Items related to Hemingway's Laboratory: The Paris in our time
Illuminates the development of Hemingway’s themes and techniques and his future course as a stylist and writer.
In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile.
The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile.
The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
"synopsis" may belong to another edition of this title.
Book Description:
In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifest-ations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile.
The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
From the Back Cover:
Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile.
The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
Brings into sharp relief the development of Hemingway's themes and techniques, and his future course as a stylist and writer.
"Deftly written and impeccably researched . . . a path-breaking study of Ernest Hemingway's Paris apprenticeship and his early experiments with English prose. Looking through the lens of Hemingway's 1924 "in our time," Milton Cohen enlarges our understanding of the revolutionary Hemingway style and the origins of American literary modernism."--Susan F. Beegel, Editor, "The Hemingway Review
""There is nothing in Hemingway studies that is nearly so thorough and syste-matic as "Hemingway's Laboratory." Professor Cohen's study combines a great deal of original thinking with a lucid and pleasantly written synthesis of previous scholarship. One of the strongest qualities of this book is the author's knowledge of the entire Hemingway oeuvre and its place in American modernist letters."--Matthew Stewart, author of "Modernism and Tradition in Ernest Hemingway's" in our time.
"Deftly written and impeccably researched . . . a path-breaking study of Ernest Hemingway's Paris apprenticeship and his early experiments with English prose. Looking through the lens of Hemingway's 1924 "in our time," Milton Cohen enlarges our understanding of the revolutionary Hemingway style and the origins of American literary modernism."--Susan F. Beegel, Editor, "The Hemingway Review
""There is nothing in Hemingway studies that is nearly so thorough and syste-matic as "Hemingway's Laboratory." Professor Cohen's study combines a great deal of original thinking with a lucid and pleasantly written synthesis of previous scholarship. One of the strongest qualities of this book is the author's knowledge of the entire Hemingway oeuvre and its place in American modernist letters."--Matthew Stewart, author of "Modernism and Tradition in Ernest Hemingway's" in our time.
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- PublisherUniversity Alabama Press
- Publication date2012
- ISBN 10 0817357289
- ISBN 13 9780817357283
- BindingPaperback
- Edition number1
- Number of pages288
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Hemingway's Laboratory: The Paris in our time
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ISBN 13: 9780817357283
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Hemingway's Laboratory: The Paris in our time
Published by
University Alabama Press
(2012)
ISBN 10: 0817357289
ISBN 13: 9780817357283
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