Forty – Three Ways Of Looking At Hemingway – Jeffrey Meyers

D. Salinger’s path crossed Hemingway’s in wartime Paris in August 1944 and on the road to Germany in September. Their momentous personal encounters were far more important to Salinger than Hemingway’s literary influence. Salinger hero- worshipped Hemingway and regarded him as a confessional father- figure. He saw the parallel between Hemingway’s injury in World War I and his own war trauma. But there is only a thin record of Hemingway’s direct comments on Salinger, who was fascinated and inspired by Hemingway throughout his life.

Salinger’s credulous biographers have always accepted his own self-enhancing viewpoint, though his memory could be faulty. He claimed that Hemingway had praised Faulkner, whom he heartily disliked. Casting a cold eye in 1962, Mary McCarthy identified the key elements of Hemingway’s influence on The Catcher in the Rye (1953). Recalling Hemingway’s patented “built-in shit-detector,” she noted how Salinger adopted “the very image of the hero as pitiless phony- detector. . . . Like Hemingway, Salinger sees the world in terms of allies and enemies.

He has a good deal of natural style, a cruel ear, a dislike of ideas . . . and a ventriloquist’s knack of disguising his voice.” The adolescent world of The Catcher in the Rye is “based on a scheme of exclusiveness. The characters are divided into those who belong to the club and those who don’t.” McCarthy didn’t mention how Salinger’s path crossed Hemingway’s in wartime Paris in August 1944 and on the road to Germany in September.

Salinger, who briefly attended three universities without earning a degree from any of them, frequently sized up his older, famous and formidable competitor. On his first shot at Hemingway in his college newspaper, the Ursinus Weekly of 1938, two years before the publication of For Whom the Bell Tolls, the nineteen-year-old Salinger revealed his mixture of adulation and envy. He referred to The Fifth Column, echoed Edmund Wilson’s criticism of Hemingway’s decline in the 1930s, and adopted a familiar and matey, cocky and condescending tone: “Hemingway has completed his first full-length play.

We hope it is worthy of him. Ernest, we feel, has underworked and overdrooled ever since The Sun Also Rises, ‘The Killers’ and A Farewell to Arms.” Six years later the teenage critic had become a counter-intelligence soldier in wartime France and a published author who met Hemingway in his heroic role of war correspondent and returned Parisian. Hemingway was at his affable best after “liberating” the Ritz Hotel.

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Edited, with Four Essays, by Jeffrey Meyers FILM Bogart: A Life in Hollywood Gary Cooper: American Hero Inherited Risk: Errol and Sean Flynn in Hollywood and Vietnam John Huston: Courage and Art OceanofPDF.com FORTY-THREE WAYS OF LOOKING AT HEMINGWAY JEFFREY MEYERS Louisiana State University Press Baton Rouge OceanofPDF.com Published with the assistance of the V. Ray Cardozier Fund Published by Louisiana State University Press lsupress.org Copyright © 2025 by Jeffrey Meyers All rights reserved. Except in the case of brief quotations used in articles or reviews, no part of this publication may be reproduced or transmitted in any format or by any means without written permission of Louisiana State University Press.

Manufactured in the United States of America First printing Designer: Barbara Neely Bourgoyne Typeface: Whitman Printer and binder: Sheridan Books Cover photograph: Hemingway’s author photo from the first edition of For Whom the Bell Tolls, taken by Lloyd Arnold in 1939. Library of Congress Prints and Photographs Division. Earlier versions of these chapters have appeared in American Notes & Queries, Antioch Review, The Article (London), Chronicles, Commonweal, Hemingway Review, London Magazine, Michigan Quarterly Review, New Criterion, Notes on Contemporary Literature, Papers on Language & Literature, Salmagundi, Sewanee Review, Style, Times Literary Supplement, Virginia Quarterly Review and Wall Street Journal.

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Names: Meyers, Jeffrey author Title: Forty-three ways of looking at Hemingway / Jeffrey Meyers. Description: Baton Rouge : Louisiana State University Press, [2025] | Includes bibliographical references and index Identifiers: LCCN 2025018363 (print) | LCCN 2025018364 (ebook) | ISBN 978-0-8071- 8509-4 (cloth) | ISBN 978-0-8071-8568-1 (epub) | ISBN 978-0-8071-8569-8 (pdf) Subjects: LCSH: Hemingway, Ernest, 1899–1961 | Hemingway, Ernest, 1899–1961— Criticism and interpretation | LCGFT: Biographies Classification: LCC PS3515.E37 Z741776 2025 (print) | LCC PS3515.E37 (ebook) LC record available at https://lccn.loc.gov/2025018363 LC ebook record available at https://lccn.loc.gov/2025018364 OceanofPDF.com CONTENTS Preface 1.

Ernest 2. Milan Explosion 3. Gangsters 4. Charles Sweeny 5. Fridtjof Nansen 6. Executing Ministers 7. Brett Ashley 8. Scott Fitzgerald 9. D. H. Lawrence 10. Luis de Góngora 11. Francisco Goya 12. Paul Cézanne 13. Vincent Van Gogh 14. Pablo Picasso 15. Joan Miró 16. Waldo Peirce 17. Henry Strater 18. Alfred Flechtheim 19. Wallace Stevens 20. Isaac Babel 21. André Malraux 22. J. D.

Salinger 23. George Orwell 24. Ted Hughes 25. Marshal Ney 26. Peninsular War 27. Five Wars 28. Men at War 29. Generals 30. Fidel Castro 31. Hollywood 32.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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