[Applause] arrogant racist misogynist narcissist
arrogant racist misogynist narcissist
arrogant racist misogynist narcissist self-absorbed self-centered who is being
self-absorbed self-centered who is being
self-absorbed self-centered who is being described in these deeply unflattering
described in these deeply unflattering
described in these deeply unflattering terms Ernest Hemingway yes Ernest
terms Ernest Hemingway yes Ernest
terms Ernest Hemingway yes Ernest Hemingway the most famous American
Hemingway the most famous American
Hemingway the most famous American writer as an English teacher every year
writer as an English teacher every year
writer as an English teacher every year I think about why do we still teach
I think about why do we still teach
I think about why do we still teach Hemingway I have published three
Hemingway I have published three
Hemingway I have published three scholarly books on Hemingway and I
scholarly books on Hemingway and I
scholarly books on Hemingway and I published most recently three books on
published most recently three books on
published most recently three books on teaching Hemingway on the topics of war
teaching Hemingway on the topics of war
teaching Hemingway on the topics of war modernism and gender and yet every day
modernism and gender and yet every day
modernism and gender and yet every day I’m asked how can you still be teaching
I’m asked how can you still be teaching
I’m asked how can you still be teaching Hemingway who was Hemingway born in 1899
Hemingway who was Hemingway born in 1899
Hemingway who was Hemingway born in 1899 in Oak Park Illinois he was brought up
in Oak Park Illinois he was brought up
in Oak Park Illinois he was brought up in an upper-middle-class family with the
in an upper-middle-class family with the
in an upper-middle-class family with the physician father and an opera singer
physician father and an opera singer
physician father and an opera singer mother he pursued fishing hunting
journalism boxing and football he
journalism boxing and football he enlisted in the Italian ambulance corps
enlisted in the Italian ambulance corps
enlisted in the Italian ambulance corps and in 1918 he was the first American
and in 1918 he was the first American
and in 1918 he was the first American wounded on the Italian front he was
wounded on the Italian front he was
wounded on the Italian front he was twice decorated for valor he wrote about
twice decorated for valor he wrote about
twice decorated for valor he wrote about Paris in Spain in the Sun Also Rises he
Paris in Spain in the Sun Also Rises he
Paris in Spain in the Sun Also Rises he wrote about the great war in a farewell
wrote about the great war in a farewell
wrote about the great war in a farewell tarz he wrote the first english-language
tarz he wrote the first english-language
tarz he wrote the first english-language guidebook to the bullfights in death in
guidebook to the bullfights in death in
guidebook to the bullfights in death in the afternoon he wrote about hunting in
the afternoon he wrote about hunting in
the afternoon he wrote about hunting in green hills of Africa and covered the
green hills of Africa and covered the
green hills of Africa and covered the Spanish Civil War and wrote for Whom the
Spanish Civil War and wrote for Whom the
Spanish Civil War and wrote for Whom the Bell Tolls after buying his boat Pilar
Bell Tolls after buying his boat Pilar
Bell Tolls after buying his boat Pilar he had four World Records in big-game
he had four World Records in big-game
he had four World Records in big-game fishing
fishing
fishing the old man in the sea he was married
the old man in the sea he was married
the old man in the sea he was married four times and had numerous girlfriends
four times and had numerous girlfriends
four times and had numerous girlfriends he covered the d-day invasion the Battle
he covered the d-day invasion the Battle
he covered the d-day invasion the Battle of the Bulge and he died by suicide
of the Bulge and he died by suicide
of the Bulge and he died by suicide after winning the Nobel Prize for
after winning the Nobel Prize for
after winning the Nobel Prize for Literature yet Hemingway comes to us as
Literature yet Hemingway comes to us as
Literature yet Hemingway comes to us as a conflicted figure somebody who
a conflicted figure somebody who
a conflicted figure somebody who performed masculinity at a time when
performed masculinity at a time when
performed masculinity at a time when gender roles were shifting in American
gender roles were shifting in American
gender roles were shifting in American culture and women were taking on a more
culture and women were taking on a more
culture and women were taking on a more dominant role and men felt the need to
dominant role and men felt the need to
dominant role and men felt the need to strengthen their role
strengthen their role
strengthen their role so Hemingway established his reputation
so Hemingway established his reputation
so Hemingway established his reputation in many ways through the manufacturing
in many ways through the manufacturing
in many ways through the manufacturing of different images here we see
of different images here we see
of different images here we see Hemingway as the wounded soldier he had
Hemingway as the wounded soldier he had
Hemingway as the wounded soldier he had 54 pieces of shrapnel in his knee he
54 pieces of shrapnel in his knee he
54 pieces of shrapnel in his knee he looks heroic but he was blown up while
looks heroic but he was blown up while
looks heroic but he was blown up while passing out chocolate and cigarettes
passing out chocolate and cigarettes
passing out chocolate and cigarettes here’s Hemingway on safari in Africa you
here’s Hemingway on safari in Africa you
here’s Hemingway on safari in Africa you can now buy kudu horns like that for $20
can now buy kudu horns like that for $20
can now buy kudu horns like that for $20 on eBay
on eBay
on eBay here’s Hemingway pursuing his passion
here’s Hemingway pursuing his passion
here’s Hemingway pursuing his passion for big-game fishing on the Gulf Stream
for big-game fishing on the Gulf Stream
for big-game fishing on the Gulf Stream the meat from that 486 pound Marlin went
the meat from that 486 pound Marlin went
the meat from that 486 pound Marlin went to waste he passionately pursued the
to waste he passionately pursued the
to waste he passionately pursued the bullfights in Spain for many the
bullfights in Spain for many the
bullfights in Spain for many the bullfights are needless cruelty and not
bullfights are needless cruelty and not
bullfights are needless cruelty and not a cultural celebration he covered the
a cultural celebration he covered the
a cultural celebration he covered the wars in Spain in Italy and in France and
wars in Spain in Italy and in France and
wars in Spain in Italy and in France and afterwards suffered post-traumatic
afterwards suffered post-traumatic
afterwards suffered post-traumatic stress disorder he had many encounters
stress disorder he had many encounters
stress disorder he had many encounters with women and was married four times he
with women and was married four times he
with women and was married four times he was not a good father and of course
was not a good father and of course
was not a good father and of course there was the drinking his alcoholism
there was the drinking his alcoholism
there was the drinking his alcoholism contributed to his manic depression and
contributed to his manic depression and
contributed to his manic depression and perhaps to his suicide
so Hemingway learned to perform
so Hemingway learned to perform masculinity
masculinity
masculinity he created a manufactured image that
he created a manufactured image that
he created a manufactured image that told the viewer that he was living life
told the viewer that he was living life
told the viewer that he was living life to the fullest that he was living an
to the fullest that he was living an
to the fullest that he was living an authentic life in you sitting at home
authentic life in you sitting at home
authentic life in you sitting at home perhaps we’re not and this image was
perhaps we’re not and this image was
perhaps we’re not and this image was sold in the media
sold in the media
sold in the media Hemingway’s face appeared on magazines
Hemingway’s face appeared on magazines
Hemingway’s face appeared on magazines that were aimed towards educated
that were aimed towards educated
that were aimed towards educated audiences such as time and life but more
audiences such as time and life but more
audiences such as time and life but more significantly Hemingway’s image was sold
significantly Hemingway’s image was sold
significantly Hemingway’s image was sold to mass audiences in these glossy slick
to mass audiences in these glossy slick
to mass audiences in these glossy slick magazines for many he became a
magazines for many he became a
magazines for many he became a representative man again at a time when
representative man again at a time when
representative man again at a time when what it meant to be a man was being
what it meant to be a man was being
what it meant to be a man was being contested as women were emerging in the
contested as women were emerging in the
contested as women were emerging in the workforce and there was transitions in
workforce and there was transitions in
workforce and there was transitions in home and in the workplace
thus with all that is so problematic
thus with all that is so problematic about Hemingway why do we still teach
about Hemingway why do we still teach
about Hemingway why do we still teach him today I turned to a farewell to arms
him today I turned to a farewell to arms
him today I turned to a farewell to arms in many ways as the best example of why
in many ways as the best example of why
in many ways as the best example of why we still teach Hemingway to today’s
we still teach Hemingway to today’s
we still teach Hemingway to today’s students it has the literary themes and
students it has the literary themes and
students it has the literary themes and the style to help students best
the style to help students best
the style to help students best understand Hemingway’s world for
understand Hemingway’s world for
understand Hemingway’s world for students to read Hemingway is a sign of
students to read Hemingway is a sign of
students to read Hemingway is a sign of something that is cool
something that is cool
something that is cool cynical perhaps self-destructive
cynical perhaps self-destructive
cynical perhaps self-destructive something that they’re attracted to for
something that they’re attracted to for
something that they’re attracted to for reasons they may not quite be able to
reasons they may not quite be able to
reasons they may not quite be able to articulate but once they are dropped
articulate but once they are dropped
articulate but once they are dropped into the rainy war-torn landscape of
into the rainy war-torn landscape of
into the rainy war-torn landscape of Italy and understand the troubled world
Italy and understand the troubled world
Italy and understand the troubled world of Frederick and Catherine they
of Frederick and Catherine they
of Frederick and Catherine they recognize that a farewell to arms is a
recognize that a farewell to arms is a
recognize that a farewell to arms is a great novel what makes it great well for
great novel what makes it great well for
great novel what makes it great well for many of us it is because Hemingway
many of us it is because Hemingway
many of us it is because Hemingway incorporates the the aesthetic
incorporates the the aesthetic
incorporates the the aesthetic principles of Paul Cezanne into his
principles of Paul Cezanne into his
principles of Paul Cezanne into his aesthetic code in 1924
aesthetic code in 1924
aesthetic code in 1924 Hemmingway first saw seasons paintings
Hemmingway first saw seasons paintings
Hemmingway first saw seasons paintings at the salon of Gertrude Stein in Paris
at the salon of Gertrude Stein in Paris
at the salon of Gertrude Stein in Paris at a time when he’s forming his own
at a time when he’s forming his own
at a time when he’s forming his own aesthetic philosophy when he was trying
aesthetic philosophy when he was trying
aesthetic philosophy when he was trying to decide what he wanted to do with his
to decide what he wanted to do with his
to decide what he wanted to do with his own brand of art he wrote he wanted to
own brand of art he wrote he wanted to
own brand of art he wrote he wanted to write like cézanne painted Cezanne
write like cézanne painted Cezanne
write like cézanne painted Cezanne started with all the tricks then he
started with all the tricks then he
started with all the tricks then he broke the whole thing down and built the
broke the whole thing down and built the
broke the whole thing down and built the real thing
real thing
real thing it was held to do he wanted to write
it was held to do he wanted to write
it was held to do he wanted to write about country so that it would be there
about country so that it would be there
about country so that it would be there like Cezanne had done it in painting he
like Cezanne had done it in painting he
like Cezanne had done it in painting he had to do it from inside yourself
had to do it from inside yourself
had to do it from inside yourself there wasn’t any trick nobody had ever
there wasn’t any trick nobody had ever
there wasn’t any trick nobody had ever written about country like that he felt
written about country like that he felt
written about country like that he felt almost wholly about it it was deadly
almost wholly about it it was deadly
almost wholly about it it was deadly serious you could do it if you would
serious you could do it if you would
serious you could do it if you would fight it out if you’d lived right with
fight it out if you’d lived right with
fight it out if you’d lived right with your eyes Cezanne was a French
your eyes Cezanne was a French
your eyes Cezanne was a French post-impressionist painter right and in
post-impressionist painter right and in
post-impressionist painter right and in his paintings he’s using short
his paintings he’s using short
his paintings he’s using short repetitive concentrated brushstrokes to
repetitive concentrated brushstrokes to
repetitive concentrated brushstrokes to break down the plane of the painting
break down the plane of the painting
break down the plane of the painting it’s a lesson that Hemingway was to
it’s a lesson that Hemingway was to
it’s a lesson that Hemingway was to learn from him could turn first to the
learn from him could turn first to the
learn from him could turn first to the opening pages of A Farewell to Arms in
opening pages of A Farewell to Arms in
opening pages of A Farewell to Arms in the late summer of that year we lived in
the late summer of that year we lived in
the late summer of that year we lived in a house in a village that looked across
a house in a village that looked across
a house in a village that looked across the river and the plain to the mountains
the river and the plain to the mountains
the river and the plain to the mountains in the bed of the river there were
in the bed of the river there were
in the bed of the river there were pebbles and boulders dry and white in
pebbles and boulders dry and white in
pebbles and boulders dry and white in the Sun and the water was clear and
the Sun and the water was clear and
the Sun and the water was clear and swiftly moving and blue in the channels
swiftly moving and blue in the channels
swiftly moving and blue in the channels troops went by the house and down the
troops went by the house and down the
troops went by the house and down the road and the dust they raised powdered
road and the dust they raised powdered
road and the dust they raised powdered the leaves of the trees the trunks of
the leaves of the trees the trunks of
the leaves of the trees the trunks of the trees too were dusty and the leaves
the trees too were dusty and the leaves
the trees too were dusty and the leaves fell early that year and we saw the
fell early that year and we saw the
fell early that year and we saw the troops marching along the road and the
troops marching along the road and the
troops marching along the road and the dust rising and leaves stirred by the
dust rising and leaves stirred by the
dust rising and leaves stirred by the breeze falling and the soldiers marching
breeze falling and the soldiers marching
breeze falling and the soldiers marching and afterward the road bare and white
and afterward the road bare and white
and afterward the road bare and white except for the leaves notice a
except for the leaves notice a
except for the leaves notice a repetition of Hemingway’s language he’s
repetition of Hemingway’s language he’s
repetition of Hemingway’s language he’s repeating words like Cezanne
repeating words like Cezanne
repeating words like Cezanne is using brushstrokes we have the word
is using brushstrokes we have the word
is using brushstrokes we have the word water twice dust three times leaves for
water twice dust three times leaves for
water twice dust three times leaves for white twice notice two we have things
white twice notice two we have things
white twice notice two we have things that are rise and are raised fall and
that are rise and are raised fall and
that are rise and are raised fall and are falling Hemingway is showing the
are falling Hemingway is showing the
are falling Hemingway is showing the interconnectedness of the natural world
interconnectedness of the natural world
interconnectedness of the natural world because of the way that the dust Rises
because of the way that the dust Rises
because of the way that the dust Rises the leaves fall early that year showing
the leaves fall early that year showing
the leaves fall early that year showing us how the war has disrupted the natural
us how the war has disrupted the natural
us how the war has disrupted the natural cycles nature is damaged by war notice
cycles nature is damaged by war notice
cycles nature is damaged by war notice too how Hemingway uses motion this is
too how Hemingway uses motion this is
too how Hemingway uses motion this is part of the trick of Cezanne to capture
part of the trick of Cezanne to capture
part of the trick of Cezanne to capture life in motion on a canvas right we have
life in motion on a canvas right we have
life in motion on a canvas right we have the soldiers marching we have the water
the soldiers marching we have the water
the soldiers marching we have the water flowing we have the dust rising and we
flowing we have the dust rising and we
flowing we have the dust rising and we have the leaves falling and afterward
have the leaves falling and afterward
have the leaves falling and afterward everything bare and white Hemingway is
everything bare and white Hemingway is
everything bare and white Hemingway is trying to capture a dominant idea of
trying to capture a dominant idea of
trying to capture a dominant idea of nature to show how everything is
nature to show how everything is
nature to show how everything is elementally connected from Cezanne
elementally connected from Cezanne
elementally connected from Cezanne hemingway learned that these short
hemingway learned that these short
hemingway learned that these short concentrated brushstrokes right would
concentrated brushstrokes right would
concentrated brushstrokes right would just in the same way be employed in his
just in the same way be employed in his
just in the same way be employed in his writing as you look at a saison canvas
writing as you look at a saison canvas
writing as you look at a saison canvas you can see how his brushstrokes give us
you can see how his brushstrokes give us
you can see how his brushstrokes give us a house perhaps a roof perhaps a tree in
a house perhaps a roof perhaps a tree in
a house perhaps a roof perhaps a tree in the same way that Hemingway’s words dust
the same way that Hemingway’s words dust
the same way that Hemingway’s words dust leaves wind give us that same sense of
leaves wind give us that same sense of
leaves wind give us that same sense of motion as we get in essays on canvas so
motion as we get in essays on canvas so
motion as we get in essays on canvas so as we think about why we still teach
as we think about why we still teach
as we think about why we still teach Hemingway’s fiction we see with students
Hemingway’s fiction we see with students
Hemingway’s fiction we see with students that they embrace Hemingway’s realism as
that they embrace Hemingway’s realism as
that they embrace Hemingway’s realism as their own they hear it and it echoes
their own they hear it and it echoes
their own they hear it and it echoes as they navigate the cold world of
as they navigate the cold world of
as they navigate the cold world of adults and the treacherous world of
adults and the treacherous world of
adults and the treacherous world of teenagers they find lessons in Hemingway
teenagers they find lessons in Hemingway
teenagers they find lessons in Hemingway in the words a legendary English teacher
in the words a legendary English teacher
in the words a legendary English teacher at Phillips Exeter Academy Harvard
at Phillips Exeter Academy Harvard
at Phillips Exeter Academy Harvard Knowles in giving us stories that root
Knowles in giving us stories that root
Knowles in giving us stories that root us in our own experiences
us in our own experiences
us in our own experiences Hemingway shows us not only who we are
Hemingway shows us not only who we are
Hemingway shows us not only who we are but also forces us to consider what we
but also forces us to consider what we
but also forces us to consider what we may become what greater teacher could we
may become what greater teacher could we
may become what greater teacher could we possibly want for our young fully racist
possibly want for our young fully racist
possibly want for our young fully racist narcissist misogynist obnoxious and
narcissist misogynist obnoxious and
narcissist misogynist obnoxious and self-centered yes we have to reconcile
self-centered yes we have to reconcile
self-centered yes we have to reconcile the tension between an image that is so
the tension between an image that is so
the tension between an image that is so ugly and an art that is so beautiful and
ugly and an art that is so beautiful and
ugly and an art that is so beautiful and the role of regressive masculinity in
the role of regressive masculinity in
the role of regressive masculinity in American culture yet Hemingway endures
American culture yet Hemingway endures
American culture yet Hemingway endures his best writing endures because he
his best writing endures because he
his best writing endures because he teaches us lessons about how to live
teaches us lessons about how to live
teaches us lessons about how to live according to our values and what it
according to our values and what it
according to our values and what it means to be human today thank you
”
Be First to Comment