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"Trogdon, Robert W"
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“I am constructing a legend”: Ernest Hemingway in Guy Hickok's Brooklyn “Daily Eagle” Articles
In April of 1927, Ernest Hemingway traveled to Italy with Guy Hickok, Paris correspondent for the Brooklyn Daily Eagle. Hemingway's “Che Ti Dice La Patria?” includes Hickok as a character. What is less well known is Hickok's writing on Hemingway. Between 1925 and 1934, Hickok wrote sixteen articles that either mention Hemingway or deal wholly with his life and work. In this essay, six of these dispatches and interviews are reprinted; these include an account of Hemingway's wounding during World War I, descriptions of Hemingway in Pamplona in 1929, and an extensive interview about Hemingway's 1933–34 African safari.
Journal Article
The letters of Ernest Hemingway. Volume 2, 1923-1925
\"Hemingway described his artistic method as inventing from experience. In his letters we live in the country, meet the people, track the relationships, and witness events unfold that later he would forge into fiction. In a postscript to the 11 September 1925 letter to his mother telling of his novel in progress, Hemingway added a note about his wife: Hadley is better looking and huskier than ever. She's had her hair cut like a boys as all the chic people now and has several people in love with her including a very nice bull fighter named Nino de la Palma who dedicates bulls to her and gives her the ears. These are carefully saved in my handkerchiefs\"-- Provided by publisher.
BOOK
A Moveable Feast: The Restored Edition: A Review and a Collation of Differences
Trogdon reviews the new edition of A Moveable Feast from a textual scholar's point of view, asserting that \"The restored edition of A Moveable Feast is not ideal, but it is the best handled of the posthumous Hemingway books that Scribner has published.\" He offers a collation of 373 substantive differences between the 1964 and 2009 editions.
Journal Article
The lousy racket : Hemingway, Scribners, and the business of literature
The business of making an American literary icon
The Lousy Racket is a thorough examination of Ernest Hemingway's working relationship with his American publisher, Charles Scribner's Sons, and with his editors there: Maxwell Perkins, Wallace Meyer, and Charles Scribner III. This first critical study of Hemingway's professional collaboration with Scribners also details the editing, promotion, and sales of the books he published with the firm from 1926 to 1952 and provides a fascinating look into the American publishing industry in the early twentieth century.
This painstakingly researched study reveals the working relationship between Hemingway and his editors, with special emphasis on the friendship that developed between Hemingway and the dean of American book editors, Maxwell Perkins. Drawing on many unpublished resources, including correspondence between Hemingway and his editors and others in the firm, as well as printing, advertising records, and sales dummies,
Robert W. Trogdon shows how Hemingway's public reputation was shaped in large part by Scribners.
Hemingway scholars will appreciate this contribution to Hemingway studies, and The Lousy Racket is an important contribution to studies in the modernist era in American literature and to book history.
eBook
Money and Marriage: Hemingway's Self-Censorship in For Whom the Bell Tolls
For most of his career as a professional writer, Ernest Hemingway fought a war against what he called \"genteel writing.\" An examination of his career from the 1925 publication of In Our Time to the 1938 publication of The Fifth Column and the First Forty-nine Stories reveals that Hemingway enjoyed with every book he published greater freedom in his use of words generally considered to be obscene by his publisher and others. This greater freedom of expression did not extend to Hemingway's biggest commercial success, For Whom the Bell Tolls (1940). Hemingway wrote the novel without using any of the obscene words he had fought to include in his previous works. In writing the novel, he gave in to commercial pressures, writing the novel in the way that he did to increase the chances of serializing it or of selling it to a book club. Quite directly, For Whom the Bell Tolls was shaped stylistically by Hemingway's divorce from Pauline Pfeiffer and desire to marry Martha Gellhorn. The novel provided Hemingway with financial independence and the money to maintain the lifestyle he had grown used to in the 1930s, but which he would have lost with the loss of the Pfeiffer family fortune.
Journal Article
“I am constructing a legend”: Ernest Hemingway in Guy Hickok's Brooklyn “Daily Eagle” Articles
In April of 1927, Ernest Hemingway traveled to Italy with Guy Hickok, Paris correspondent for the Brooklyn Daily Eagle. Hemingway's “Che Ti Dice La Patria?” includes Hickok as a character. What is less well known is Hickok's writing on Hemingway. Between 1925 and 1934, Hickok wrote sixteen articles that either mention Hemingway or deal wholly with his life and work. In this essay, six of these dispatches and interviews are reprinted; these include an account of Hemingway's wounding during World War I, descriptions of Hemingway in Pamplona in 1929, and an extensive interview about Hemingway's 1933–34 African safari.
Journal Article
\The Secret Sharer\: A Further Note on the Dates of Its Composition
Reid and Trogdon discuss the probable dates of composition of The Secret Sharer, a novel by Joseph Conrad. In 1987, a scholarly journal of Conrad's works published an article based on the hardest evidence for dating the inception of The Secret Sharer, namely, the inscription \"Dec 4\" on a clutch of the typescript of Under Western Eyes that signals a pause in the writing of the novel, at the end of 1909, which was occupied by Conrad's composition and revision of the story. Rightly leaning on the documentary evidence as superior to that in Conrad's letters of December 1909, where his memory is colored by the circumstances and his letters to J. B. Pinker are especially compromised by a need to minimize and justify this latest lapse in completing the novel, Keith Carabine argued persuasively that Conrad began the story either on December 4 or the previous day. In the end, he plunked for the 3rd, but on evidence, or reasoning, of a different order (\"Secret\" 212). Further analysis of the typescript has both complicated the picture and clarified it, resulting in the need to modify this conclusion slightly, and in such a way as to bring Conrad's own dating closer to the fact than it once seemed.
Journal Article