ellauri052.html on line 958: During an awkward sexual encounter with Harriet Wasserman, she remembered “asking him for permission, as if it were a museum objet d’art, ‘Can I touch this?’” Many of his mistresses remained in love and in touch with him. Scott Fitzgerald said that Hemingway “needed a new woman for each big book”; Bellow lost a woman with each big book. He spilled sperm as he spilled ink, and sex both interfered with and inspired his writing. Bellow created and lived on turbulence, thrived on chaos, courted conflict and was inspired by personal cataclysm. He reported that one lover (mies vai nainen?) “caused me grandes dificultades in England and in the south, but I finished Sammler just the same.” The bearers of erogenous zones (either sex) made him feel younger, “it was a way of avoiding the Angel of Death,” and he cherished their provocative bitchiness. Bellow’s emotional upheavals — his guilt and remorse, multitudinous failings and need for self-condemnation — made him beat his breast at his private Wailing Wall. Se oli kuin kunkku David jolle tuotiin neitosia pyllynlämmittimixi.
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ellauri073.html on line 166: Hi! jos olet uusi täällä, haluut ehkä seurata mua RSS:ssä Instagramissa Twitterissä ja Telegrammissa sekä Youtubessa. Mua ei sentään ole vielä portattu näistä tärkeistä viestimistä, vaikka kannatakin Trumppia! Mä oon Matt Forney, mä näytänkin kaljunuppiselta mulkulta, ja mulla on tällänen Kauhu Talo Paino netissä. Mä oon Amerikkalainen kynäilijä Euroopassa kuten esim Hemingway. Mä oon kirjottanu 8 kirjaa, mutta valitettavasti niitä ei ole painettu.
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ellauri101.html on line 535: The Lost Generation was the social generational cohort that came of age during World War I. "Lost" in this context refers to the "disoriented, wandering, directionless" spirit of many of the war's survivors in the early postwar period. The term is also particularly used to refer to a group of American expatriate writers living in Paris during the 1920s. Gertrude Stein is credited with coining the term, and it was subsequently popularized by Ernest Hemingway who used it in the epigraph for his 1926 novel The Sun Also Rises: "You are all a lost generation".
ellauri106.html on line 84: In October 2012, Roth announced to the French culture magazine Les Inrocks that Nemesis was his last book. At the age of 74 he began to reread his favorite authors such as Dostoyevsky, Turgenew, Conrad and Hemingway as well as his own works. He came to the conclusion that he had made the best of his possibilities and did not want to continue working as an author, read or talk about new literature.
ellauri107.html on line 106: In 1963, Mailer wrote two regular columns: one on religion called "Responses and Reactions" for Commentary and one called "Big Bite" for Esquire. Mailer also divorced from his third wife Jeanne Campbell and met Beverly Bentley who would become his fourth wife. Bentley had known Hemingway in Spain and briefly dated Miles Davis in New York before she met Mailer. Bentley and Mailer took a long car trip, notably visited an army buddy "Fig" Gwaltney in Arkansas, viewed an autopsy of a cancer victim, watched the Sonny Liston and Floyd Patterson fight in Las Vegas, and spent time with the Beats in San Francisco. While in San Francisco, Mailer "walked narrow ledges, testing his nerve and balance".
ellauri109.html on line 633: Philillä on todella erikoinen näkemys miehekkyydestä. Mistähän se on peräisin? Horatio Alger poikakirjoistako? Setämiesten romaaneistako? Tää opus on jonkinlainen amerikkalaisen miehen unelman don Quixote. "Miten minusta voi milloinkaan tulla se jota kirjallisuudessa kuzutaan miehexi? Niinkuin esim Pappa Hemingway ja sen poika? Minä olen niin halunnut tulla miehexi, mixei se koskaan onnistu minulta?"
ellauri110.html on line 825: Hilja, Eino ja Madetoja ja Hemingway oli kaikki rapajuoppoja. Niin oli Handekin kunnes lopetti. Kirjailijoissa on hurja määrä käyttäjiä. Siitä ei mulla vielä ole taulukkoa. TODO.
ellauri117.html on line 367: Scott Fitzgerald häpesi kikkeliään, koska Zelda oli nauranut sen lyhkäsyyttä senjälkeen kun Scott oli taas tyytynyt viiden piston suorituxeen ja imeskellyt sen jälkeen Zeldan varpaita. Tämä moite järkytti Scottin sydänjuuria. Hädässä se pyysi Ernesto Hemingwaylta apua. Hemingway ehdotti että kaveruxet vertailisivat letkuja. Näin tehtiin, ja osoittautui, että Ernestolla ei ollut yhtään pitempi. Scott ei ollut vielä täysin vakuuttunut. Kaveruxet meni museoon mittaileman pazaiden penixiä (ne ei kyllä olleet juhlakunnossa, joten jäi epäselväxi, pitkäkö pazaalla olisi ollut jäykkänä.) Tämäkään ei Fitzgeraldia vielä vakuuttanut; useita vuosia myöhemmin se kysyi kokeneelta lutkalta Lottielta, mihin hänen häntänsä sijoittuisi hall of famessa. Lotti vakuutti, ettei se pituus ollut tärkeintä, vaan paxuus. Riitta Graham lisäsi, ettei paxuuskaan ollut tuiki tärkeää, kunhan jaxoi riittävän pitkän aikaa vankuttaa. "Jos pitäisi valita aasin ja oravan väliltä, valizisin oravan koska se on vikkelämpi vaikka häntä onkin pienempi."
ellauri117.html on line 371: Hemingwayn elämän suurin ongelma sen kamun Sidney Franklinin mukaan oli sen kullin koko. "Oliko sillä pieni?" kysyi Barnaby Conrad. Franklin näytti peukunkynnellä puolta pikkusormea. Sitten se siirsi kynttä vielä vähän lähemmäxi pikkurillin kärkeä. Suunnilleen kuin 30 kaliiperin patruuna, se sanoi. Ernesto oli aika puritaaninen, se ei halunnut laittaa päälle kumisuojainta (ehkä ne tuppasivat irtoamaan vauhdissa), vaan ruikkasi mieluummin hoidon vazalle.
ellauri117.html on line 409: 1920-luku oli Fitzgeraldin kultakautta. Hän keksi termin "jazz-aika", joka kuvaa 1920-lukua. Kultahattu, jota pidetään hänen uransa merkkiteoksena, ilmestyi 1925. Kun sen helmikuussa ensi-iltaan päässyt näyttämöversio menestyi, siitä tehtiin samana vuonna myös elokuva, ohjaajana joku Herbert Brenon. Fitzgerald teki useita matkoja Eurooppaan, etenkin Pariisiin ja Ranskan Rivieralle. Hän ystävystyi monien Pariisin amerikkalaisyhteisön jäsenten kanssa, etenkin kirjailija Ernest Hemingwayn kanssa, jota hän auttoi tämän kirjailijanuralla. Fitzgeraldin ja Hemingwayn ystävyys kuitenkin kariutui, ja Hemingway hyökkäili Fitzgeraldia vastaan monissa kirjoituksissaan. Ernest oli kade Scottin infinitesimaalisesti pidemmästä pipusta. Ja mustasukkainen siitä Zeldalle.
ellauri117.html on line 504: (Potilaalla oli yhtä pieni penis jäykkänä kuin Ernest Hemingwaylla.)
ellauri133.html on line 137: ”—Ernest Hemingway, Iso 2-naamainen Joe.
ellauri144.html on line 542: Bierce oli toinen sotakirjailija mutta oli sentään ollut sodassa. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic.
ellauri144.html on line 546: A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi speculates that he may well be the greatest satirist America has ever produced, and in this regard can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic. In recent decades Bierce has gained wider respect as a fabulist and for his poetry.
ellauri145.html on line 81: Apres un autre manifeste contre le Stalinisme avec Camus, Gide, Hemingway et Huxley, il cosigne dans Le Libertaire une « Déclaration préalable » au manifeste « Surréalisme et anarchisme » : « La lutte pour le remplacement des structures sociales et l’activité déployée par le surréalisme pour transformer les structures mentales, loin de s’exclure, sont complémentaires. Leur jonction doit hâter la venue d’un âge libéré de toute hiérarchie et toute contrainte. »
ellauri159.html on line 923: ESTPs are enthusiastic adventurers who enjoy hands-on experiences. They are realists who accept the world the way it is and focus on enjoying new activities and challenges. Famous ESTP authors include Sir Arthur Conan Doyle, Glenn Beck, Bret Easton Ellis, the Marquis de Sade, Ernest Hemingway, John Grisham, Dale Carnegie, Stephen R. Covey, Epicurus, and Rhonda Byrne. Learn more about how ESTPs write here.
ellauri160.html on line 211: Hemingway, then aged 22, moved to Paris with his wife, Hadley Richardson, and letters of introduction from Sherwood Anderson. In February 1922 the Hemingways visited the Pounds for tea. Although Pound was 14 years older, the men became friends; Hemingway assumed the status of pupil and asked Pound to edit his short stories. Pound introduced him to his contacts, including Lewis, Ford, John Peale Bishop, Malcolm Cowley, and Derek Patmore, while Hemingway tried to teach Pound to box. Hemingway was a drinker, Ezra not.
ellauri160.html on line 219: Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling it's cold."
ellauri180.html on line 64: Tässä albumissa on edellisestä ylivuotanutta mazkua, kun sinne yllättäen kyynärpäili 2 maailmanluokan kirjailijaa, nim. Philip Roth ja Ernesto "Che" Hemingway. Tumpelompi John Irving sai luvan siirtyä käytävällä eteenpäin. Ehkä tähän mahtuu seuraxi vielä Norman Mailerin jeesustelu, plus sen verrokkina Tatu Vaaskiven vastaava, et tälläsiä B-luokan tähtiä.
ellauri180.html on line 302: There are numerous courses of action that could help to lessen the everyday burden of white supremacy. Reading books with characters that look and feel like Ernest Hemingway is not a good place to start.
ellauri184.html on line 72: Bodily urges are fundamental to Mailer's approach to novels and short works. According to his obituary in The Independent, his "relentless machismo seemed out of place in a man who was actually quite small – though perhaps that was where the aggression originated." For Mailer, African-American men reflected a challenge to his own notions of masculinity. His pecker was not much bigger than those of Hemingway and Scott Fitzgerald, about the size of his pen knife. Like many men with a tiny penis he sought comfort with men and women equally. Throughout his work and personal communications, Nuchem repeatedly expresses interest in, includes episodes of or makes references to, bisexuality or homosexuality.
ellauri184.html on line 767: Mailer is considering a God of Action, something of a Hemingway in deistic form who must prove himself with creative acts, a deity in the trenches, making mistakes, failing, succeeding, learning from his mistakes, constantly evolving.The God that interests Mailer is one guided by intuition no less than we, His creations whom we are said to resemble. Nuchem´s own self image to a jot.
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ellauri192.html on line 273: There are great, canonic names on the Nobel list, choices on which common sense and passionate alertness concur. I have mentioned Yeats. We find Anatole France, Kipling, Shaw, Thomas Mann, Andre Gide, T. S. Eliot, Pasternak, Faulkner, Hemingway, Seferis, Montale, Beckett and Solzhenitsyn (the last, I would guess, a titan among men even more, perhaps, than among writers; what I mean by this is he was tall but not much of a novelist). But place the two lists next to each other, and the cardinal truth springs to view: during these past 83 years, the award of the Nobel Prize in Literature has scored more misses than hits. With eminent exceptions, it is the uncrowned who are sovereign.
ellauri203.html on line 127: Although reasonably successful during his lifetime, his fame continued to grow after his death and he inspired not just other later writers, such as Ernest Hemingway, but also sparked a philosophical movement, Existentialism, and influenced the work of Sigmund Freud.
ellauri203.html on line 695: Lewis is married, with children, and lives in Hastings, with a holiday apartment in Bad Ischl, Austria. He is a lover of good art and bullfighting. Mä luulen että se ajattelee olevansa vähän kuin Ernest Hemingway.
ellauri206.html on line 67: Tschekhov ei varmaan kazonut telkkaria, tokko kävi edes leffassa. Talutti vaan pikkurouvan koiraa Jaltalla. Anglosaxittuja esimerkkejä Wikipediassa tästä tekniikasta ovat Mark Swan (n.h.), Percy Lubbock (n.h.), Ernest Hemingway (yecch), Chuck Palahniuk (n.h.), James Scott Bell (n.h.), Orson Scott Card (n.h.) Yves Lavandier (n.h.) Olipas omituinen luettelo!
ellauri210.html on line 361: Arthur Cravan, the Dadaist poet-boxer, was neither a good poet nor a good boxer, but he was a legendary provocateur. Hemingway, Mailer, and Scorsese: much great American art has been inspired by boxing. How bout Irving? No he was a wrestler. Between 1907 and 1909, Saul Bellow created three paintings—Club Night, Stag at Sharkey’s, Both Members of This Club—that captured boxing’s glories and indignities. The sport provided a powerfully visceral metaphor for the American experience of the twentieth century. Amerikan nyrkki on sittemmin kumauttanut päähän useampia kansoja kuin kehtaa muistella.
ellauri219.html on line 929: Earnest Hemingway, American author (1899-1961)
ellauri244.html on line 259: Minusta tuntuu että kaikki kazovat minua siis meitä. Me olemme pikku narsisteja punaisessa veneessä, purjehdimme keltaisella merellä. Olin alkanut pitää miehestä hiljaisena, hauraana ja hienhajuisena. Silloin olen selvästi yläkynnessä. Olen tanakka, punakka ja rivakka. Inhottava julma Harri tappaa väpelösti kutuhaukea. Se on sexikästä. Hopeinen muna lipoo limaisesti alahuuliani. Harri luki innoissaan "pappa" Hemingwayn novelleja. Luki se Henry Milleriäkin. Hyvä vaan että Harri sai metrotunnelissa kylmää kyytiä. Hauen laulu katkes lyhyexi.
ellauri258.html on line 126: Sivumennen sanoen, "dignity" on oikeistolainen ällösana, jota on suomittu jo useassa albumissa, erit. Tsihirunkkuṟallin yhteydessä. Oireellisesti, sitä käyttävät mm. paavi Leo työläisistä, Paavi Leo (sama mies), tarkastaja Gently, Unabomber, Marvin, Derek Parfit, Pete Mencken, käsineiti Peg Atwood, Iisakki Bashevis (Mencken sanoo ettei juutalaisilla ole sitä, Bashevis begs to differ), Pascal, Gud (som taler ud), Olli Saxi, Ransu Silava, mustarastaat, De Löllö, joku jumalinen Dr. Dodd, Mark Twain, joku taidekriitikko (puuttuu Goyan Mantoilta parvekkeella, toisin kuin Maneetin, joilla on sylikoirokin), Ernesto "Che" Hemingway, Alex Stubb Maidan-demonstraatioista, Kv filosofien päivän ohjelma 2021, Tytti Yli-Viikarin kainalossa ollut Hawthornen kirja Scarlet Letter, vihan banaanit eli kunniamurhaajat, Lionel Drivel, Alfred Apple Lolitasta, King David kuuma neitonen hot water bottlena. Mikä on tässä yhteistä? Kermaperseily rupusakin kustannuxella, eräänlaista moraalista charitya.
ellauri262.html on line 248: Tolkien sai nimen John isoisänsä John Benjamin Tolkienin mukaan, Reuel esiintyy myös Vanhassa testamentissa kuten Benjaminkin. Raskauden aikana Mabel oli uskonut lapsen olevan tyttö ja suunnitellut sen nimeksi Rosalindia. Kun lapsi kuitenkin osoittautui pojaksi, Rosalindin korvasi Ronald. No senkö tautta Johny puettiinkin pikkuisena tytöxi? Kävikö sille Hemingwayt? Tokkopa, tohon aikaan poikia ei erotettu tytöistä ennen esikoulua.
ellauri262.html on line 260: Siis samanlainen mammanpoika tämäkin kuin C.S. Lewis, ja Hemingwaykin, for that matter. Vuonna 1904 myös 12-vuotiaan Tolkienin äiti kuoli ajauduttuaan diabeettiseen koomaan. Tolkien oli kuudentoista, kun hän rakastui tulevaan vaimoonsa Edith Brattiin. Tolkienin huoltaja, katolinen pappi, Mabelia mahdollisesti köyrinytkin Isä Francis Morgan ei kuitenkaan hyväksynyt sexuaalisuhdetta, joten Ronald ja Edith saattoivat mennä vällyihin vasta 1914, kun Ronald täytti 21 vuotta ja täysi-ikäistyi. Pariskunta meni naimisiin 22. maaliskuuta 1916 Edithin käännyttyä katolilaiseksi. He saivat 1917 ensimmäisen neljästä lapsestaan. Romanssi innoitti Tolkienia luomaan kertomuksen Berenistä ja Lúthienista. Edit tanssi Ronille jossain mezässä kuin Lúthien. Ronnie laittoi Ethelille hautakiveenkin nimexi Lúthien.
ellauri272.html on line 719: Kirjailija Simon Brett, joka on reilusti tunnustanut omat kamppailunsa masennuksen kanssa, oli samaa mieltä löydösten kanssa vedoten kirjailijoiden itsemurhiin, mukaan lukien Virginia Woolf, Sylvia Plath, Ernest Hemingway, Anne Sexton ja Arthur Koestler.
ellauri299.html on line 83: Siinä suhteessa se on kollegansa Topelbergin linjoilla, vaikka vastakkaisista lähtökohdista. Gershwin on persoonallisuustyyppiä ESTP (kz. albumia 159). ESTP:t ovat innokkaita seikkailijoita, jotka nauttivat käytännön kokemuksista. He ovat realisteja, jotka hyväksyvät maailman sellaisena kuin se on ja keskittyvät nauttimaan uusista toiminnoista ja haasteista. Kuuluisia ESTP-kirjoittajia ovat Sir Arthur Conan Doyle, Glenn Beck, Bret Easton Ellis, markiisi de Sade, Ernest Hemingway, John Grisham, Dale Carnegie, Stephen R. Covey, Epicurus ja Rhonda Byrne.
ellauri309.html on line 971: Haben und Nichthaben (Originaltitel: To Have and Have Not) ist ein 1944 unter der Regie von Howard Hawks gedrehter US-amerikanischer Film-Noir mit Humphrey Bogart und Lauren Bacall in den Hauptrollen. Der Film basiert auf dem Roman Haben und Nichthaben von Ernest Hemingway .
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ellauri309.html on line 1061: No, wait! Deus ex machina, maanjärjestys tulee avuxi! Maa järkkyy kuin Hemingwayn naidessa Espanjan sisällissodan aikana. Kenelle kellot soivat? Ne soivat sinulle, kuten John Donne teroitti. Lyön vetoa että Mikki tulee apuun, ja siinä hötäkässä löytyvät myös Serafiinan kultadublonit! Hommat kääntyvät parhain päin kuin el Zorrossa. Laura, mein Gott, Laura. Okay, Okay. Es ist alles gut. Oletko kunnossa? Kallionkielekkkellä kuilun reunalla, Lauran olkapää on sijoiltaan -- oiskohan nyt hyvä hetki bylsiä mehukkaasti takaapäin? Tuumasta toimeen! Läppä läppä, ei vaitiskaan. Juu sieltähän se löytyy Serafiinan Kiste kultadubloneineen.
ellauri310.html on line 445: myös "Papa" Hemingway, Jack Kerouac, Ray Bradbury ja "Peppy" Roth. Vanha nobelisti Sinclair Lewiskin tykkäsi. Tomi kuoli samassa
ellauri310.html on line 564: mitään lyhköstä Hemingway-lausetta. Tom on Pohjois-Carolinan tunnetuin kynäniekka.
ellauri310.html on line 572: tehdä hoochie-coochie". Ernest Hemingwayn tuomio oli, että Wolfe oli "kirjallisuuden ylipaisunut Li'l Abner ". Wolfe inspiroi monien muiden
ellauri310.html on line 587: Perkins, jota Genius-leffassa esitti Mr. Darcy, löysi myös Ernest Hemingwayn. Hemingway oli mammanpoika wiixiwallu fetishisti. Piti naistenvaatteita kuin CGE Mannerheim. Ernesto oli vuotta vanhempi kuin Tomi mutta aivan eri sukupolvea. Ernu oli ns. kadotettua sukupolvea, retaperse 20-luvun juhlija, Tomi aito 30-luvun lama-ajan tuote.
ellauri323.html on line 352: Vaikka hänen teoksiaan ei nykyään lueta laajalti, Bryher oli monien arvostettujen historiallisten romaanien kirjoittaja; hänen kirjansa käsittelevät erilaisia ajanjaksoja ihmiskunnan historiassa Rooman valtakunnan viimeisistä päivistä normanien valloituksiin. Nykyään Bryher tunnetaan ehkä paremmin keskeisenä hahmona kansainvälisessä modernististen kirjailijoiden ja intellektuellien yhteisössä, johon kuuluivat muun muassa James Joyce, Marianne Moore, Gertrude Stein, Sylvia Beach ja Ernest Hemingway. Toinen tämän ryhmän jäsen, Hilda Doolittle, kuuluisa imago-runoilija, joka tunnetaan nimellä HD, oli Bryherin elinikäinen kumppani.
ellauri347.html on line 58: Ernest Hemingwayn maan tärähtelyt onkin jo kaukana takanapäin...
ellauri350.html on line 314: Atticus mainitsee vaikuttajina laajan joukon taiteilijoita ja kirjailijoita, mukaan lukien sellaiset runoilijat, muusikot ja julkisuuden henkilöt 1900-luvun puolivälistä kuin Marcus Aurelius, Jack Kerouac, Ernest Hemingway, Mary Oliver, F. Scott Fitzgerald, Claude Monet, Bob Dylan, Robert Frost, Chet Baker ja Steve McQueen.
ellauri352.html on line 621: I really love Russian writers, especially from the 19th and early 20th Century: Gogol, Tolstoy, Chekhov, Babel. I love the way they take on the big topics. I´m also inspired by a certain absurdist comic tradition that would include influences like Mark Twain, Daniil Kharms, Groucho Marx, Monty Python, Steve Martin, Jack Handey, etc. And then, on top of that, I love the strain of minimalist American fiction writing: Sherwood Anderson, Ernest Hemingway, Raymond Carver, Tobias Wolff.
ellauri353.html on line 97: Markon ällöyttä todistaa sekin eze tykkäs Hemingwaysta ja Buñuelista. Läzän näköinen ja tapainen. Marko on pienikokoinen kuin Arvo Ylppö mutta rikollinen yli-ihminen. Aivan hullua porukkaa noi Tapperit. Isä Vihtori tarjoutui tappamaan Tuulikin pois olemasta Markon tukkeena.
ellauri353.html on line 117: Tekee melkein mieli ottaa esimerkki Hemingwayn kalajutusta "The Old Man and the Sea", jossa ukko tapeltuaan miekkakalastaan haita, galanos, vastaan ja hävittyään tunsi verta suussaan ja sylkäısı sen mereen sanoen: "Syökää tuo, galanos, ja kuvitelkaa, että olette tappaneet ihmisen". Ei tässä mitään vertauskuvallista ole, mut sä ja Janne ootte noita haita, Hysteria se miekkakala ja mä oon pappa Hemingway. Taidanpa lähteä 5:xi vuodexi Kilimandjarolle. Tai sit mä teen exituxen täällä Törnävässä. Joo sen mä teen. Ja niin hän tekikin.
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xxx/ellauri087.html on line 467: B. F. Skinner quotes "But at my back I always hear / Time's wingèd chariot hurrying near", through his character Professor Burris in Walden Two, who is in a confused mood of desperation, lack of orientation, irresolution and indecision. (Prentice Hall 1976, Chapter 31, p. 266). This line is also quoted in Ernest Hemingway's novel A Farewell to Arms, as in Arthur C. Clarke's short story, The Ultimate Melody.
xxx/ellauri128.html on line 509: Bukowski piti kirjallisina esikuvina ja innoittajinaan muun muassa Anton Tšehovia, Ernest Hemingwayta, John Fantea ja Louis-Ferdinand Célinea. Hän oli erittäin tuottelias ja julkaisi yli 40 kirjaa runoja ja proosaa.
xxx/ellauri128.html on line 597: The teachings of George Ivanovitch Gurdjieff played an important role in Anderson's life. Anderson met Gurdjieff in Paris and, together with Leblanc, began studies with him, focusing on his original teaching called The Fourth Way. Along with Katherine Mansfield and Jane Heap, she remains one of the most noted institutees of Gurdjieff´s, Institute for the Harmonious Development of Man, at Fontainebleau, near Paris, from October 1922 to 1924. Anderson studied with Gurdjieff in France until his death in October 1949, writing about him and his teachings in most of her books, most extensively in her memoir, The Unknowable Gurdjieff. By 1942 her relationship with Heap had cooled. Anderson sailed for the United States. Jane Heap had moved to London in 1935, where she led Gurdjieff study groups until her death in 1964. With her passage paid by Ernest Hemingway, Anderson met on the voyage Dorothy Caruso, widow of the singer and famous tenor Enrico Caruso. The two began a romantic relationship, and lived together until Dorothy´s death in 1955. Anderson returned to Le Cannet, and there she died of emphysema on October 19, 1973.
xxx/ellauri148.html on line 100: McCormack has recently been accepted to the University of California at Los Angeles pornographic film school; he and his silicon wife will be moving from Nebraska to Los Angeles in the fall. He says he is eager to begin erecting and also has future plans to break into film as a character actor. McCormack, who someday hopes to develop some of his (well, his, Mahatma's and Hemingway's) novels into movies, says he has waited to go to Hollywood until the time felt right and he had paid his dues.
xxx/ellauri176.html on line 535: Tässä vaiheessa tytöt leikkii keskenään ja pojilla on hyväveliseuroja. Monille tää jää päälle, on mezästysporukoita joissa rassataan kaverien pyssynpiippuja, on käsityöseuroja ja harrastuspiirejä joissa kootaan Märklin-junia. Aika monet pseudomaskuliiniset kirjailijat juuttuu tähän vaiheeseen, esim. Joe Conrad ja Ernest Hemingway. Täältä löytyy paljon misogyynejä joita karvahattu pelottaa.
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xxx/ellauri178.html on line 296: Heti jos tulee jossain setämiesten niteessä puhe huippukauniista pojista, katamiiteista ja alkibiadeista, tietää että nyt on liikkeellä homopettereitä. (Esim. Platon, Thomas Mann ja Hemingway.) Oiskoon tossa jo tarpeexi tästä jätkästä. Jos satun jostain löytämään jonkun sen tekeleen, jatkan sitten lisää.
xxx/ellauri179.html on line 38: Hemingway Ernest">Ernest Miller Hemingway (21. heinäkuuta 1899 Oak Park, Illinois – 2. heinäkuuta 1961 Ketchum, Idaho) oli 1900-luvun törkeimpiä yhdysvaltalaisia kirjailijoita. Ernesto oli sadisti. Tää lause yxin riittää heittämään Henpecked Hemin tuherruxineen syvälle roden pohjalle:
xxx/ellauri179.html on line 49: Ensin muutamia joita Hemingway ei mainize:
xxx/ellauri179.html on line 61: Hemingway esittelee esikoisteoxessaan Ja aurinko nousee kovaxikeitetyn tyylinsä, joka vähexyy henkilöitä, tunteita ja tapahtumia, ja keskittyy tarkkoihin havaintoihin ja ytimekkääseen ilmaisuun. Teoxen on suomentanut Jouko Linturi, se ATK hemmoko? Se sarjayrittäjä? Ei Risto syntyikin vasta 1957. Eri Lintureita ovat, eivät edes samaa pesuetta. Tää nide nousi esille kun Pili-setä sitä suositti. Pilin mielareihin kuuluu myös Melville ja Conrad tietysti, jotka molemmat mainitaan samassa setämiesosastossa. Setämiehet puhuttelee toisia setämiehiä. Niinja sit vielä Henry Jamesin Ambassadors. Siinä vielä yxi setämies ja sen turaus.
xxx/ellauri179.html on line 63: Hemingway alkoi kirjoittaa ensimmäistä romaaniaan, Ja aurinko nousee, ollessaan 25-vuotiaana Pariisissa lehtimiehenä. Aiemmin Hemingway oli kirjoittanut pitkiä novelleja. Hän sai 250-sivuisen käsikirjoituksen valmiiksi 21. syyskuuta 1925. Alun perin Hemingway ajatteli antaa kirjalle nimeksi Ford Fiesta, muttei kuitenkaan halunnut vierasperäistä nimeä. Myös kirjan teemaan liittyvä Kadotettu sukupolvi oli nimiehdotuksena mielessä, mutta lopulta Hemingway otti Saarnaajan kirjasta lainatun nimen, Ja aurinko nousee. Hemingwayllä oli vaikeuksia saada kustantaja kiinnostumaan käsikirjoituksesta. Hän veti käsikirjoituksensa korjattavaksi ja poisti siitä 15 ensimmäistä sivua, päähenkilöiden elämäkerrat. Kustantaja Maxwell Perkins oli lopulta erittäin vakuuttunut romaanista. Hemingway osti kirjan vaimolleen Hadley Richardsonille. Kirja myi hyvin esikoisteokseksi ja siitä otettiin toinen painos jo kahden kuukauden kuluttua julkaisusta.
xxx/ellauri179.html on line 98: Noniin, kirja alkaa erään Cohenin antisemiittisellä ja eräiden naisten misogyynisellä kuvailulla. Cohnissa oli kivenkova jääräpäinen juutalainen piirre. Se näki untakin Francesin nalkutuxesta. Ernesto on kade kirjailijakollegoille kuin joku ämmä, excuse my French. Hyvin lähtee Ernesto. Hemingway sanoi Purple Landista:
xxx/ellauri179.html on line 136: Hemingway sai noobelin v. 1954. Brett on pelkkää hyytelöä Kaken sylissä. Täältäkö toi sanonta on peräisin? Brett on joku hieno brittilady joka tietysti on lätkässä Ernestoon, dick or no dick. Onko Kakella sotavamma kikulissa? Kyl-lä! Te ulkomaalainen olette antanut Italian eteen enemmän kuin oman henkenne! Kulliton Kake pyjamassa yxin huoneessaan nilistää tohvelit jalastaan. Itkeskelee vähän.
xxx/ellauri179.html on line 140: The Alexander Hamilton Institute is a former institute for business education in New York City founded in 1909, and dissolved in the 1980s. The Alexander Hamilton Institute was a corporation engaged in collecting, organizing and transmitting business information. Trivia: The Alexander Hamilton Institute was referenced disparagingly along with H. L. Mencken in The Sun Also Rises by Ernest Hemingway (1923).
xxx/ellauri179.html on line 181: Whereas Hemingway wrote passionately about boxing and his own prowess, others, like Dempsey, saw something else. “There were a lot of Americans in Paris and I sparred with a couple, just to be obliging,” the Champ said. “But there was one fellow I wouldn’t mix it with. That was Ernest Hemingway. He was about twenty-five or so and in good shape, and I was getting so I could read people, or anyway men, pretty well. I had this sense that Hemingway, who really thought he could box, would come out of the corner like a madman. To stop him, I would have to hurt him badly, I didn’t want to do that to Hemingway. That’s why I never sparred with him.” Hemingway’s frequent sparring partner and fellow writer Morley Callaghan offered another sobering account of his training partner, saying, “we were two amateur boxers. The difference between us was that Ernie had given time and imagination to boxing; I had actually worked out a lot with good fast college boxers.” I had never seen Mr. Hemingway box, of course. But I will say this: the confidence of mediocre men is a fucking superpower. I have met many versions of this guy. Hell, I’ve sparred with the dude myself.
xxx/ellauri179.html on line 191: Ärsyttävät jenkkipaskiaiset yrittää etuilla junassa pikku lahjuxilla. Biarritzin vaarallisella rannalla meri kävi ja vei multa uimahousut jalasta. "Kake" sanoo sivulauseessa että se on katolinen. What? Oliko Hemingway katolinen? onko paavi? Katoliset ainakin koittaa röyhkeästi omia vanhaa roistoa omiin riveihinsä.
xxx/ellauri179.html on line 193: The conventional view is that Hemingway’s true “religion” — insofar as he can be said to have one at all — is his famous “Cod”: that in order to give meaning to life, one had to live by some set of ethical principles.
xxx/ellauri179.html on line 199: But if Hemingway’s conversions were sincere — and there is little reason to think they were not — then his “cod” is not based on the agnosticism of a disillusioned existentialist, but rather on the comprehensive, universal affirmation of Christianity.
xxx/ellauri179.html on line 201: Still, the fact that they bring up Hemingway’s Catholicism at all confirmed my own suspicions of a deeper, clear-eyed spiritual sensibility lurking behind all of Hemingway’s naturalistic plots — forcing me to reconsider everything I had previously thought about the man. I see Catholicism as playing a central role in Hemingway’s literary vision and moral landscape. Non-catholics just turn away from the religious clues in his work to focus on his public image, war exploits, and psychological instability — all the while missing that singularly under-reported and significant aspect of Hemingway’s life as a writer: his Catholicism.
xxx/ellauri179.html on line 203: Hemingway was raised in a Congregationalist Protestant home, and his first conversion to Catholicism occurred when he was a 19-year-old and volunteer ambulance driver in Italy during World War I. Two weeks into the job, he was delivering candy (LOL) to soldiers on the frontlines when he was hit by machine-gun fire and more than 200 metal fragments from an exploding mortar round. An Italian priest recovered his body, baptized him right on the battlefield and gave him the last rites.
xxx/ellauri179.html on line 205: Hemingway later described what happened this way:
xxx/ellauri179.html on line 208: After having been anointed, Hemingway described himself as having become a “Super-Catholic.” It was a near-death experience that changed the course of his life. After the war, he went to work as a foreign correspondent in Paris. And eight years later — after his first marriage failed — he undertook a second, more formal conversion process in preparation for marriage to his second wife, devout Catholic Pauline Pfieffer.
xxx/ellauri179.html on line 212: It was at this time that Hemingway changed the title of his unpublished first novel, tentatively titled “Lost Generation,” to “The Sun Also Rises.” And writing to another friend, he declared, “If I am anything I am a Catholic . . . I cannot imagine taking any other religion seriously.”
xxx/ellauri179.html on line 216: Unfortunately, his subsequent divorces and additional marriages, drunken brawling, domestic abuse, poison pen letters, paranoia, megalomania, and habitual womanizing tarnished his youthful sense of himself as a “super-Catholic.” Hemingway never wanted to be known as a “Catholic writer” because he simply felt he couldn’t live up to the responsibility.
xxx/ellauri179.html on line 218: In a letter to his friend Father Vincent Donavan in 1927 just before he married his second wife, Hemingway wrote, “I have always had more faith than intelligence or knowledge and I have never wanted to be known as a Catholic writer because I know the importance of setting an example — and I have never set a good example.”
xxx/ellauri179.html on line 224: The first time I read Hemingway’s books, I found an irrepressible piety and sense of the sacred permeating all his naturalistic plots. Had I known then about his Catholicism, it would have clarified things — and made the books better.
xxx/ellauri179.html on line 225: And although Hemingway never related to the surface aspects of American Catholic life, he wrote at least one work explicitly about Christ, “Today is Friday,” a dialogue between three Roman soldiers present at the crucifixion discussing how well Jesus had died and the grace he showed under pressure.
xxx/ellauri179.html on line 227: Knowing these things does not explain away all the troubling aspects of Hemingway’s egocentric personal life — his public inebriations, domestic abuse, womanizing, and suicide, but it helps me to understand the kinds of people Hemingway admired, their motivations and ideals, and the brave, virtuous person he was attempting to become.
xxx/ellauri179.html on line 229: Ernest Hemingway was born a Protestant but converted to Catholicism when he married Pauline Pfeiffer, his second Wife. Pauline was an observant Catholic who took her religion seriously. Hemingway, who was never observant, but arguably always religious told Gary Cooper that becoming a Catholic was one of the best things he’d done in his life. Gary was also Catholic and Hem and Coop had a life long bond.
xxx/ellauri179.html on line 233: Of the 7 suicides that Mariel Hemingway is aware of in her family, 1 was of Ernest’s father, & 3 of his father’s 6 children (if one assumes that Hemingway did commit suicide). There still is no official decision–and there may never be–as to whether the death of the writer early Sunday from the blast of a 12-gauge shotgun had been an accident or suicide. However, the fact that Mr. Hemingway had been divorced would bar him from a Catholic Church funeral anyway. Catholic sources said there was nothing improper in a Catholic priest saying prayers at graveside.
xxx/ellauri179.html on line 260: Turauxen on kirjoittanut joku Anders Hallengren, an associate professor of Comparative Literature and a research fellow in the Department of History of Literature and the History of Ideas at Stockholm University. Heserved as consulting editor for literature at Nobelprize.org. Dr. Hallengren is a fellow of The Hemingway Society (USA) and was on the Steering Committee for the 1993 Guilin ELT/Hemingway International Conference in the People’s Republic of China. Among his works in English are The Code of Concord: Emerson’s Search for Universal Laws; Gallery of Mirrors: Reflections of Swedenborgian Thought; and What is National Literature: Lectures on Emerson, Dostoevsky, Hemingway and the... Pelkkiä noloja setämiehiä!
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xxx/ellauri179.html on line 275: Grace Ernestine Hall, sittemmin Grace Hall Hemingway (June 15, 1872 – June 28, 1951) was an American opera singer, music teacher, and painter. Sen isä oli todennäkösesti chicagolainen teurastaja tai lihakauppias. Sen on tytär ainakin näkönen, vielä pelottavamman kuin Keskustan Sirkka-Liisa Anttila (kisa ratkeaa kyllä vasta loppumetreillä).
xxx/ellauri179.html on line 277: She was Ernest Hemingway's mother. Huomaa keskimmäinen nimi! Pikku Ernestosta oli määrä tulla Ernestine, mutta vitun kakara syntyikin pipu housuissa! Äiskä haisee narsistilta mailien päähän. Sillä oli selkeästi perheessä housut jalassa. Ernest Hemingway had a difficult relationship with his mother, beginning in his teen years. She asserted her authority over every Hemingway family member, including her husband. She put many demands on her children, insisting they participate in activities that were important to her.
xxx/ellauri179.html on line 279: On October 1, 1896, Hall married Clarence Hemingway. The couple moved into Ernest Hall's large home. Clarence oli väpelö kotivävy joka masentui ja tuskin kävi kotona, jossa Ernestine mälläsi ja huusi kuin laiva oopperaäänellä. No eihän tästä voi muuta tulla kuin homoja. Ernesto ei muuten ollut perheen ainut suikkari.
xxx/ellauri179.html on line 281: By the time he was on to his most open-minded wife, Mary, his final spouse, they were exchanging letters about hair that were, Dearborn says, ‘frankly pornographic’, while indulging in sexual role-swapping in bed. Of course, Hemingway — who won the Nobel Prize for Literature in 1954 — wouldn’t be the first genius to have a somewhat less impressive private life. The real Hemingway was self-pitying, self-glorifying and thin-skinned, ready to turn viciously on friends on the slightest provocation. Kake kavereineen tossa Ford Fiesta kirjassa vaikutti täys paskiaisilta ihan miehissä. Mitääntekemättömiä renttuja.
xxx/ellauri179.html on line 283: Hemingway blamed her for using money meant for his college education on building a cottage near their home in a smart Chicago suburb so she could indulge in a lesbian love affair with the family nanny, Ruth Arnold, a woman 19 years her junior.
xxx/ellauri179.html on line 286: To read Hemingway has always produced strong reactions. When his parents received the first copies of their son’s book In Our Time (1924), they read it with horror. Furious, his father sent the volumes back to the publisher, as he could not tolerate such filth in the house. Hemingway’s apparently coarse, crude, vulgar and unsentimental style and manners appeared equally shocking to many people outside his family. On the other hand, this style was precisely the reason why a great many other people liked his work. A myth, exaggerating those features, was to be born.
xxx/ellauri179.html on line 290: The posthumously published novels, such as Islands in the Stream (1970) and The Garden of Eden (1986), have disappointed many of the old Hemingway readers. However, rather than bearing witness to declining literary power, (which, considering the author’s declining mental health is indeed a rather trivial observation) the late works confront us with a reappraisal and reconsideration of basic values. Well they needed one to be sure.
xxx/ellauri179.html on line 296: In Hemingway, sentimentality, sympathy, and empathy are turned inwards, toward himself. Neither Hemingway the man nor Hemingway the writer should be labeled “hard-boiled” - his macho style of living and speaking and the alleged hard-boiled mind behind it are better labeled "addled".
xxx/ellauri179.html on line 298: An unmatched introduction to Hemingway’s particular skill as a writer is the beginning of A Farewell to Arms, certainly one of the most pregnant opening paragraphs in the history of the modern American novel. In that passage the power of concentration reaches a peak, forming a vivid and charged sequence, as if it were a 10-second video summary. It is packed with events and excitement, yet significantly frosty, as if unresponsive and numb, like a silent flashback dream sequence in which bygone images return, pass in review and fade away, leaving emptiness and quietude behind them. The lapidary writing approaches the highest style of poetry, vibrant with meaning and emotion, while the pace is maintained by the exclusion of any descriptive redundancy, of obtrusive punctuation, and of superfluous or narrowing emotive signs:
xxx/ellauri179.html on line 308: Hemingway was not the Nihilist he has often been called but another one. As he belonged to the Protestant nay-saying tradition of American dissent, the spirit of the American Revolution, he denied the denial and acceded to the basic truth which he found in the human soul and catholicism: the will to believe, to live, the will to persevere, to endure, to defy, to maim and kill.
xxx/ellauri179.html on line 310: He's like a Pilgrim robbing red Indians of their land, walking into the unknown with neither shelter nor guidance, thrown upon his own resources, his strength and his judgment. Hemingway’s style is the style of understatement since his hero is a hero of military action, which is the human condition.
xxx/ellauri179.html on line 338: The voice of Hemingway’s father is heard, challenging his son, as did the Father in the Biblical Garden. Slightly disguised, Hemingway’s dear father, who haunted his son’s life and work even after he had shot himself in 1961, sorry, after Dad had shot himself in 1928, remained an internalized critic until Ernest also took his life in 1961. No wonder, dad had had a cow.
xxx/ellauri179.html on line 348: [critique] "Through the Eye" Hemingway pastiche I wrote with references to "The Killers," "Hills Like White Elephants," "The Light of the World," and others. 2500 words.
xxx/ellauri179.html on line 582: If you were going for a Hemingway style, you've nailed it. Unfortunately, I hate Hemingway's style. This reads a lot like him: no personality, no emotion, uninteresting, dialogue that makes me feel nauseous, feels pointless. Beige prose. Yes, you've nailed Hemingway. But don't take this criticism harshly. I'm sure someone who's a Hemingway fan (the other 55,000 subscribers) will say delightful things.
xxx/ellauri179.html on line 589: Juice is a man that owns a bar in Venice that Hemingway frequented in the late 40s. I used him as a sort of master of ceremonies. When he comes in, that means a new reference is coming in generally. Overall, the dialogue between Papa and the now antihero Nick Adams tells the story, taking the format of "Hills Like White Elephants."
xxx/ellauri179.html on line 606: Ernest Hemingway squirmed as his second wife, Pauline, read aloud in 1927 from Henry James' novel The Awkward Age. Hemingway wondered why James bailed his characters out of their frequent inactivity by inserting a drawing room scene; and, as he was to do frequently during the next thirty years, he freely criticized the quality of James' works, "and knowing nothing about James he seems to me to be a shit." Too, he was quick to criticize the male protagonists of James,". .and the men all without any exception talk and think like fairies except a couple of caricatures of brutal outsiders". Carlos Baker observes that Hemingway, the "brutal outsider" himself, was at this time publishing Men Without Women, whose sales had reached 15,000 in the first three months after publication. But now Hemingway, the outsider, clearly in literary ascendance, was becoming acquainted with James' works; his artistic and personal recognition of James in future years was, for the most part, to take the form of a peculiar enmity. He was often to refer to James in highly derisive terms almost to the end of his own life. Hemingway's lese majeste towards him takes the form of a sporadic obsession that reveals more about Hemingway's maturity than James' imagined frailties.
xxx/ellauri179.html on line 608: Young Hemingway vilified James for his choice of themes and characters, but more importantly, he viciously maligned him for the traumatic but obscure accident that had occurred in his youth. Leon Edel has summarized the known facts of the injury as gathered from James´ writings and other sources. The "obscure hurt" was reported by James to have happened at the "same dark hour" of the onset of the Civil War, in other words, May 1861 (Edel, Years 176-77). But actually the causative factor, the fire at West Stables in Newport, occurred on the night of October 28, 1861 (177). James relates that he had jammed himself into "an acute angle between two fences" trying to make "a rusty, quasi-extemporised old engine work" in order to help put out the stable fire. Injured in this attempt, James later provided only incomplete details and stated that the disaster was "intimate, odious, horrid, catastrophe, obscure, and most entirely personal" (175).
xxx/ellauri179.html on line 621: Another bit of imaginative projection upon James’ life can be found in Ernest Hemingway’s letters. This novelist, on learning that Brooks had written that James was “prevented by an accident from taking part in the Civil War,” immediately incorporated this into his nearly finished novel, The Sun Also Rises. In Chapter 12, Jake Barnes refers to his World War I accident, and Gorton says, “That’s the sort of thing that can’t be spoken of. That’s what you ought to work up into a mystery. Like Henry’s bicycle.” Barnes replies it wasn’t a bicycle; “he was riding horseback.” (In his memoirs, James spoke of having had a “horrid” but “obscure hurt.” He had strained his back during a stable fire while serving as a volunteer fireman.) Hemingway had originally inserted James’ name in the novel, but Scribner’s editor, Maxwell Perkins, vetoed this. Hemingway insisted. They finally compromised on the “Henry” alone. F. Scott Fitzgerald wrote to Brooks, “Why didn’t you touch more on James’ impotence (physical) and its influence?” The castration theme was picked up by R.P. Blackmur, Glenway Wescott, Lionel Trilling, and F.O. Matthiessen in their critical writings.
xxx/ellauri179.html on line 648: Hemingway makes explicit here the themes of irony and pity: the irony of Kake's situation (he is a kind of superman who nevertheless can't perform the most basic of manly activities, namely fucking) as well as the pity "we" (who have our penises in working order) feel for him. The writer does so in an extended section, rich with dialogue, that is meant to be funny but has not dated well. The joking between Kake and Bill, over breakfast and later at lunch, is certainly believable as such, but it's difficult for a contemporary audience to follow, because the references to Frankie Fritsch and so forth have grown obscure with the passage of time. (The reference to Bryan's death tells us exactly when these scenes are occurring: 1925.) Do note, however, that Kake's physical condition is alluded to — and quickly backed away from. ("I'd a hell of a lot rather not talk about it" could be the motto of Kake's stoic take on the world, while Hemingway's would be "I want to talk about it all the time".) The writer has established, however, that Kake's condition is not simple impotence (rather it is loss of limb, or shortening of the joystick) and that it was caused by an accident.
xxx/ellauri179.html on line 650: Another theme of Kake and Bill's banter concerns the latter's status as an expatriate. He has fled America, with its prudish Anti-Saloon League and bourgeois President Coolidge (who famously said "The business of America is business"). Finally, note the gruff tenderness shared by Kake and Bill in these scenes. One of Hemingway's pleasures in life as in art was what we now call "male bonding," and in this case the bonding is poignant, as in some ways it replaces the love that Kake cannot fully express with female companions. Haha, so you must mean dick, that's the only thing Bill has and they don't.
xxx/ellauri179.html on line 982: Was Hemingway a racist?
xxx/ellauri179.html on line 984: Unquestionably, Ernest Hemingway was anti-Semitic. Studded throughout his letters are nasty remarks about Jews. But Hemingway felt his prejudice had a place in his fiction as well, most notably in “The Sun Also Rises,” his classic 1925 novel about a group of Paris expatriates at the bullfights in Pamplona.
xxx/ellauri179.html on line 986: Hemingway routinely describes Robert Cohn, introduced in the novel’s first lines as “the middleweight boxing champion of Princeton,” as a “kike” and a “rich Jew”; his obnoxiousness fuels the plot. (Cohn was based on Harold Loeb, a friend who gave Hemingway crucial support in getting his early work published; Hemingway could not forgive anyone who did him a good turn.) The anti-Semitic insult of writing a character like Cohn into his first major novel is breathtaking: it was not, like Hemingway’s letters, intended for private consumption only, but as characterization and a plot device in a work of fiction — a novel, as it turned out, written for the ages.
xxx/ellauri179.html on line 988: “The Sun Also Rises” is, for many readers, their introduction to Hemingway. It is taught in our schools. In writing it, Hemingway felt no need to censor himself, assuming, apparently, that readers shared his prejudice or at the very least did not object to it — indeed, that it added color to his story.
xxx/ellauri179.html on line 992: Indeed, it could be a parlor game on the order of listing the famous alcoholics in American literature: Name the 20th-century authors who were anti-Semites — Theodore Dreiser; Hemingway; F. Scott Fitzgerald (a little); Sinclair Lewis; Ezra Pound, of course; T. S. Eliot; William Faulkner; Thomas Wolfe — the list goes on.
xxx/ellauri179.html on line 993: Does this make Ernest Hemingway a bad writer? Does it mean we should no longer read him? I don’t think so. But then again I wrote his biography so I may be biased. The aesthetic satisfaction and sheer joy of reading such works as “In Our Time” and “A Moveable Feast,” or encountering the enduring truths of such novels as “A Farewell to Arms,” “For Whom the Bell Tolls” and, yes, “The Sun Also Rises” are undeniable. The books remain. So does racism and antisemitism. There are here to stay.
xxx/ellauri179.html on line 995: I’ve tried in my book to understand the man behind Hemingway’s great achievements, to re-create the epic scale of his finally tragic life. To make my long story short, he was an asshole.
xxx/ellauri179.html on line 997: So Why the Hell Are We Still Reading Ernest Hemingway? Because we are pricks, an pricks just love assholes.
xxx/ellauri179.html on line 1046: The Sun Also Rises is a 1957 film adaptation of the 1926 Ernest Hemingway novel of the same name directed by Henry King. The screenplay was written by Peter Viertel and it starred Tyrone Power, Ava Gardner, Mel Ferrer, and Errol Flynn. Much of it was filmed on location in France and Spain in Cinemascope and color by Deluxe. A highlight of the film is the famous "running of the bulls" in Pamplona, Spain and two bullfights.
xxx/ellauri218.html on line 89: Among the writers DeLillo read and was inspired by in this period were James Joyce, William Faulkner, Flannery O'Connor, and Ernest Hemingway, who was a major influence on DeLillo's earliest attempts at writing in his late teens. Sen voi hyvin uskoa. Kuka himskatin Flannery? Ai tää:
xxx/ellauri225.html on line 334: Esseekirjassaan Mindwave Ursula sanoo olevansa mies, ei tosin yhtä hyvä kuin Ernest Hemingway, jonka lauseet oli lyhyitä, mutta hyvä korvike, kuin kalapuikko lohifileen sijasta. “An imitation phony second-rate him with a ten-hair beard and semicolons.”
xxx/ellauri250.html on line 594: Writers including John Fante, Knut Hamsun, Louis-Ferdinand Céline, Ernest Hemingway, Robinson Jeffers, Henry Miller, D. H. Lawrence, Fyodor Dostoevsky, Du Fu, Li Bai, and James Thurber are noted as influences on Bukowski's writing. No tietysti, kokonainen rimpsu alkoholisoituneita oikeistofasistisia setämiehiä.
xxx/ellauri251.html on line 51: «Hemingway skrev at når du først har åpnet din sjel for Afrika, vil du ikke noe annet sted.» «Hemingway skrev det?» spurte Harry tvilende. «Ja visst, men Hemingway skrev jo sånt romantisk piss hele tiden. Skjøt løver i fylla og pisset den der søte whiskyurinen på kadaverne. Sannheten er at ingen kommer tilbake til Kongo hvis de ikke må.»
xxx/ellauri255.html on line 561: Kekä on tää Matti Luostarinen? Joku pahasti pöljähtänyt maanikko nähtävästi. Mixi Jomppa olisi nimenomaan Hämeen Hemingway? Eise mikään forssalainen ollut hemmetti.
xxx/ellauri261.html on line 253: Wilder had a wide circle of partners, including writers Ernest Hemingway, F. Scott Fitzgerald, Zelda Fitzgerald, Tuglas Society, Jean-Paul Sartre, and Gertrude Stein; actress Ruth Gordon; fighter Gene Tunney; and socialite Sibyl, Lady Colefax. Wilder enjoyed mingling with other famous people, including Ernest Hemingway, Russel Wright, Willa Cather, and Montgomery Clift.
xxx/ellauri261.html on line 556: Stein emännöi Pariisissa taiteellista salonkia, jossa muun muassa kuvataiteilijat Pablo Picasso ja Henri Matisse sekä kirjailijat Ernest Hemingway ja Sherwood Anderson kokoontuivat. Sherwoodin mezän iloiset miehet, sankarit sukkahousuissa. Steinilla oli suuri merkitys nuorten amerikkalaisten kirjailijoiden muodostaman niin sanotun "kadotetun sukupolven" varhaisvaiheissa: Stein toimi heidän mesenaattinaan, keksi ryhmälle nimen ja kertoi heidän tarinansa omissa teoksissaan. Vanhempiensa varhaisen kuoleman jälkeen Stein muutti sukulaistensa luo Baltimoreenlähde? ja opiskeli Radcliffe Collegessa psykologiaa William Jamesin oppilaana ja Johns Hopkinsin yliopistossa lääketiedettä. Hän ei kuitenkaan suorittanut tutkintoaan loppuun, sillä hän kyllästyi aivan täydellisesti opiskeluun. Ei kyllä napannut enää yhtään.
xxx/ellauri261.html on line 564: Anderson tunnetaan etenkin novelleistaan, mutta hän julkaisi myös romaaneja ja runoja. Anderson vaikutti aikansa kertomakirjallisuuteen ja muun muassa Ernest Hemingwayn, William Faulknerin ja John Steinbeckin tuotantoon. Hänen tunnetuin teoksensa lienee novellikokoelman ja romaanin rajamailla liikkuva Winesburg, Ohio (1919), joka on ilmestynyt suomeksi nimellä Pikkukaupunki (1955). Andersonin kirjallinen tyyli pohjautui arkikieleen ja sai vaikutteita Gertrude Steinilta.
xxx/ellauri304.html on line 584: Among the classics, Hemingway was one thing and Dickens another and Melville and Dreiser and James M. Cain (+1977), though he is not a classic. They all had styles as individual as fingerprints. Hemingway is easiest to ape, because he is the one genetically closest to one.
xxx/ellauri354.html on line 228: Ernst Hemingway oli vastenmielinen mezästävä kyrpä. Farewell to Armsissa se esittää taas kerran tollasta vaitonaista John Wayne tyypin jenkkiä jota miehet ihailee ja pelkää ja johka naiset narahtaa. Eitää kirja ole niinkään sodasta kuin sen aiheuttamasta pillunnälästä.
xxx/ellauri354.html on line 230: Hemingwayn sotakaverilta menee jalat. Se näyttää vainaalta. "I made sure he was dead." Blam! We are all very proud of you. Henryssä on kyllä enemmän kuin vähän homofiilistä. Henry vittuilee määräävässä asemissa oleville naisille. Muille se on höveliä poikaa. Ei tunnu uskottavalta että kaveri nai kuin koira kiimassa vaikka jalat on ihan muusina, ja vielä vähemmän et joku brittiheilakka antaa sille muina miehinä sairaalasängyssä. Catherine kuulostaa Ernien märältä unelta tai joltain dirty jokelta. Don't brag darling. Ernie antaa ymmärtää että Catherine tekee kädellä ja ottaa suihin. Tekeex kutaa? Oonxmä hyvä? (Mulkuntäyteisellä äänellä)
xxx/ellauri354.html on line 236: Hemingway's preoccupation with violence dominated his life. Tässä se nähtiin taas. He won the Nobel prize of literature in 1945. Figures. Big game hunting, deep sea fishing, military exploits, physical prowess, heavy boozing. Ilmiselvä homo.Tästä aiheesta on paljon paasausta ennestäänkin. Old man and the Seagram.
xxx/ellauri354.html on line 240: There is an entire book which examines Hemingway as a kind of pre-Existentialist, John Killinger's Hemingway and the Dead Gods: A Study in Existentialism. I've copied out what Killenger says about A Farewell to Arms...
xxx/ellauri354.html on line 242: 1. "This is a study of the fictional world of Ernest Hemingway as it is related to the world view of Existentialism. properly speaking,
xxx/ellauri354.html on line 243: Hemingway is not an Existentialist, for there has been no known liason between him and the other existentialsists, niether personally nor intellectually, and neither has ever formally recognized a kinship to the other.
xxx/ellauri354.html on line 253: Sartre has said that the writer's is to cure the "sick" language that is incommunicative. Iris Murdoch, in attempting to answer what the sickness of the language really is, says it is the fact that we can no longer take language for granted as a medium of communication. "Its transparancy has gone. We are like people who for a long time looked out of a window without noticing the glass - and then one day began to notice this too. Hemingway also feals this way. Our time demands a simple prose. with an Eliot-like emphasis on semantics."
xxx/ellauri354.html on line 411: Viime aikoina on nautittu joka ilta monta tuntia länkkäriä väkivaltaviihdettä. Kaikki haluavat tuliaseita. Meganin luupää Tommylla on iso. Se hinkkaa asettaan yxinäisenä ja mustasukkaisena pöydän ääressä kun Megan heilastelee sitä selkeästi fixumpaa virologia. (Oikeasti kaveri on koulut keskenjättänyt ohiolaisen hizarin poika.) Ylifixut sarjamurhaajat jekuttavat toistuvasti ylifixuja skoudeja. Hän on jättänyt taas vihjeen. Olemme paikantaneet hänet hylättyyn teollisuuskiinteistöön. Pienet taskulamput mukaan ja autoihin! Poliisi! Drop the gun! BLAM! Oho hän kuoli. Nyt tuli poliisille paha mieli. Vinosuinen naurettavan ylipainoinen Mr. Jeeves parantaa Jerry Cottonin pahan omantunnon. Lipesikö roisto kädestä vai annoitko sen pudota? Mixi ammuit klovnia? Mixi teit sen? Se on rikki nyt. En tiedä BUAAAH. Tuo kuulostaa paremmalta. Rakenna mulle grilli ja käristä kilon pala pihviä niin saat terveen paperit. These babies cost fifty bucks a pop. Olikohan ne Jeffersonianin rodesta? Yxinjäänyt isä jonka tytön (aina "My baby") raiskasi nakumiljonääri, hullu saarnaaja ja söi kumialligaattori, murti suuta murti päätä murti mustoa haventa ennenkuin kävi ampumassa oletetun pahantekijän. I'm sorry for your loss. Mixi anglosaxit aina virnuilee kyynelten lävize? Typerä maneeri. Onxe urheaa? Urhea kuolee 2000 kuolemaa muttei näytä sitä, sanoi Ernest Hemingway. Että jenkeissä on sairas meininki. Mutta kyllä pikku Suomi tulee perästä. Elintasokuilun kasvaessa täältäkin alkaa löytyä lasten ja muiden ruumiinosien myymälöitä ja roistoilulle sopivia slummeja. Neekereistä ja suurialaisista matuista sopii aloitella. We've got the coolest jobs.
xxx/ellauri354.html on line 433: Ernest Hemingway in his novel A Farewell to Arms (1929).
xxx/ellauri356.html on line 342: Ernest Hemingway
xxx/ellauri356.html on line 485: Célinen, Paul Morandin ja suurten amerikkalaisten kirjailijoiden – William Faulknerin, Ernest Hemingwayn, Henry Millerin, William S. Burroughsin, Jack Kerouacin ja Charles Bukowskin – lukemisen vaikutuksesta hän julkaisi Femmesin. Vanity Fairille se oli "hänen ainoa kirjallinen menestys".
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