The Bones of the Others The Hemingway Text from the Lost Manuscripts to the Posthumous Novels eBook Hilary Justice
Download As PDF : The Bones of the Others The Hemingway Text from the Lost Manuscripts to the Posthumous Novels eBook Hilary Justice 
In this work of literary archaeology and criticism, Hilary Justice tells the narrative of Ernest Hemingway's creative process using published and archival texts to articulate the connections between his life and writing.In what became The Garden of Eden, Hemingway's character David Bourne identifies his writing process as the creation of a new, forbidden country, asking himself the questions that drove Hemingway's own writing, "So where do you go? I don't know. And what will you find? I don't know. The bones of the others I suppose." Justice's investigations into Hemingway's creative method illuminate the map of Hemingway's forbidden country, revealing his writing as a lifelong simultaneous expression of present and past. Justice locates the power of Hemingway's fiction in this duality--in the paradoxical compulsions toward destruction and creation, lamentation and hope, and fear and love.Tracing his personal writing from the 1920s through the 1950s, Justice restores the lost manuscripts to their rightful place in the Hemingway canon and answers the question of the writer's suicide.
The Bones of the Others The Hemingway Text from the Lost Manuscripts to the Posthumous Novels eBook Hilary Justice
In his Nobel Prize acceptance speech, Ernest Hemingway described the history of an author's life as the shedding of loneliness, which might work to his advantage or detriment. This concise and well written study, which is nonetheless as densely supported by citation as a brief to the Supreme Court, explicates this theme of unease with making the private public through the course of Hemingway's career. In doing so, it constitutes a major new statement in Hemingway studies -- almost a half-century since the writer's death.In particular, this study extends the thesis of Rose Marie Burwell's research into the writings unpublished at Hemingway's death, showing how each unfinished late book thematically dovetailed into the next. Justice extends this insight beyond those posthumous books, all the way back to the fabled suitcase lost in Paris by Hemingway's first wife Hadley in the 1920s. For Justice, the "Hemingway text" is everything he wrote, yet this declaration is not bombastic but carefully modulated and, again, at every critical point well supported. Sure, you can disagree with it, and the writer does not try to explicate every Hemingway book like some sort of unified field theory. Yet if you are going to argue against this thesis now, you have real work on your hands -- something on the level of a full scale safari, or maybe even a moon landing. Lit crit doesn't get better than this, and the writing is consistently crisp, focused, and intelligent. Pure theory is relegated to appendix or footnotes, and doesn't crowd the text which is topnotch modern English in the same tradition out of which Hemingway wrote in his public voice.
It was fiction which was a risky business for Hemingway, given his Oak Park background and the veritable minefields of his various marriages. Risky too was the attendant melodrama of his own construction of a fictive public self as Author -- both as sword and shield. Something is usually kept hidden, both for personal reasons and for future resources. Hillary K. Justice examines how "the bones of the others" -- in other words, the earliest Hemingway stories -- seed and fuel the creative imagination of the mature writer in the still not properly or fully published Garden of Eden. Odd visual archetypes -- a suitcase, the image of an elephant -- cause the older writer to remember himself and his personal complications when composing the earlier material, which then unearths enriched, enhanced, amplified. The early stories were paired like DNA strands, Justice tells us -- marriage stories against stories of men, or a man solo. Justice combines thoroughly workmanlike scholarship with rare intelligence and human insight in these demonstrations, a real treat to find in a vanguard work of 3rd generation Hemingway scholarship. This critic never discards apparently contrary evidence or prior scholarship -- but keeps looking for deeper solutions which will encompass all. Justice is thoroughly versed and at home in all things Hemingway, so along the way to her major thesis are any other number of other new critical insights simply tossed off like sparks.
In sum, this book constitutes a new starting point not only for anyone who studies Hemingway, but also for the informed general reader given its clear and accessible style.
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The Bones of the Others The Hemingway Text from the Lost Manuscripts to the Posthumous Novels eBook Hilary Justice Reviews
Coming from a family that sent my father and three of my mother's brothers into the experience of World War I, and launched me into the period of World War II at age 12 as a prospective soldier in the footsteps of my older brother and cousins, Ernest Hemingway's writings about men at war with each other and with nature helped me come of age, acquainted me with some of the rude facts of warfare, and introduced me to the generation that lived through both of our World Wars and the period in between. I wasn't bright enough or sensitive enough to "study" his writings in college, even though I was briefly an English major, but I eventually read everything of his that was published, including the neglected mini-essays he contributed to his superb selection of writings about "Men At War" in the anthology of that title.
In time I came to read on my own -- having given up hopes of graduate school -- a considerable body of the biographic analyses and literary criticisms of Hemingway and his generation of writers, which often raised more questions about where Hemingway's writings came from than they answered.
Hilary Justice, who appears to be THE third-generation Hemingway scholar, has captivated me with her deeply researched and closely examined analysis of how the author came to produce his mature works, based on her examination of what is known about the manuscripts famously lost by his first wife and of the details of his life at the time he was writing those originals and, later, when he was producing the familiar works that derived from them. (I may be drawing conclusions firmer than Ms. Justice's scholarly standards would allow.)
In any case, "The Bones of the Others" will be a delight to any reader of Hemingway, fan or scholar. For the mere reader of fiction who, like me, marvels and wonders at how fiction like Hemingway's is created, the book is a revelation. For the serious scholar, this is lit crit at its best.
In his Nobel Prize acceptance speech, Ernest Hemingway described the history of an author's life as the shedding of loneliness, which might work to his advantage or detriment. This concise and well written study, which is nonetheless as densely supported by citation as a brief to the Supreme Court, explicates this theme of unease with making the private public through the course of Hemingway's career. In doing so, it constitutes a major new statement in Hemingway studies -- almost a half-century since the writer's death.
In particular, this study extends the thesis of Rose Marie Burwell's research into the writings unpublished at Hemingway's death, showing how each unfinished late book thematically dovetailed into the next. Justice extends this insight beyond those posthumous books, all the way back to the fabled suitcase lost in Paris by Hemingway's first wife Hadley in the 1920s. For Justice, the "Hemingway text" is everything he wrote, yet this declaration is not bombastic but carefully modulated and, again, at every critical point well supported. Sure, you can disagree with it, and the writer does not try to explicate every Hemingway book like some sort of unified field theory. Yet if you are going to argue against this thesis now, you have real work on your hands -- something on the level of a full scale safari, or maybe even a moon landing. Lit crit doesn't get better than this, and the writing is consistently crisp, focused, and intelligent. Pure theory is relegated to appendix or footnotes, and doesn't crowd the text which is topnotch modern English in the same tradition out of which Hemingway wrote in his public voice.
It was fiction which was a risky business for Hemingway, given his Oak Park background and the veritable minefields of his various marriages. Risky too was the attendant melodrama of his own construction of a fictive public self as Author -- both as sword and shield. Something is usually kept hidden, both for personal reasons and for future resources. Hillary K. Justice examines how "the bones of the others" -- in other words, the earliest Hemingway stories -- seed and fuel the creative imagination of the mature writer in the still not properly or fully published Garden of Eden. Odd visual archetypes -- a suitcase, the image of an elephant -- cause the older writer to remember himself and his personal complications when composing the earlier material, which then unearths enriched, enhanced, amplified. The early stories were paired like DNA strands, Justice tells us -- marriage stories against stories of men, or a man solo. Justice combines thoroughly workmanlike scholarship with rare intelligence and human insight in these demonstrations, a real treat to find in a vanguard work of 3rd generation Hemingway scholarship. This critic never discards apparently contrary evidence or prior scholarship -- but keeps looking for deeper solutions which will encompass all. Justice is thoroughly versed and at home in all things Hemingway, so along the way to her major thesis are any other number of other new critical insights simply tossed off like sparks.
In sum, this book constitutes a new starting point not only for anyone who studies Hemingway, but also for the informed general reader given its clear and accessible style.
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