of his fiction and with what she considered his “excessive use of dialogue.”
British writer Wyndham Lewis in his study of Hemingway (“The Dumb Ox”), faulted the American novelist for creating “stupid and insensitive characters” and of presenting them in a kind of baby talk borrowed from Gertrude Stein.
While showering him with well-deserved praise for his literary skills, both Woolf and Lewis were highly critical of Hemingway for embracing unrealistically muscular characters by touching on such violent topics as war, boxing, and bullfighting, among others.
Arnold Weinstein, an American literary scholar at Brown University thinks, sadly, that the new age in American society has lessened the importance of Hemingway in college classrooms. I'd wager that English departments at elite universities have relatively little of Hemingway in their courses,” Weinstein told me. “Needless to say,” Weinstein continued; “there's lots of company, and there'll be even more of it as we move ahead, since there is an ever greater, ever angrier awareness of the systemic flaws, blind spots and injustices in American culture.”
Weinstein said that he’s still teaching, but his repertoire of authors is “imploding.” “It’s a pity given that Hemingway’s work with its depths, ambiguities and virtues are under the radar screen.”
Despite the criticism of Hemingway, especially in the 21st century, living as we are in a more refined society, Suzanne Clark, Professor in the English Department at the University of Oregon, thinks Hemingway “is doubtless one of the great American writers of the 20th century, and he endures, in spite of much sniping at him.” “Part of the reason why he endures,” Clark argues, “is that his style, which seems so simple, so straightforwardly factual, rewards close reading the way a poem does. Hemingway seems easy but is after all as complex as the human experience. “
Ernest Miller Hemingway was born July 2, 1899 in Oak Park, Illinois. Soon after graduating from Oak Park High School, he began his writing career as a cub reporter for the Kansas City Star as a police reporter and feature story writing before venturing off to Italy where he was an ambulance driver for the Red Cross in World War I. As an ambulance driver he was badly injured when a heavy machine-gun bullet ripped through his right knee. It was his first taste of war which would permeate many of his works of literature.
The Hemingway canon is vast from cub reporter to feature writer to war correspondent, short story writer, and novelist. But when people discuss Hemingway, they for the most part, center on four novels: “The Sun Also Rises” (1926), “A Farewell to Arms” (1929), “For Whom the Bells Tolls” (1940), and “The Old Man and the Sea” (1952). Many of his short stories have also been widely hailed as splendid works of literature, including “Big Two-Hearted River,” “The Killers,’’ “The Short Happy Life of Francis Macomber,” “A Clean Well-Lighted Place,” and “The Snows of Kilimanjaro,”
What distinguished Hemingway from his predecessors, especially 19th century authors were his simple, direct writing style.
“The Sun Also Rises”, was Hemingway’s first novel. It was published in 1926, a piece of fiction about a group of American and English expatriates in Paris, all of whom have suffered both physically and emotionally during World War I.
In reviewing “The Sun Also Rises,’’ The New York Times wrote “Mr. Hemingway writes a most admirable dialogue. It has the terse vigor of Ring Lardner at his best. It suggests the double meanings of Ford Madox Ford's records of talk. Mr. Hemingway makes his characters say one thing, convey still another, and when a whole passage of talk has been given, the reader finds himself the richer by a totally unexpected mood, a mood often enough of outrageous familiarity with obscure heartbreaks.” “No amount of analysis,” the Times went on to write, “can convey the quality of "The Sun Also Rises." It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame. “
By the time he had written “For Whom the Bell Tolls’’ in 1940, Hemingway was considered one of the greatest novelists in American literature if not the world. In their review "For Whom the Bell Tolls," J. Donald Adams, editor of The New York Times Book Review wrote: “This is the best book Ernest Hemingway has written, the fullest, the deepest, the truest. It will I think, be one of the major novels in American literature.” Adams summed up his review of For Whom the Bell Tolls by writing: “This is the work of a mature artist, of a mature mind.”
Ernest Hemingway in Kenya in 1952
Photo Credit:Earl Theisen / Getty
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Before the publication of “The Old Man and Sea” in 1952, Hemingway spent a great deal of time stowed away in Finca Vigia, Cuba, where he lived from 1939 until 1960. “The Old Man and the Sea” was a novella about a Cuban fisherman and his battles with a giant marlin.
It was a smash success, earning Hemingway a Pulitzer Prize in 1953 and the following year, a Nobel Prize in literature in 1954.
In the New York Times review of "The Old Man and the Sea" on August 28, 1952, Orville Prescott, the primary book reviewer for the New York Times , wrote: “The Old Man and the Sea" is fresh and healthy and the old man's ordeal is moving.”
“But good as "The Old Man and the Sea" is,” Prescott wrote, “it is good only in a limited way. The fisherman is not a well-characterized individual. He is a symbol of an attitude toward life. He often thinks and talks poetically and symbolically and so artificially.”
After suffering from near fatal airplane crashes in Africa, in 1954, Hemingway’s health plummeted. He began suffering from severe depression, landing him in the hospital, where he underwent electroshock treatments.
Much like his father in 1928, the celebrated American novelist committed suicide on July 2, 1961 with one of his shotguns at his home in in Ketchum, Idaho. He was 61.
Whether Hemingway is still considered a major force in American literature, the Ken Burns and Lynn Novick documentary will undoubtedly answer that question over the next few nights.
Charles Scribner Jr., the longtime head of the Charles Scribner's Sons book publishing company said in a 1982 lecture that “Hemingway’s books were the “foundation stones’’ of the firm’s publishing reputation.”
NOTE: Vern Kale, Associate Editor of The Hemingway Letters Project welcomes viewers of the documentary to the watch party and discussion on April 10, hosted by the Hemingway Society.
--Bill Lucey
April 3, 2021
