Editing Ernest Hemingway (section)

== Writing style ==
Following the tradition established by [[Mark Twain]], [[Stephen Crane]], [[Theodore Dreiser]], and [[Sinclair Lewis]], Hemingway was a journalist before becoming a novelist.<ref name="Meyers p19ff"/> ''The New York Times'' wrote in 1926 of Hemingway's first novel, "No amount of analysis can convey the quality of ''The Sun Also Rises''. It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame."<ref name="NYT">{{Cite news|title=Marital Tragedy|url=https://archive.nytimes.com/www.nytimes.com/books/99/07/04/specials/hemingway-rises.html|access-date=January 4, 2023|work=[[The New York Times]] |date=October 31, 1926 |archive-url=https://web.archive.org/web/20210126070149/https://archive.nytimes.com/www.nytimes.com/books/99/07/04/specials/hemingway-rises.html |archive-date=January 26, 2021}}</ref> ''The Sun Also Rises'' is written in the spare, tight prose that made Hemingway famous, and, according to James Nagel, "changed the nature of American writing".<ref name="Nagel 1996 87">Nagel (1996), 87</ref>

In 1954, when Hemingway was awarded the Nobel Prize for Literature, it was for "his mastery of the art of narrative, most recently demonstrated in ''The Old Man and the Sea'', and for the influence that he has exerted on contemporary style."<ref>{{cite web |url = http://nobelprize.org/nobel_prizes/literature/laureates/1954/index.html |title = The Nobel Prize in Literature 1954 |publisher = The Nobel Foundation |access-date = March 7, 2010 |archive-date = December 26, 2018 |archive-url = https://web.archive.org/web/20181226101906/https://www.nobelprize.org/prizes/literature/1954/summary/ |url-status = live }}</ref> [[Henry Louis Gates]] believes Hemingway's style was fundamentally shaped "in reaction to [his] experience of world war". After World War&nbsp;I, he and other modernists "lost faith in the central institutions of Western civilization" by reacting against the elaborate style of 19th-century writers and by creating a style "in which meaning is established through dialogue, through action, and silences—a fiction in which nothing crucial—or at least very little—is stated explicitly."<ref name="Putnam" />

Hemingway's fiction often used grammatical and stylistic structures from languages other than English.<ref name="Josephs 1996, 221-235">Josephs (1996), 221–235</ref> Critics Allen Josephs, Mimi Gladstein, and Jeffrey Herlihy-Mera have studied how Spanish influenced Hemingway's prose,<ref name="Ernest Hemingway in Spain: He was a Sort of Joke, in Fact">{{Cite journal | author=Herlihy-Mera, Jeffrey | title=Ernest Hemingway in Spain: He was a sort of Joke, in Fact | journal=The Hemingway Review | volume=31 | year=2012 | pages=84–100 https://www.academia.edu/1258702/Ernest_Hemingway_in_Spain_He_was_a_Sort_of_Joke_in_Fact| doi=10.1353/hem.2012.0004 }}</ref><ref name="Josephs 1996, 221-235"/> which sometimes appears directly in the other language (in italics, as occurs in ''The Old Man and the Sea'') or in English as literal translations. He also often used bilingual puns and crosslingual wordplay as stylistic devices.<ref name="Bilingual Wordplay: Variations on a Theme by Hemingway and Steinbeck">{{Cite journal | author=Gladstein, Mimi | title=Bilingual Wordplay: Variations on a Theme by Hemingway and Steinbeck | journal=The Hemingway Review | volume=26 | year=2006 | pages=81–95 https://muse.jhu.edu/article/205022/summary| doi=10.1353/hem.2006.0047 }}</ref><ref name="Cuba in Hemingway">{{Cite journal | author=Herlihy-Mera, Jeffrey | title=Cuba in Hemingway | journal=The Hemingway Review | volume=36 | year=2017 | issue=2 | pages=8–41 https://www.academia.edu/33255402/Cuba_in_Hemingway | doi=10.1353/hem.2017.0001 }}</ref><ref name="Santiago’s Expatriation from Spain">{{Cite journal | author=Herlihy, Jeffrey | title=Santiago's Expatriation from Spain | journal=The Hemingway Review | volume=28 | year=2009 | pages=25–44 https://www.academia.edu/1548905/Santiagos_Expatriation_from_Spain_and_Cultural_Otherness_in_Hemingways_the_Old_Man_and_the_Sea| doi=10.1353/hem.0.0030 }}</ref>

{{quote box | width = 22em
| quote = If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
| source = —Ernest Hemingway in ''[[Death in the Afternoon]]''<ref>qtd. in Oliver (1999), 322</ref>
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Because he began as a writer of short stories, Baker believes Hemingway learned to "get the most from the least, how to prune language, how to multiply intensities and how to tell nothing but the truth in a way that allowed for telling more than the truth."<ref name="Baker p117">Baker (1972),  117</ref> Hemingway called his style the [[iceberg theory]]: the facts float above water; the supporting structure and symbolism operate out of sight.<ref name="Baker p117" /> The concept of the iceberg theory is sometimes referred to as the "theory of omission". Hemingway believed the writer could describe one thing (such as Nick Adams fishing in "Big Two-Hearted River") though an entirely different thing occurs below the surface (Nick Adams concentrating on fishing to the extent that he does not have to think about anything else).<ref>Oliver (1999), 321–322</ref>

Paul Smith writes that Hemingway's first stories, collected as ''[[In Our Time (short story collection)|In Our Time]]'', showed he was still experimenting with his writing style,<ref>Smith (1996), 45</ref> and when he wrote about Spain or other countries he incorporated foreign words into the text, which sometimes appears directly in the other language, in italics, as occurs in ''[[The Old Man and the Sea]]'', or in English as literal translations.<ref>Gladstein (2006), 82–84</ref> In general, he avoided complicated syntax. About 70 percent of the sentences are [[simple sentence]]s without [[subordinate clause|subordination]]—a simple childlike grammar structure.<ref>Wells (1975), 130–133</ref>

Jackson Benson believes Hemingway used autobiographical details as framing devices about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out with "what if" scenarios: "what if I were wounded in such a way that I could not sleep at night? What if I were wounded and made crazy, what would happen if I were sent back to the front?"<ref>Benson (1989), 351</ref> Writing in "The Art of the Short Story", Hemingway explains: "A few things I have found to be true. If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff that you, not your editors, omit."<ref>Hemingway (1975), 3</ref>

{{quote box | width = 22em
|quote = In the late summer that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the trees.
| source = —Opening passage of ''[[A Farewell to Arms]]'' showing Hemingway's use of the word ''and''<ref>qtd. in Mellow (1992), 379</ref>
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The simplicity of the prose is deceptive. Zoe Trodd believes Hemingway crafted skeletal sentences in response to [[Henry James]]'s observation that World War&nbsp;I had "used up words". Hemingway offers a "multi-focal" photographic reality. His iceberg theory of omission is the foundation on which he builds. The syntax, which lacks [[grammatical conjunction|subordinating conjunctions]], creates static sentences. The photographic "[[Snapshot (photography)|snapshot]]" style creates a [[collage]] of images. Many types of internal punctuation (colons, semicolons, dashes, parentheses) are omitted in favor of short declarative sentences.<ref name="Trodd 2007, 8">Trodd (2007), 8</ref>

The sentences build on each other, as events build to create a sense of the whole. Multiple strands exist in one story; an "embedded text" bridges to a different angle. He also uses other cinematic techniques of "cutting" quickly from one scene to the next; or of "splicing" a scene into another. Intentional omissions allow the reader to fill the gap, as though responding to instructions from the author, and create three-dimensional prose.<ref name="Trodd 2007, 8"/> Conjunctions such as "and" are habitually used in place of commas; a use [[polysyndeton]] that conveys immediacy. Hemingway's polysyndetonic sentence—or in later works his use of subordinate clauses—uses conjunctions to juxtapose startling visions and images. Benson compares them to [[haiku]]s.<ref name="McCormick p49">McCormick, 49</ref><ref>Benson (1989), 309</ref>

Many of Hemingway's followers misinterpreted his style and frowned upon expression of emotion; [[Saul Bellow]] satirized this style as "Do you have emotions? Strangle them."<ref>qtd. in Hoberek (2005), 309</ref> Hemingway's intent was not to eliminate emotion, but to portray it realistically. As he explains in ''Death in the Afternoon'': "In writing for a newspaper you told what happened&nbsp;... but the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or in ten years or, with luck and if you stated it purely enough, always, was beyond me". He tried to achieve conveying emotion with collages of images.<ref>Hemingway, (1932), 11–12</ref> This use of an image as an [[objective correlative]] is characteristic of Ezra Pound, T. S. Eliot, James Joyce, and [[Marcel Proust]].<ref>McCormick, 47</ref> Hemingway's letters refer to Proust's ''[[In Search of Lost Time|Remembrance of Things Past]]'' several times over the years, and indicate he read the book at least twice.<ref name="Burwell p187">Burwell (1996), 187</ref>