1 hemingway's library - John F. Kennedy Library and Museum

Bernard F. Rodgers, Jr., "The Nick Adams Stories: Fiction or Fact," F/H Annual, 1974, pp. 155-62. Hemingway's
own angry response to Young's book is well known, but see especially EH to Charles Poore, Feb. 23-28, 1953, in
Hemingway at Auction, p. 168.
73. The Apprenticeship of Ernest Hemingway: The Early Years (New York: Farrar, Straus & Young,
1954). Hemingway violently objected to Fenton's work. See, for example, Frager Drew, F/H Annual, 1970, p. 112.
74. The Way It Was (New York: Criterion, 1959).
75. That Summer in Paris.
76. Papa Hemingway (New York: Random House, 1966).
77. Seattle: Univ. of Washington Press, 1969.
78. Minneapolis: Univ. of Minnesota Press, 1969.
79. Univ. of Michigan Press, 1974. This collection, with its useful introduction and index, is an
indispensable resource for the study of Hemingway as a literary craftsman.
80. P. 188. Some important articles on Hemingway's literary sources had preceded Benson's book.
See, for example: Richard P. Adams, "Sunrise Out of the Wasteland," Tulane Studies in English 9 (1959): 119-31 (in
Five Decades); Alfred G. Engstrom, "Dante, Flaubert and 'The Snows of Kilimanjaro,"' Modern Langage Notes 65
(March 1950): 203-5; Donna Gerstenberger, "The Wasteland in A Farewell to Arms," Modern Language Notes 76
(Dec. 1961): 24-25; Peter Lisca, "The Structure of Hemingway's Across the River and into the Trees," Modern
Fiction Studies 12 (Summer 1966): 232-50 (in Five Decades); and Robert Stephens, "Hemingway's Riddle of
Kilimanjaro: Idea and Image," American Literature 32 (March 1960): 84-87.
81. Durham, N.C.: Duke Univ. Press, 1975.
82. Carbondale, Ill.: Southern Illinois Univ. Press, 1973. The passage was taken from an interview
which James reluctantly granted Preston Lockwood and which was printed in The New York Times (March 21,
1915), pp. 3-4.
83. Princeton: Princeton Univ. Press, 1976. Some of Reynolds' insights are given a more thorough
explication in W.B. Lewis's as yet unpublished paper, "Hemingway in Italy: Making It Up." Professor Lewis
provides a detailed discussion of Hemingway's use of C.M. Trevelyan's Scenes from Italy's War (1919). This
volume no longer survives in Hemingway's library. We are indebted to Professor Lewis for providing us with a copy
of his paper. See also George Dekker and Joseph Harris, "Supernaturalism and the Vernacular Style in A Farewell
to Arms," PMLA 94 (March 1979): 311-18, which examines Hemingway's use of European literature and The
Oxford Book of English Verse (Clarendon, 1900). On the matter of Stendhal, see also Alberto Moravia (note 1 to the
Preface, above) and Men at War (New York: Crown, 1942), p. xx.
84. P. 283. For an extended analysis of Reynolds= work in the context of recent criticism see: James
D. Brasch, "The Watershed in Hemingway Criticism," The Canadian Review of American Studies 9 (Spring 1978):
112-18.
85. Urbana, Ill.: Univ. of Illinois Press, 1971.
86. As early as September 1924 Hemingway wrote to Edmund O=Brien that he focused on what was
absolutely solid in his early stories. He wrote O=Brien that he wanted to provide hard clear images so that after his
stories had been read the country, not the language, would remain. EH to EO, Sept. 12, 1924. The authors are
indebted to Dr. Robert L. Beare of the McKeldin Library, University of Maryland, for permission to examine this
letter.
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