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Hemingway's Boat: Everything He Loved in Life, and Lost - Softcover

Hendrickson, Paul

 
9781400075355: Hemingway's Boat: Everything He Loved in Life, and Lost
Softcover
ISBN 10: 1400075351 ISBN 13: 9781400075355
Verlag: Knopf Doubleday Publishing Group, 2012

Inhaltsangabe

National Book Critics Circle Award Finalist • National Bestseller • A brilliantly conceived and illuminating reconsideration of a key period in the life of Ernest Hemingway that will forever change the way he is perceived and understood.

"Hendrickson’s two strongest gifts—that compassion and his research and reporting prowess—combine to masterly effect.” —Arthur Phillips, The New York Times Book Review

Focusing on the years 1934 to 1961—from Hemingway’s pinnacle as the reigning monarch of American letters until his suicide—Paul Hendrickson traces the writer's exultations and despair around the one constant in his life during this time: his beloved boat, Pilar.

Drawing on previously unpublished material, including interviews with Hemingway's sons, Hendrickson shows that for all the writer's boorishness, depression and alcoholism, and despite his choleric anger, he was capable of remarkable generosity—to struggling writers, to lost souls, to the dying son of a friend. Hemingway's Boat is both stunningly original and deeply gripping, an invaluable contribution to our understanding of this great American writer, published fifty years after his death.

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Über die Autorin bzw. den Autor

Paul Hendrickson’s previous book, Sons of Mississippi, won the 2003 National Book Critics Circle Award for nonfiction. Since 1998 he has been on the faculty of the Creative Writing Program at the University of Pennsylvania. For two decades before that he was a staff writer at The Washington Post. Among his other books are Looking for the Light: The Hidden Life and Art of Marion Post Wolcott (1992 finalist for the National Book Critics Circle Award) and The Living and the Dead: Robert McNamara and Five Lives of a Lost War (1996 finalist for the National Book Award). He has been the recipient of writing fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Lyndhurst Foundation, and the Alicia Patterson Foundation. In 2009 he was a joint visiting professor of documentary practice at Duke University and of American studies at the University of North Carolina at Chapel Hill. He is the father of two grown sons and lives with his wife, Cecilia, outside Philadelphia.

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AMERICAN LIGHT

APRIL 3, 1934. The temperature in Manhattan got into the high sixties. G-men shot an accomplice of Dillinger's in Minnesota; the Nazis were running guns to the Moors; Seminoles were reviving a tribal dance in honor of alligators in Florida; Lou Gehrig had two homers in an exhibition game in Atlanta. And roughly the bottom third of America was out of work.

According to "Steamship Movements in New York," a column that runs daily in the business section of the Evening Journal, nine liners are to dock today. The SS Paris, 34,500 tons, is just sliding in after a seven-day Atlantic crossing, from Le Havre via Plymouth, at Pier 57 on the West Side of New York City.

"Expected to dock: 5:00 P.M.," reports the newspaper. And she does.

If this were a Movietone News item about Hemingway the big-game hunter, arriving home after eight months abroad, and you were in a darkened movie palace of the thirties awaiting the feature, you'd see ropes being thrown off, gangplanks being lowered, steamer trunks being unloaded, and passengers starting gaily to stream off. You'd see the New York press boys with their rumpled suits and stained ties and skinny notebooks and Speed Graphic cameras clawing for position. The blocky white lettering superimposed on the flickering images would announce: "Back from Lion Hunt in East Africa!" They'd bring up the sound track-something stirring, to suggest the march of time. And then would come the voice-over—wouldn't it be Ed Herlihy's?—with its electric charge: "Famed author Mr. Ernest Hemingway, just back on the French liner Paris with Mrs. Hemingway from conquering the lion and the rhino and the wildebeest and the greater kudu, says that death in the afternoon is far less engrossing in a Spanish bull ring than on the African veldt."

The press boys clotted at the bottom of the gangplank badly want Hemingway, and they want Katharine Hepburn (she is on the boat, too, and makes wonderful copy, when she deigns to speak), but apparently none of them knows (for none of their papers will have it tomorrow) that an even bigger trophy has just berthed at Pier 57: Marlene Dietrich. She's going to give them the nifty slip. Publicity? Who needs it? Maybe Dietrich's hiding out in her stateroom. She might have registered under a different name-glamorous figures routinely do this. In fact, Hepburn is on the manifest as "Miss Katherine Ludlow." (Her husband is Ludlow Ogden Smith.) She has decided not to hide from the pack.

The famous and close and long-lasting Dietrich-Hemingway friendship dates from this Atlantic crossing. For the rest of his life, Hemingway mostly called her the Kraut, when he wasn't addressing her as "daughter," the latter being how he liked to address women younger than himself, famous or otherwise, whom he'd not—apparently—taken to bed. Dietrich was two and a half years younger. There is a well-traveled story about how she was stepping into the ship's dining room to join a dinner party. Every open-jawed man at the table rose to give her his chair, but just as she started to sit down, the international flame with the statuesque body and lusty voice counted the mouths and saw that there were twelve diners. "Oh. I'm the thirteenth. You will excuse me if I don't join you. I'm superstitious about thirteen at dinner," she said, starting to withdraw. But just then Hemingway blocked her way. "Excuse me," he said. "I don't mean to intrude. But I'd be glad to be the fourteenth."

Afterward, they supposedly strolled the decks arm in arm and told each other-maybe like Bogart and Claude Rains in Casablanca, except that that movie hadn't been made yet-that this was going to be the start of a beautiful friendship. At least this is the legend, and Dietrich herself greatly helped it along in 1955 in a first-person cover story in the Sunday supplement of the New York Herald Tribune. The piece was titled "The Most Fascinating Man I Know." She talked of how she and Hemingway had depended on each other through the years, how she'd protected his deeply personal letters to her in a strongbox. Actually, Dietrich may not have even written the piece—according to Mary Hemingway, it was ghosted by journalist and scriptwriter A. E. Hotchner, one of Hemingway's last confidants, or toadies, depending on your point of view, for the two-decades-younger Hotch, as Hemingway often called him, has been described as both in the vast, roily, envy-ridden sea of Hemingway studies. In any case, among smaller errors, Dietrich or her ghost got the name of the boat wrong; she said it was the other (even grander) star of the French line, the Île de France.

But this is a newsreel of the imagination. Hemingway's poised at the Paris's rail with his spouse. He's intent on purchasing a boat, but right now he's allowing photographs to be made, and he's popping quotes. Freeze the frame. Stop time in a box.

Pauline Hemingway is in a zebra-striped suit and an almost dowdy hat, curled at the brim, tilting right to left. Her right shoulder touches her husband's left. She is so small beside him. Her hair is cropped like a boy's. She has a boyish physique and is known for her disinclination to use makeup. (It's true she likes to keep her nails and toes manicured for her husband, often lacquering them in light pink.) Her body is turned a few degrees away from the rail, as if she might decide to walk off any second now. She's probably not getting a word in edgewise. She isn't a beautiful woman, but she isn't unattractive, either. She is four years and a day older than her husband, who is leaning forward, right into the middle of things, as if right into the middle of reporters' notebooks. Both his arms are on the rail, and his right hand is holding the brim of a fedora that has a wide, dark band. He's wearing a suit and tie and there's a sliver of handkerchief visible at the top of his vest pocket. No matter his dress, he's unmistakably a man of the outdoors, with the body of an athlete. His hair looks Brylcreemed and newly cut, although a strand or two at the back of his head are out of place. Around his seventeen-and-a-half-inch neck, inside his dress shirt, is a scapular: he's a convert to Catholicism, which is his wife's devoutly practiced faith. (She's a "cradle Catholic," while his on-again, off-again devotions are reputed to have arisen out of the shocks of World War I.) He's known to wear his scapular unfailingly in these years. It's got an image of Christ on it, suspended from a brown, shoestring-like loop. At home, in Key West, friends have observed him with the scapular, and how he'll make the sign of the cross before he goes in swimming.

That smile: hobnailed and hard-boiled all the way, just this side of aggressive. The more you study the photograph, however, the more you see that both Hemingways are holding a pose.

This picture, or versions of it, is going to get picked up and run in many hinterland places, including in the Twin Cities of Minnesota, where winter still has the earth in her grip, and where a young, self-styled, Hemingway-like character will see the photograph and tear it out of the Pioneer Press and fold it into his pocket and pack his knapsack and hop a freight to Florida, in hopes of meeting his writing idol. The young man's name is Arnold Morse Samuelson, and he is in for the ride of his life. But that's running out ahead.

Not every city editor in New York—there are something like nine dailies in the city in 1934—has sent a reporter to the docks today to shag quotes and to compose deathless passages on deadline about the return of the native. (In the old days of the news business, these pieces were often known as "brights." Go get me a Hemingway bright, some pale, overweight editor at the Times surely growled at a reporter on the city...

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Verlag
Knopf Doubleday Publishing Group
Erscheinungsdatum
2012
Sprache
Englisch
ISBN 10 
1400075351
ISBN 13 
9781400075355
Einband
Taschenbuch
Anzahl der Seiten
704
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