A number of reviewers on these pages seem upset because they cannot find one connecting theme that ties these stories and vignettes together. I can only suggest that you develop the habit of reading the entire book, cover to cover. If you did, you'd notice that Hemingway thanks SEVERAL magazines for permission to REPRINT some of the stories. Of course there's no overall theme. He wrote the stories at different times, for different audiences, and gave them the appropriate slant for the periodical he hoped would publish them. This is an anthology of his early works, each of which was meant to stand on its own. Even the Nick Adams stories can be read on a stand alone basis.

Some of the stories do, in fact, reflect his love of outdoor sports such as fishing, camping, hiking, skiing, etc. In these, along with his bull-fighting vignettes, you can certainly see the beginnings of the Hemingway style of terse, to the point writing which accounts for much of his later fame. Reading his A MOVEABLE FEAST, in which he discusses the early years of his career, might further clarify things for you.

Buy a bigger collection of Hemingway stories and save some money.

These short pages contain simply (but less simply than some readers realize) some of the best short stories by an American writer in the entire twentieth century. Hemingway is certainly lauded enough by high-minded literary types, but it would be a mistake to assume that those are the only people that can enjoy him. It is tough to get a handle on what he is doing in this book, particularly because of the interchapers (which are NOT lead-ins to the stories following them, but a separate bit of impressionist writing of their own), but as in all great writing, the point is to make you ask yourself questions, not answer them for you. My personal favorite from this book (and maybe of any book by anybody) is "Soldier's Home" Hemingway's style, which is often criticized for being "too simple", thus ignorant, is to leave the most important details unsaid, letting the reader create most of the image in his or her mind. When in "Soldier's Home" Krebs' mother says "There can be no idle hands in God's Kingdom" Hemingway writes Krebs' reply as simply "I'm not in His kingdom." No description of his voice, no laying of scene, nothing but that pure powerful statement, which would have been ruined by a long dramatic monologue on the horrors of war. If you enter this book with an open mind, Hemingway won't disappoint. And you'll have plenty to argue about with your high-minded literary friends.

[EXCEPT FOR THE FIVE STARS, IGNORE THE REVIEW AFTER THIS ONE -- THE READER WASN'T PAYING CLOSE ATTENTION!!] (From the Bloomsbury Review, Spring/Summer 1999): Dan Simmons has won critical acclaim and ardent readerships in a wide variety of genres: horror, science fiction, mainstream. He's picked up literary awards with the regularity of a champion outfielder shagging fungoes. Writing wise, there seems to be nothing he can't accomplish. So the publication of "The Crook Factory," an historical, literary thriller, is sure to win Simmons another batch of readers and award nominations. Joe Lucas, an amoral special agent in the FBI, finds himself assigned to a case that seems designed as punishment. FBI Director J. Edgar Hoover has tasked him with keeping tabs on an amateur spy network in Cuba. The network has been coined "The Crook Factory" by it's ringleader - none other than Ernest Hemingway. Completely unaware of Hemingway's stature and celebrity as a writer (he doesn't read "make believe" books), Lucas' perspective and growing awareness of Hemingway is offered through fresh, unspoiled eyes. Upon reaching Cuba, Lucas is thoroughly unprepared for what he finds. In Hemingway, he discovers a braggart who embellishes upon every life story. A writer who, despite an awareness of his own talent, constantly questions his own worth. And after joining up with Hemingway's eight-man spy network, Lucas discovers a spiderweb of machiavlleian schemes involving the intelligence agencies from three different countries that could affect the outcome of World War II. Worse, Lucas learns that Hemingway's "crook factory" has uncovered a vital piece of intelligence which puts all of them in mortal danger, and calls into question the loyalty of operatives in his own agency. Unsure of his own sources (or who might be behind American side of the conspiracy), Lucas partners with Hemingway in a perilous venture to get to the bottom of the mystery. Unlike most of his other novels (most notably, "Song of Kali," "Carrion Comfort," "Phases of Gravity," "The Hollow Man" and any of the books set in his "Hyperion/Endymion" universe), "The Crook Factory" is not filled with the usual subtexts and symbols which make reading Simmons' novels such a rich experience. But that doesn't mean this novel is empty of intellectual sustenance. On the contrary. It's full of musings upon abusive government and bureaucracy. And there are ruminations upon the act of creative writing - passages that do not seem out of place, given that Hemingway is a central figure. Here, the legend coaches Lucas on the fine points of his craft: "You can't just transcribe things from the outside in, that's photography. You have to do it the way Cezanne did, from inside yourself. That's art." The difference between this novel and most of Simmons others can be likened to Graham Greene's "serious" novels ("Brighton Rock," "The Quiet American") and his "entertainments" ("Our Man in Havana," "The Confidential Agent"). The precision of plot and writing is no less facile, with the difference lying only in the depth of the subject matter. And Simmons' attention to detail makes the WWII-era Cuba come alive for the reader. "The Crook Factory" is a remarkable blend of fact and fiction. As Simmons testifies in an afterword, ninety-five percent of the events are true, with cameos by Gary Cooper, Marlene Dietrich, Ian Fleming and a host of others. In the end, what resonates deepest are the characters: Joe Lucas, whose emotional and moral transformation is both subtle and believable; and, most especially, Ernest Hemingway. Capturing an historical persona within the confines of a novel is no easy task. But Simmons does an incredible job. Readers will come away from the tale feeling as if they actually lived alongside the great writer. "The Crook Factory" exemplifies the sort of fiction which Hemingway held in high esteem: writing which is "truer than true." Like a firehouse dog chasing a red truck, "The Crook Factory" moves at a fast clip. Part literary thriller, part homage to Papa, Simmons has written a novel that would make the Hemingway himself smile with pride. (From the Bloomsbury Review, May/June 1999).

(from "The San Antonio Express-News," Feb '99) Writer sui generis Dan Simmons refuses to be pigeon-holed. His first novel ("Song of Kali," a psychological thriller) garnered a World Fantasy Award. Horror novels like "Carrion Comfort" and "Summer of Night" earned awards and admiration from peers like Stephen King and Dean Koontz. And his critically acclaimed, award winning quartet of SF ("Hyperion, "The Fall of Hyperion," "Endymion" and "The Rise of Endymion") are perennial bestsellers that have cemented his reputation in that genre. Not one to rest on his laurels, Simmons new novel, "The Crook Factory," explores an entirely different genre: literary espionage. Like those before it, this book is filled with crackerjack writing, a page-turning plot, and characters which will haunt the reader long after the book is finished. Joe Lucas, an amoral special agent in the FBI, finds himself assigned to a case that seems designed as punishment. FBI Director J. Edgar Hoover has tasked him with keeping tabs on an amateur spy network in Cuba. The network has been coined "The Crook Factory" by it's ringleader - none other than Ernest Hemingway. Completely unaware of Hemingway's stature and celebrity as a writer (he doesn't read "make believe" books), Lucas' perspective and growing awareness of Hemingway is offered through fresh, unspoiled eyes. Upon reaching Cuba, Lucas is thoroughly unprepared for what he finds. In Hemingway, he discovers a braggart who embellishes upon every life story, and a writer who, despite an awareness of his own talent, constantly questions his own worth. And after joining up with Hemingway's eight-man spy network, Lucas discovers a spiderweb of machiavlleian schemes involving the intelligence agencies from three different countries that could affect the outcome of World War II. Worse, Lucas learns that Hemingway's "crook factory" has uncovered a vital piece of intelligence which puts all of them in mortal danger, and calls into question the loyalty of operatives in his own agency. Unsure of his sources (or who might be behind the American side of the conspiracy), Lucas partners with Hemingway in a perilous venture to get to the bottom of the mystery. Gary Cooper, Marlene Dietrich, and a host of others make appearances in this story. What's more, as Simmons testifies in an afterword, ninety-five percent of the events are true. But in the end, what resonates deepest are the characters: Joe Lucas, who goes through a moral and emotional transformation; and, most especially, Ernest Hemingway. Capturing an historical persona within in the confines of a novel is no easy task. But Simmons does an incredible job. Readers will come away from this book feeling as if they actually lived alongside the great writer. Part spy novel, part history lesson, and part thriller, "The Crook Factory" is ample proof that the talents of Dan Simmons can't be constrained by any genre. (from "The San Antonio Express-News," Feb. 1999)

(from "The Denver Post") Local author and literary chameleon Dan Simmons has won critical acclaim and ardent readership in a wide variety of genres: horror, science fiction, mainstream. And he's picked up literary awards with the regularity of a champion outfielder shagging fungoes. There seems to be nothing he can't accomplish. So the publication of "The Crook Factory,'' a literary thriller, is sure to win Simmons another batch of readers and place him on the short list for more awards. Joe Lucas, an amoral special agent in the FBI, finds himself assigned to a case that seems designed as punishment. FBI Director J. Edgar Hoover has given him the task of keeping tabs on an amateur spy network in Cuba. The network has been named "The Crook Factory'' by its ringleader, none other than Ernest Hemingway. Completely unaware of Hemingway's stature and celebrity as a writer (he doesn't read "make believe'' books), Lucas' perspective and growing awareness of Hemingway is offered through fresh, unspoiled eyes. On reaching Cuba, Lucas is thoroughly unprepared for what he finds. In Hemingway, he discovers a braggart who embellishes every life story - a writer who, despite an awareness of his own talent, constantly questions his own worth. After joining Hemingway's eight-man spy network, Lucas discovers a spiderweb of Machiavellian schemes involving the intelligence agencies from three different countries that could affect the outcome of World War II. Worse, Lucas learns that Hemingway's "crook factory'' has uncovered a vital piece of intelligence that puts all of them in mortal danger and calls into question the loyalty of operatives in his own agency. Unsure of his own sources (or who might be behind the American side of the conspiracy), Lucas partners with Hemingway in a perilous venture to get to the bottom of the mystery. Unlike most of his other novels, "The Crook Factory'' is not filled with the usual subtexts and symbols that make reading Simmons' novels such a rich experience, which isn't to say that this book is empty of intellectual sustenance. On the contrary, it is full of musings on abusive government and bureaucracy, and there are ruminations on the act of creative writing - passages that do not seem out of place, given that Hemingway is a central figure. Here, the writing legend coaches Lucas on the fine points of his craft: "You can't just transcribe things from the outside in; that's photography. You have to do it the way Cezanne did, from inside yourself. That's art.'' The difference between this novel and most of Simmons' others can be likened to Graham Greene's "serious'' novels like "Brighton Rock'' and "The Quiet American,'' and his "entertainments - "Our Man in Havana,'' "The Confidential Agent.'' The precision of plot and writing is no less facile, with the difference lying only in the depth of the subject matter. "The Crook Factory'' is a remarkable blend of fact and fiction. As Simmons testifies in an afterword, 95 percent of the events are true. What's more, Gary Cooper, Marlene Dietrich, Ian Fleming and many other notables make appearances in this lively story. In the end, what resonates deepest are the characters: Joe Lucas, who goes through a moral and emotional transformation; and, most especially, Hemingway. Capturing a historical persona within the confines of a novel is no easy task, but Simmons does an incredible job. Readers will come away from the tale feeling as if they actually lived alongside the great writer. "The Crook Factory'' exemplifies the sort of fiction that Hemingway held in high esteem, writing that is "truer than true.'' Propelled by a downhill pace that rarely lets up, "The Crook Factory'' is filled with just the right amount of action, humor, suspense and compassion, producing a tale that will echo in the mind long after the last page has been turned. (from The Denver Post, Feb. 1999).

TO HAVE AND HAVE NOT was written during the Great Depression when there was also much revolutionary activity in Cuba.

The book is not very similar to the Bogart movie with the same title. The protagonist, however, is named Harry Morgan and as in the film Harry is a fishing boat captain. His wife is named Marie which is the same name as that of the Lauren Bacall character in the movie. The plot of the book is very different and the mood throughout is dark and sombre - except for a few humorous interludes while Harry is drinking in a bar with wealthy tourists.

Hemingway begins the story using the first person before switching to the third person after five chapters. The effect of this technique causes some confusion but it does add an extra dimension to both Harry and the plot.

As a protagonist Harry is courageous but not very likeable. He at times appears to be just a desparate man who does not mind killing in order to make a decent living for his family.

TO HAVE AND HAVE NOT never rises to the level of Hemingway's more successful novels but it is still worth reading as an example of the author's writing during his early years in Cuba.

What a sad story. I enjoyed the book very much but felt so horribly for the main character Harry Morgan. In Harry Morgan we have a seemingly noble man. Who starts the book as a hard working Fishing Charter Captain. Through a series of unfortunate events Harry loses his work as a fishing boat captain. And goes headlong into the life of a smuggler.
Harry seemingly detests this life in the beginning of the narrative, but is somewhat forced into doing it.
It is amazing to see Harry, a man bound by duty to a life he doesn't want to lead, go down the dark dark path of destruction. The most amazing factor is how Harry appears to lose all his sense of ethics in a heartbeat.
Hemingway discusses one of his favorite themes, duty of man. Harry has the duty of providing for his wife and daughters and will do whatever it takes to provide for them.
Hemingways narrative reads like a series of flashbacks. Each time we see Harry he is in a new place in his decent to the abyss. He gets lower and lower each time. It all reads with a strong sense of predestination. It almost seems Harry is destined to walk this path... even though he wouldn't have chosen it initially. He didn't want to go in this direction. But he finds himself there and will do what he needs to do.
Harry seems so full of integrity at the beginning then begins to do all he can to make this lifestyle work no matter the end result. He seems driven to provide no matter what he has to do. It is almost a Machiavellian story. You have to feel for Harry and his wife. But Harry makes his choices and lives with them.
Read this book. It seems to be one of the darker Hemingway novels but it deifinitely satisfies! A great stroy and a sad story.

This short novel was written when Hemingway was living in Key West and paying regular visits to Cuba, before moving, lock, stock, and barrel, to Havana in 1939. The author was a keen deep-sea fisherman himself, who craved a laid-back tropical lifestyle between bouts of high adventure. To Have And Have Not draws heavily on his intimate knowledge of early nineteen-thirties life in the Florida Keys, the north coast of Cuba, the Gulf Stream in between, the fishing boats that worked those waters, and the men who owned and manned them.

This was the time of the Great Depression. Harry Morgan has been bilked of his dues for a fishing charter out of Havana. Broke, he turns to smuggling - with its inevitable risks - in order to support his family while the author treats the reader to a simply told, suspenseful, and sometimes poignant morality tale. A tale with a rich share of characters ranging from down-and-out "rummies", Cuban revolutionaries, bar-owners, customs men, and an inevitably crooked lawyer, to the wealthy owners of luxury steam-yachts.

Interestingly if a little quirkily structured, the book is divided into three parts. The first is told in the first person, most of the remainder in the third. To Have And Have Not should be viewed as a product - as well as a story - of its time, particulary in respect of terminology that would be seen today as highly racist and derogatory. Not "Papa's" best work, but most assuredly a yarn that held this reader's attention throughout.

Hemingway loved bullfighting. And Spain. His affection for these comes across in this book. Death in the Afternoon is also infused with Hemingway's personality, which has been called his greatest artistic creation, and that makes this book especially personal and interesting.
This is a great book to read on a flight to Spain, particularly if you plan to see a bullfight. With your newly-minted expertise in bullfighting, you'll apreciate the pageant much more.
But Death in the afternoon is not just about bullfighting. Hemingway discusses such topics as death, often death, war, writing, art (a comparison of the painters Goya, Velasquez and El Greco), love and Faulkner. This book is more than a guide to bullfighting -- it is good literature.

This book is for those who love bullfighting, those who loathe bullfighting and those who would like a few writing tips from a master.

I read this book while I was in Spain, but I did not see a fight until I had finished. Going to a bullfight without knowledge or someone to guide me would have been overwhelming. But seeing the details Hemingway descibes come to life made it that much more exciting.

For those who object to bullfighting you have that right. But don't object without knowing the how's or why's of what goes on. The most eye-opening thing you will see at a fight is the crowd getting upset at a fighter who takes liberties with a bull. Hemingway descibes in detail the purpose for every action taken in the ring, which gives clearity to what looks like cruelty.

And finally, Hemingway gives advice on writing no writer should ignore. "When you write, don't write characters...write people." If you are a writer, whether interested in bullfighting or not, you should read this book for the invaluable advice of a master.

I can hardly think of a better way to spend an afternoon than hanging out with Papa Hemingway.

I don't approve of killing animals for entertainment, and this book did not change that disapproval. I endorse this book because of its qualities as a model for introducing a subject to a new learner, rather than for its subject matter.

If you like bullfights, you will like this book because Death in the Afternoon will expand your understanding of what you see. If you want to go to bullfights, this is a good book also because it will tell you how to do so in the most enjoyable way for you.

Most people will never attend a bullfight, because of ethical concerns, some personal dismay about their potential reaction to the violence and horror of the event, or due to lack of opportunity (bullfighting is mainly done in Spain and Mexico). Many of these people will have some interest in understanding more about bullfighting or the appeal and spectacle of the event. Death in the Afternoon provides you with a thoughtful way to satisfy any curiosity you may have.

Hemingway set out to write "an introduction to the modern Spanish bullfight and attempt[ed] to explain that spectacle both emotionally and practically." I think he more than succeeded.

As a child, my parents sometimes took me to Tiajuana in Baja California where bullfights were regularly held on the weekends. We all agreed that we did not approve of killing bulls for sport, and never attended one. But my curiosity was aroused by the sight of the enormous crowds that regularly attended. Until reading this book, I could not understand the appeal. Now I do. I know that bullfights are not for me, but I now know why some like them very much.

Hemingway leads you gently into the subject as though you were chatting while seated at a comfortable table in an outdoor cafe on a pleasant afternoon sipping your favorite beverages. In fact, for part of the book, he invents an "old lady" whom he converses with for comic effect.

He tells you about his own experiences throughout beginning with, "At the first bullfight I ever went to I expected to be horrified and perhaps sickened by what I had been led to believe would happen to the horses." It turned out that this was not his reaction at all. He liked the bullfight, and saw 1,500 bulls killed before writing this book. He also reports that many people he took to fights often experienced different emotions than they expected. Women who disliked violence did not automatically dislike bullfights, and macho men did not necessarily like them.

The central emotion that "good" bullfights create is of grace in the face of death which is inspired by "the closeness with which the matador brings the bull past his body and the slowness with which he can execute the pass."

In the period about which he writes, the 1920s into 1931, bullfighting was in a "decadent" age brought about by a fascination with coming ever closer to the bull's horn and doing more and more elaborate cape work. In addition to the death of many bulls, this also brought about horrible injuries and death for virtually every bullfighter mentioned. That brings special meaning to Hemingway's assertion that bullfighting "is not a sport in the Anglo-Saxon sense . . . ." "Rather it is a tragedy, the death of the bull . . . ." But you will also come to know the tragedy of Joselito, Manuel Granero, and Maera.

Despite my objections to bullfighting, I was tremendously impressed by Hemingway's powers of observation. You will learn about so many miniscule aspects and details of bullfighting, that it will leave your head spinning. For example, a bull that erratically charges to one side or another has to be handled much differently in each pass than one who is like a mechanical bull and is very predictable. Bullfighters prefer the latter, but some of the best work is with the former if the bull is malleable. Does the bullfighter try to teach the bull, or simply survive the experience? The reaction of the bullfighter tells much about his character. The reaction of the fans tells much about their knowledge and character. You feel like you are looking at the world through many revolving kaleidescopes as images are considered in the context of other images, like an unending house of mirrors.

The book says a lot about character -- the character of those involved in bullfighting and the fans. Although Hemingway admires the "honor" of those who face death bravely and act properly in the bull ring, he also points out that too much "honor" is dangerous. In essence, he makes an argument against the values of bullfighting even though he is an aficionado.

He is honest with us, by also sharing his own failed experiences with trying to learn to fight the bulls.

The book is greatly aided by many detailed and impressive photographs that illustrate the points in the book that would otherwise be lost on the reader who has not attended a bullfight. There is also a 61 page glossary of terms to help you handle all of the new concepts he throws at you.

There are some incidental benefits for those who decide not to attend bullfights. Hemingway provides many detailed descriptions of the geography, weather, and characteristics of the people in different parts of Spain. I got several ideas for places I would like to visit on future trips as a result. At the end, he laments that he could not work in the rest of Spain into the book beginning with the Prado. I shared that lament, because a similar book on Spain by Hemingway would have been even more interesting and valuable to me. I can only imagine what his other wonderful descriptions would have been like.

I suggest you take this book and outline it to see the process by which Hemingway takes you from being a neophyte to a quite well-grounded person about bullfighting. How could you do the same for a subject that you need to introduce many people to? If you learn from his story-telling skills, you will be well-rewarded for your experience.

This is first of Hemingway's most famous novels (i.e. A Farewell to Arms, For Whom the Bell Tolls, The Old Man and the Sea), published when he was twenty-seven years old and marked by his plain, direct diction and an overshadowing cynicism.

At the simplest level, this is a story of twenty- and thirty-something Brits and Americans existing in post-WWI Europe; it's told through the eyes of Jake Barnes, a newspaperman left impotent by a war wound. Barnes and his comrades, including the "damned good looking" Lady Brett Ashley, make their way from Paris to Pamplona and partake of the week-long bullfighting fiesta. Hemingway reveals his own passion for bullfighting in his smooth description of the matadors' artistry and in the distinguishing of those whose work is mere illusion from those who work with true grace and courage.

Throughout the story, moments of violence burst through the affected nonchalance of Jake's circle. Emotions run high as the men strive for Brett's affections, win them . . . lose them just as quickly. One of the most enticing anti-heroines in literature, Brett is an alcoholic and (possible) nymphomaniac, as much at the mercy of her whims as those around her. She is described as "Circe" because she turns the men around her to pigs; a group of Spanish dancers form a circle around her but prevent her from dancing--she must be still, worshipped as an idol. She is a remarkable character, adored and yet worthy of our pity: only an impotent man is safe with her; only a healthy man can satisfy her cravings.

A fascinating achievement in twentieth century writing, TSAR has aged in places, where much of the characters' slang is unfamiliar. Nonetheless, it reads quickly and often easily, providing a good introduction to Hemingway's work and a disturbingly vivid picture of the lost generation.

Ernest, Ernest, what the heck were you thinking when you wrote this existential treatise to the Lost Penis? Lost Generation, hell, I think Mr. Hemingway was concerned with a completely different loss, that portion of the male anatomy that seems to, ahem, stick in everyone's brain when they read this gloriously minimalist book. One of the few things I got out of college English and/or Lit classes was the observation by an otherwise pompous associate professor that Hemingway (more likely his editor) pared his prose to the point that every word was perfect and necessary, and that these words comprised equally perfect sentences and paragraphs and chapters ad nauseum. But he had a point. The only two things wrong with this book have to do with Mr. Barnes, ahem, short-coming, which seemed contrived to me, and the not so subtle racism. But the latter point is like complaining about Huckleberry Finn, The Sun Also Rises is a product of its time, like Finn was a product of Twain's, and if you don't apply today's standards and are capable of holding your unease, you'll find here some of the most elegant writing in the English language.

The Sun Also Rises is one of the few works of literature that shook me to the core, along with Remarque's Three Comrades, Gorky's autobiography, and Chekhov's The Lady With The Dog. I read a page and I was hooked. Bam, just like that. I read the thing in a day. In several hours, actually. And then I went and devoured the rest of the man's literary oeuvre. It's just that great. All the greater because when you really look at it, there's no dramatic action going on here - just some people talking, then going to Spain to see the bullfights. But don't let that fool you - boring this book ain't.

Jake Barnes, like most of the characters, is a veteran of World War I. A very unfortunate wound left physical love a complete impossibility for him, and thus he is left gnashing his teeth watching the woman he loves run around with all sorts of men. The Jewish Robert Cohn, who learned boxing in college in order to conquer his feelings of inferiority, happens to become smitten with her as well. Somehow, they and some of their friends and acquaintances end up going to Spain to experience the Fiesta, and while their experience starts the same giddy, frenzied, hedonistic way as for most people, it ends quite differently, when the book's darker undercurrents come to light. Insert scenes of cafe life, fishing, reminiscences, conversations with friends, watching the bullfights, some absolutely brutal humor, and lots and lots of liquor, and you've got yourself Hemingway's first masterpiece. Every element of every great Hemingway book can be seen here - plenty of vivid descriptions; moments of strange, elegiac melancholy; the human spirit fighting against the world; loneliness, isolation, and endurance. They're all here.

For some reason, this book seems to draw accusations of anti-Semitism. And all I've to say on that topic is: What? Anti-Semitism? Here? Please, what is this you speak of? Sure, Cohn's a Jew. And sure, the characters aren't too fond of him. And yet, Hemingway presents him in a very, very sympathetic light. Sure, we're rooting for Jake Barnes because he's smarmy and witty and cool, but when we see Cohn break down in tears in his hotel room because ..., he was naive enough to _believe_ Brett loved him, how can you possibly say Hemingway had any anti-Semitic sentiments on his mind? No, no, no, and a thousand times no. This is not a book about Jews, or Americans, or Britishers. This is a book about _people_, about young people searching for substance in a world that has none, trying to build up some sort of semblance of a normal life after having been through war. This is a book about people who feel life has passed them all by, and who have nothing to really look forward to. This book is filled with the genuine bitter loneliness of people who see nothing ahead of them. The sense of hopeless longing for something better permeates every page.

The Sun Also Rises is the sound of people trying to find a purpose for themselves in an increasingly shallow world. And lest that not convince you to read it, it happens to rock .... Rarely have I read more bitingly acerbic insults and comebacks, wry and cynical remarks, and deadly accurate observations. Actually, rarely have I ever felt so drawn in to the world of a book as much as here. I identified with Jake Barnes and Bill Gorton and that Englishman they met while fishing and with the boozing Mike and with Cohn. I understood their copious drinking and verbal barb-flinging because I was struck by the moments of absolutely believable fragile vulnerability that lay underneath the surface. The subtle gestures, the shifts in tone, the tough, terse prose all added to the various effects when necessary. When I was done, the book left an indelible stamp on my mind. And what higher recommendation could anyone possibly give a book than that?

A FAREWELL TO ARMS is one of Hemingway's earliest novels. With much of the material loosely based on his own personal experiences as an ambulance driver during World War I, the story captures in great detail the conflict in all of its horror and barbarism.

The book invites us to imagine all of the brave soldiers who went into the war in search of glory. What they found instead was the endless stalemate and hideous prospect of trench warfare. Perhaps more than any other war in the history of warfare, the first World War changed the traditional paradigms of how wars were fought and what the objectives of engagements were. Hemingway, who was there himself, serves as a perfect instrument to portray what it was really like.

The plot centers around Frederick Henry, an American ambulance driver for the Italian army (a job Hemingway performed himself). Henry is a typical masculine Hemingway male persona who falls in love with a beautiful, long-haired & impetuous British nurse named Catherine Barkley. Henry is an exemplar of the WWI soldier who gets more than he bargains for in the war; betrayal and ignominious soldiering of the Italians in the wake of defeat.

The tragic irony of this novel is what makes it so memorable. Henry, as a wounded man who withdraws from the battle, as well as the whims of the Italian Army. However, he does so only to find that life is full of tragedy whether you're in a war or not.

I would highly recommend this novel to all fans of Hemingway, American literature and World War I period historical and literary works. It is with the subtle prose of Heminway that we can be effectively transported back to that epoch of our world history.

In Ernest Hemingway's "A Farewell to Arms", World War I is used as a backdrop to the tumultuous love affair between an American born, Italian ambulance driver and an English nurse. The affair between Henry or "Tenente" as his friends call him on the war front and Catherine, is vividly depicted through many events. Through the use of vivid description and a first person narrative, Hemingway is able to show the reader how a person can lose their self identity and take on the identity of someone they love. This novel could not have taken place at a different time, without having the same effect that it did. If it had not been for the war, Henry and Catherine never would have found each other. It is ironic that amid the trenches of war, two lonely people fell in love. Amongst the chaos, Henry and Catherine's lives are changed forever One may notice Hemingway's style of writing begins with an immense amount of description and then opens up into riveting narration. His unique and renowned style of writing provides the reader with essential facts for understanding the novel, while allowing some room for the reader's imagination.

Earnest Hemingway's, A Farewell to Arms, is a masterful novel based on war and love. The book was very well written as well as easy to read. The book is about an American ambulance driver who is battling in war and at the same time finds the love of his life. A Farewell to Arms presents realistic characters, problems, and practical motivations that one can easily relate to.
To summarize the book without revealing too much about the stupendous novel, is that it is about Henry, the American ambulance driver, who finds himself in true love with a nurse, Catherine. As their love grows for one another the passion to leave the war and pursue this love also grows. The two love birds battle against injury, the enemy of war, and the tough times war presents. Their love becomes so great they decide to illegally escape the war to Switzerland where they can pursue their love for one another. The book does an excellent job presenting situations and ideas the reader can truly understand and relate to.
This book is one that once you begin to read it; you refuse to put it down. I really liked and enjoyed the book because the author writes descriptive scenes of the gruesome war. He demonstrates the emotions of Henry and Catherine so well I actually felt like I was in the story. Hemingway does an excellent job in writing this novel, he shows how true love can fight and survive war, tough times, and even disease & injury. This novel is one I wasn't able to put down after I began to read it. I highly recommend this to anyone who enjoys a story of love, war, and devotion. The book shows and demonstrates how love can surpass all and survive even the harshest of times. The novel is definitely two thumbs up and one you should read.

I was hesitant when I first picked up this book - although I'm a fan of Palin's Ptyhon work, I wasn't sure that I was ready to read that vein of comedy in a novel. However, I needn't have worried - Palin's writing is engaging, and with "Hemingway's Chair" he has created a cast of characters that *breathe*.

I fell into this book from the start, and the imagery that Palin brings forth is fresh; the plot one that I found hard to resist, despite it being partly centred around a writer I have no interest in, or knowledge of. However, Palin's characters carry the story along honestly, and interact with each other believably.

If you enjoy witty, enjoyable fiction, especially that which carries an strong English feel to it, then you cannot and MUST not pass up this book.

A delightful, light-hearted tale of a rather unusual Post Office Counters, Ltd., employee's search for meaning in life. He seeks it in the abandoment of his personality for Papa Hemingway's, to be accomplished by the true-fan's acquisition of any and every artifact which could conceivably be linked to the master. His search is complicated and eventually eased by an American Hemingway scholar who despises rather than admires her subject; he is also intimately bound up with a modern Post Office Manager (what we used to call a Postmaster), and his schemes for personal success, wealth, and influence. Martin, the protagonist, appears to be the most insubstantial character in the book to begin with; he ends up, however, having the greatest impact on life ~ and the lives of others. Palin has created a wonderful story with sympatheitc characters ~ proving that he can write of (almost) normal people in ordinary situations, rather than the utterly abnormal of Python and extraordinary of his travel books, without losing any of his humour.

I think some people who read "Hemingway's Chair" were expecting a lot of silly, outrageous humor like what Michael Palin helped create in Monty Python. But that's not what this novel is, at all. It's much more serious that I expected, but it really is a great book, and the funny stuff is inserted in there with just perfect timing that made me smile for a long time afterward. This is not an action book, either (though some parts are indeed very exciting). The plot is not very complicated, but it really makes you think, and the characters are very human. The very end of the book may not be quite what the rest was, but I think it was pretty much satisfactory. This is a very sweet and well writen novel, and I very much recommend it to anyone interested in a good read.

Ernest Hemmingway's book The Old Man and the Sea has a very good message and can be read by many people of all ages and reading levels. This book is inspirational and uplifting, however it is boring. Although this book is slow and repetitive, the story has an inspiring and uplifting message.
Throughout the book The Old Man and the Sea, there were many parts I liked and some I disliked. A part of the book I disliked was when the sharks came and started eating the marlin Santiago caught. To me this was heartbreaking and somewhat painful to read because I felt bad for Santiago. My favorite part was when Manolin wants to fish and help Santiago, even though his parents don't allow him to. It was neat to see Manolin care for the old man and his fishing as much as he did. The part most inspiring to me was when Manolin believed in Santiago even though he was unlucky. There were many parts of this story that were both uplifting and devastating.
People of all ages would like this book but mainly those who like slow, simple, uneventful books. For example, the word choice Hemmingway uses is quite simple. I like this because it makes the book flow better and doesn't make you think too hard about the words. This is also good because little kids can read and understand what is being said. I would recommend this book because it has more than words but also a good message. The message is uplifting and inspirational with all the struggles Santiago overcomes. I think by having a good message more people will read it and be touched. This book is great for people of all ages and reading levels.
Hemmingway's book was very touching and inspirational to me. It gave me a sense of hope when reading. I am now more secure with what I believe, and I know that anything is possible.

The Old Man and The Sea is a book about Santiago, an old fisherman living in a coastal fishing town. He is a poor man, but with a richness of character that is recognised and admired by his friend, a young boy named Manolin. Manolin has much faith in Santiago, which is mentioned on page 12. "He hasn't much faith." "No." the old man said. "But we have. Haven't we?" "Yes," the boy said. Santiagois down on his luck, he hasn't had a catch in 84 days, and on the 85th day Santiago decides that he will not return home without a catch, to break his losing streak. On the 85th day, alone in the boat, he manages to hook an enormous marlin, the biggest fish he's ever seen in all his life. The fish is larger and stronger than Santiago. Santiago's experienced fishing skills and his will to catch and survive push him to pursue the fish for many days, and many miles out to sea. Santiago loves this fish, he respects it for its beauty, its size, and its power. Pg. 49, "Then he began to pity the great fish he had hooked. He is wonderful and strange and who knows how old he is, he thought." Still Santiago must demonstrate his own power over the fish, for the sake of his pride. After an incredible and exhausting fight, the fish is his. He must now get it back to shore. After killing the fish, he ties the fish to the skiff. The marlin fish he catches is as big as the struggle he has yet to face after his catch. And so his next battle begins. Sharks appear and start to feed on the defenseless carcass of the marin fish. Santiago tries to defend the great fish, he tries to defend its beauty, its dignity, as well as his own triumph over the fish. He tries to defend his prize, his joy, and make it back to shore. Read to find out the conclusion to The Old Man and The Sea.Hemingway's language is simple and profound and he touches us, enabling us to feel Santiago's emotionts, experiences and struggles. His sentences are full of detail but at the same time are very clear. The author delves into the mind of the old man, and we experience the pain and suffering that Santiago endures through trying to catch his fish. There are four reocurring themes that the author presents in The Old Man and The Sea. The first theme that Hemingway presents is the idea that you shouldn't keep wishing you would have this thing or that, do what you can with what you have. " I wish I had a stone for the knife," the old man said after he had checked the lashing on the oar butt. "I should have brought a stone." You should have brought many things, he thought. But you did not bring them, old man. Now is no time to think of what you do not have. Think of what you can do with what there is." The next theme Hemingway presents is the idea that something is too good to be true, or that something is so good that you must be dreaming. Pg 97, "He could see the fish and he had only to look at his hands and feel his back against the stern to know that this had truly happened and was not a dream. At one time when he was feeling so badly toward the end, he had thought perhaps it was a dream." Then he mentions, " Now he knew there was the fish and his hands and back were no dream. Another of Hemingways many themes is the idea that man is not to be defeated. In this story, full awareness of defeat is contrasted with an unwillingness to be destroyed. Pg. 101, " But man is not made for defeat," he said. "A man can be destroyed but not defeated." One of the most important and most reocurring themes in this story is the power struggle between man and nature or what we call man vs. nature. On page 66, the old man is talking about how he will show the fish what man can endure, he says, "Although it is injust, he thought. But I will show him what a man can do and what a man endures." The old man also shows respect for nature,and calls the fish his brother. The old man says, "It is enough to live on the sea and kill our true brothers." I highly recommend this book. It is a sad but extremely beautiful book. I enjoyed reading about Santiago and his struggle with catching the big fish. It reminds me of the struggles we face in our daily life. This book is about the human spirit and the struggles we face in our lives with ourselves and nature.

The Old Man and The Sea is perhaps one of Ernest Hemingway's finest achievements. Here you will find the lean descriptive prose that made him one of the finest writer's of the twentieth century.

It tells the story of a fisherman who is down on his luck, but whose spirit is strong as the tropical winds that have tanned his skin and the sun that has made weak his eyes. He is devoted to the sea and knows all of its wildness and subtle moods. He goes out alone one day without his sidekick boy companion, because the boy's family has forbidden him to help his teacher for he has bad luck.

He hooks a Marlin, a huge mythical Marlin, the kind that fishermen only dream of catching. And the fish drags him out deeper and deeper into the ocean, farther than he's ever traveled. The battle is fierce and his hands are even bloodied as he ties himself to the rope and the fish in a struggle that is somehow symbolic of man's eternal quest to gain control over natural forces.

I would say more, however, Hemingway has done such a fine job that I suggest you read and read this wonderful tale. The ending is of course classic Hemingway. And it was for this book that Hemingway won the Nobel Prize for literature.

The Old Man and the Sea by Ernest Hemingway is a book about an old fisherman named Santiago. Santiago is very poor and does not catch many fish, until one day, when he catches the biggest fish he has ever seen.This book is about the fisherman's battle with the humongous fish and how he manages to catch it all alone. There are many lessons about life during the time he is alone, like to never give up and how having a lot of courage is very important. One thing that Ernest Hemingway mentions quite often is the ols man's pride and how he treats it, which taught me a lesson that many people could use. I liked the book, especially since i learned so much more about life reading it.The one thing that I did not like about The Old Man and the Sea was that it gets a bit boring while Santiago is struggling to catch the fish, but this ends when he goes through many obstacles on the way back home. I would definitely recommend this book to people at almost all ages, but i think that someone reading it is too young they may not understand it, therefore making them not like it as much. Otherwise, I believe that it is a good book and i would definitely read it if I were you.

The Old man and the sea was a decent book. The plot of this story was was about an old man who lived in his shack on the coastline in Cuba. Each day he went out to fish, but recently, he's been in a slump. Now it is the eighty-fifth day that he has not caught a fish. Will his luck change? Find out by reading this book. I gave this book four-stars because it was a good book, but, like all books, it had it's boring moments.

This book was great, although it could have used some cannibalism. It was very well written. I really liked the part were he went fishing. It was funny when he lost the fish. If I were there, I would have laughed at him really hard.

Much credit is given 'Papa' for his writings on Africa. I can only attribute this to the fact that he is a famous author and more people have read his Africa books/two short stories more than any others. Much like Roosevelts game trails this book is a chronicle of Hemingways two month safari. And like Teddys book comes across as just that. After all they only both went on one safari. If you are really interested in reading about African big game hunting there are two books that communicate the vibrancy and feel of hunting dangerous game in Africa better than Hemingway or Roosevelt. Death in the long grass by Peter Hathaway Capstick and Pondoro by John Taylor are my two favorites. Both are men who spent their lives living and hunting in Africa. Capstick as a Proffesional hunter and game warden in the latter half of this century until 1975, and Taylor as an Ivory poacher from the 1920-30's(?) to the late 40's. If you are anti-hunting forget it but if you are in-between and looking for something more on Africa then Please take a look. I am not saying that Hemingway is bad, it's just that in my opinion Taylor and Capstick bring African hunting alive in a way Hemingway can't touch in the best parts of Green Hills. Hemingway may be the master when it comes to other types of literature, but when it comes to describing hunting dangerous game in Africa Taylor and Capstick reign supreme.

"Green Hills of Africa" was Hemingway's first non-fiction book, written after a 1933 trip to Eastern Africa (Kenya, Tanzania). It went a long way in establishing Hemingway's reputation as a hunter and adventurer. Though non-fiction it has the organization of a Hemingway novel and reads much like his other works. His descriptions of the landscape, local people, other hunters, and especially animals, hunting, and killing are superb. Hemingway also shares, mostly as dialogue, his thoughts on life, war, fate, and notably literature and the literary life. His often-quoted idea of all American literature being descended from one book by Mark Twain is presented here, as are his thoughts on how America destroys its writers. Some knowledge of Eastern Africa (such as a basic history, a guidebook, an encyclopedia article) might be useful as Hemingway often does provide much introductory material. With "Green Hills of Africa" Hemingway follows in the footsteps of Theodore Roosevelt's "African Game Trails"; both did much to popularize among Americans the idea of recreational travel in Africa. Hemingway went on to write two fictional stories set in Africa: "The Snows of Kilimanjaro" and "The Short Happy Life of Francis Macomber". A good book, moreso for fans of Papa and those with an interest in Africa.

Hem is hunting both big game and big literature in "Green Hills." On this 1933-34 African safari, his jovial, Socratic drinking pal "Pop" is actually Phillip Percival the famous white hunter who conducted Theodore Roosevelt on his first African safari. As a young man, Hemingway owned a copy of TR's book "African Game Trails," and it is undoubtedly one of the reasons he went on this safari, which was financed to the tune of $25,000 Depression dollars by his wife Pauline's uncle Gus, part owner of Richard Hudnut cosmetics. Further evidence of Hem's fascination with Africa can be seen in the way Jake Barnes teases Robert Cohn in "The Sun Also Rises." In chapter two, Jake says, " Did you ever think about going to British East Africa to shoot?" Cohn's lack of enthusiasm for an immediate trek to Mombassa seals his fate as a jerk. "Green Hills" vindicates Hem's real aficion for hunting--filled with long descriptions of the arduous and sometimes futile tracking of game, not just celebratory "kills." Finally, the best preparation for reading "The Short Happy Life of Francis Macomber" and "The Snows of Kilimanjaro" is to hike and sweat through these 300 pages of African "country." The long, crescent-horned sable which Hem was painstakingly stalking at the end of "Green Hills" never turned up. But instead, the experience of his African safari, was distilled into those two incredible stories--one about a coward who gets a chance to redeem himself and the other about a washed-up writer whose approaching death stimulates him to dream about--and the reader to enjoy--the fiction he never got to actually write. Unless you've got a rich uncle or wife, this is as close as you'll get to an East African safari, and it is very, very fine.