Hemingway's Life and Fiction

Weber notes that Hemingway's early calling as a newspaper journalist was very substantial in the development of his fictional call. However, Weber also claims that this was chiefly a "negative influence," because in order to become a great writer of fiction, Hemingway "had to unlearn most of journalism's lessons" (22). Hemingway's work as a journalist had given him the basic skills that he demand to become a writer. However, it had only taught him how to report facts as distant to creating fictional works of art. During his years in Paris later World War One, Hemingway worked with great literary writers like Gertrude stein and Ezra Pound in order to develop a style of writing that was more artistic than journalistic. Nevertheless, throughout his career, Hemingway's training in journalism continued to play an important role in his writing style. Thus, his fiction was always infused with journalistic elements such as "sharp compression; a detached, ironic point of look on; dialogue that suggested more than it said; spare, exact description" (Weber 21). Hemingway's magnificence as a writer can be seen in how he used this journalistic style as substantially as his personal experiences in order to create unfor dragtable works of fiction which have meaning to other commonwealth as well as himself.

In his earliest laconic stories, Hemingway often used members of his own family as a home for his characterizations. This can be seen, for example, in "The Doctor and the Docto

Hemingway, Ernest. "The Doctor and the Doctor's Wife." The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition. stark naked York: Charles Scriber's Sons, 1987, 73-76.

Nelson, Gerald B., and exult Jones. Hemingway: Life and Works. New York: Facts on File, 1984.

It is commonly regarded that Hemingway's characterization of Jake Barnes "is a portrait of himself" (Lynn 324). Like Hemingway in his early career, Jake Barnes is a journalist. In addition, like Hemingway, Jake suffers from a wound which he received during the fight. However, contradictory Hemingway, Jake experiences a groin injury which leaves him impotent.

Therefore, this is another example of how Hemingway fictionalized the historical people in his life in order to repeal them into vivid characters for his novels. Although the character Jake is based on Hemingway, Jake's specific war injury is based on the injuries of other men that Hemingway met period he was recuperating in the Red Cross hospital. In creating Jake Barnes, Hemingway did not want to show a literal depiction of himself; rather, he wanted to create a character based on his own experiences who was also more than he himself could ever be. Thus, in contrast to the outgoing and adventurous Hemingway, "Jake was a fictional ego, a man who lived without complications - no wife, no kid, no cat - a passive, laconic man to whom things happened" (Reynolds 309). Furthermore, Reynolds notes that "Jake could speak fluent Spanish, which gave him an edge on everyone, including Hemingway who relied mostly on English and his little French to get by" (309). From this, it can be seen that Hemingway created Jake as a chiding of his personal experiences; in addition, he created Jake as an impartial beholder who views the "Lost Generation" from a detached perspective and therefrom comments on it in an artistic way.

Hemingway, Ernest. For Whom the Bell Tolls. New York: Charles Scribner's Sons, 1940.

Lynn, Kenneth S. Hemingway. New York: Simon and
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