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When Ernest Hemingway committed suicide in 1961 he left four unfinished works--A Moveable Feast, Islands in the Stream, The Garden of Eden, and an untitled work on his travels in Africa. The edited versions that have come down to readers and scholars of Hemingway appear as distinct, disjointed texts that fit oddly into his oeuvre. Through extensive literary detective work Burwell has uncovered substantial evidence that Hemingway in fact designed the three published works as a trilogy, what she terms "his own Portrait of the Artist."
- Sales Rank: #720218 in Books
- Brand: Brand: Cambridge University Press
- Published on: 1996-01-26
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .59" w x 5.98" l, .87 pounds
- Binding: Paperback
- 284 pages
- Used Book in Good Condition
Review
"Arguing persuasively throughout this text, Burwell demonstrates the literary, professional, personal, and chronologically relational nature of the tetralogy. She thoroughly documents every aspect of her analysis, her claims and speculations, revealing a formidable knowledge of Hemingway's life and work, as well as the body of scholarship which surrounds and supports him, sometimes protectively. Making use of materials, letters and manuscripts earlier close to (or ignored by) scholars, she forges links between texts which provide new critical and biographical insights into the man/writer who has compelled--and sometimes repelled--readers throughout the world." Novel
"[T]his is a masterpiece. She now enters the ranks of the important Hemingway scholars. All of them will have to reckon with her book, and they will be citing it and arguing over it for years to come." Robert Scholes, Brown University
"Burwell is at her best in her discussion of A Moveable Feast and the effect Mary Hemingway and the Scribners editors had on the rearrangement of the original manuscript. Few Hemingway scholars will be able to resist reading and commenting on this clearly written, engaging, and controversial work." Thomas K. Meier, American Literature
"...it is a superb work of scholarship, a sensitive and enlightening piece of criticism, and, in an achievement which jarringly alters the accepted cliches of Hemingway studies, it provides the first satisfying answer to question What happened to Hemingway after 1945? Burwell's discussions are solidly grounded on a thorough comprehension of everything we know factually about Hemingway's life..." Earl Rovit, The Sewanee Review
"Rose Marie Burwell's Postwar Years and the Posthumous Novels is the superior book....Burwell's book brilliantly offers a unified argument..." Kim Moewland, American Studies International
"Burwell has produced a book that is not only very readable...but is a model of fine scholarship as well: especially impressive is her scholarly detective work. Rose Marie Burwell's excellent book is a significant contribution to Hemingway scholarship. She has also provided a fine rendering of the drama of Hemingway's post-war writing career." Nancy R. Comley, Studies in the Novel
"No one studying this period in Hemingway's life can afford to neglect Rose Marie Burwell's liberating and enlightening contribution." Earl Rovit, The Sewanee Review
"This exemplary study of the texts of the various unfinished narratives is a brilliant piece of scholarship..." Thomas Flanagan, The New York Review of Books
"Rose Marie Burwell's Hemingway: The Postwar Years and the Posthumous Novels is an engaging work of criticism that combines several modes into one. It is a critical biography of Hemingway; an interesting account of some years of Burwell's own archival detective work; and a provocative reading of Hemingway's posthumous novels, on one hand, and of Hemingway himself, on the other....Hemingway scholars should read this book." Canadian Review of Comparative Literature
Most helpful customer reviews
4 of 4 people found the following review helpful.
Groundbreaking Study
By Billyjack D'Urberville
This is the only in-depth scholarly work extant on the mass of unfinished books Hemingway left behind in 1961. Besides that, it is fluidly written, thoroughly documented, thoughtfully analyzed, and excellent in all respects.
It matters not whether or not the thesis -- that the posthumous works constitute a loose unified work -- holds up. To state it and explore it, as the author does, is to cast a lot of light on the very complex issue of Hemingway's last works and their difficult manuscripts. No one had even gone as far as to lay the groundwork for such a question before Burwell. Indeed it was doubtless necessary to proceed on some sort of hypothesis to go through these widely divergent manuscripts chronologically, as the author does, and to then present a coherent text of her own regarding her studies.
The author also has a great openness and sympathy for Hemingway and his tortured, insistent aestheticism. It shines through the entire work and raises it to a very rare level in modern literary criticism.
3 of 3 people found the following review helpful.
What happenend to Hemingway after the war?
By Eric Maroney
Burwell's study on Hemingway's life and work after the Second World War tries to answer this question. Burwell makes connections between various unfinished and posthumously published Hemingway works, his life, and his artistic goals following the war. Often, these contacts are a bit strained or overextended. But beside this, the book is an interesting look at Hemingway's post-war ventures.
He started with a massive Ur-text, at over 1,400 manuscript pages, and from this work, the novels that would become Islands in the Stream, The Garden of Eden, True at First Light, The Old Man and the Sea, and by proxy, A Moveable Feast, would emerge. Hemingway had set a grand aesthetic plan in place for himself after the war: it was nothing less than his total refashioning of himself as an artist. Gone was the laconic understatement; in its place, was more of a post-modern slant. Hemingway after the war had a deep concern with gender roles, the nature of creativity, and the connection between writing, the world, and memory. His physical and mental decline prevented him from fully realizing this vision. Burwell's book catalogs all of this and cautions us not to see Hemingway's post-war productions as so much posthumously published schlock. She uses manuscript copies, letters, and interviews in the study to provide a full picture of Hemingway's process.
This book was published in 1996. Some of what she describes has changed. The Africa book has been published as True at First Light, and later in a more expanded version as Under Kilimanjaro. Burwell writes about Mary Hemingway's edits to A Moveable Feast. Since then, a new edition has come out with changes made by Sean Hemingway, trying to "correct" Mary Hemingway's tinkering with the manuscript and reflect more of what Hemingway wanted from this work.
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