Hemingway, Style, and the Art of Emotion

Abstract

In Hemingway, Style, and the Art of Emotion, David Wyatt shows that the work of Ernest Hemingway is marked more by vulnerability and deep feeling than by the stoic composure and ironic remove for which it is widely known. This major reassessment of the shape of Hemingway's career recovers the soul of the author's work, revealing him as a multifaceted writer rather than a cold, static icon. Wyatt claims that Hemingway's famous early style does not embrace emotional reticence but works instead to measure the cost of keeping thoughts and feelings under the surface. By the early 1930s Hemingway also turned away from the art of 'the omitted' and began to develop a vision and style more accommodating of the awkwardness and embarrassments of everyday life. Relying on a thorough knowledge of the vast archive Hemingway left behind at his death, this book shows Hemingway as a thoroughly complex and transmutable figure.

The Hemingwayesque Techniques of Storytelling in Farewell to Arms by Earnest Hemingway

“…No matter how fictional or artificial the story is, it shows naturalness in its sequence and pattern. David Wyatt ( 2017) assumes that Hemingway's works have often acquired sensual depth and softness that makes him a " multifaceted writer rather than a cold, static icon"…”

أسلوب التوازي للروائي إرنست همنغواي: الشخصيات فريدرك وكاثرين كوجهان لعملة واحدة في روايةن "وداعاً للسلاح

“…Indeed, Hemingway represents women in a submissive role in his early literary pieces such as the short story "Cat in the Rain" (1925), but this is not the case in A Farewell to Arms wherein Hemingway depicts romantic union between Catherine and Fredric. David Wyatt (2015), in Hemingway, Style, and the Art of Emotion, maintains: Romance is that mode in which a writer's imagination converts the world into an object of fulfilled desire, and to call these desires infantile or regressive is to miss the point, to refuse to entertain the offered fallacy. Romance expresses the longing for union and return and represents these longings as given to both genders (P. 68).…”