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2018
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Publié par
Date de parution
15 février 2018
EAN13
9781631012846
Langue
English
Publié par
Date de parution
15 février 2018
EAN13
9781631012846
Langue
English
Teaching Hemingway and the Natural World
TEACHING HEMINGWAY
Mark P. Ott, Editor
Susan F. Beegel, Founding Editor
Teaching Hemingway’s The Sun Also Rises
EDITED BY PETER L. HAYS
Teaching Hemingway’s A Farewell to Arms
EDITED BY LISA TYLER
Teaching Hemingway and Modernism
EDITED BY JOSEPH FRUSCIONE
Teaching Hemingway and War
EDITED BY ALEX VERNON
Teaching Hemingway and Gender
EDITED BY VERNA KALE
Teaching Hemingway and the Natural World
EDITED BY KEVIN MAIER
Teaching Hemingway and the Natural World
Edited by Kevin Maier
The Kent State University Press Kent, Ohio
© 2018 by The Kent State University Press, Kent, Ohio 44242
All rights reserved
Library of Congress Catalog Card Number 2017016132
ISBN 978-1-60635-318-9
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Names: Maier, Kevin, editor.
Title: Teaching Hemingway and the natural world / edited by Kevin Maier.
Description: Kent, Ohio : The Kent State University Press, c2018. | Series: Teaching Hemingway | Includes bibliographical references and index.
Identifiers: LCCN 2017016132 (print) | LCCN 2017031205 (ebook) | ISBN 9781631012846 (ePub) | ISBN 9781631012853 (ePDF) | ISBN 9781606353189 (pbk. : alk. paper)
Subjects: LCSH: Hemingway, Ernest, 1899-1961--Study and teaching. | Nature in literature.
Classification: LCC PS3515.E37 (ebook) | LCC PS3515.E37 Z6983 2018 (print) | DDC 813/.52--dc23
LC record available at https://lccn.loc.gov/2017016132
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Contents
Foreword
MARK P. OTT
Introduction
KEVIN MAIER
Part One: Michigan
“Nick trailed his hand in the water”: Understanding the Importance of Landscape in In Our Time
ELLEN ANDREWS KNODT
On Familiar Ground: Intimate Geographies and Assumptions of Place in Hemingway’s Nick Adams Stories
LAURA GRUBER GODFREY
“Summer People, Some Are Not”: Seasonal Visitors, Cottage-ing, and the Exoticism of Hemingway’s Michigan
JEFFREY HERLIHY-MERA
Organic Space and Time: Using Henri Bergson to Explain Nick Adams’s Intuition of the World in “Big Two-Hearted River”
SCOTT ORTOLANO
A Darwinian Reading of “Big Two-Hearted River”: The Re-enchantment of Nick Adams?
MICHAEL KIM ROOS
It’s All About a Perfect Drift: Reading the Fishing Metaphor in “Big Two-Hearted River”
LARRY GRIMES
Part Two: Gulf Stream
Not Against Nature: Hemingway, Fishing, and the Cramp of an Environmental Ethic
RICK VAN NOY AND DAN WOODS
Man or Fish?: An Ecocritical Reading of The Old Man and the Sea
ALLEN C. JONES
The Sea Has Many Voices: A Maritime Studies Experience of The Old Man and the Sea
SUSAN F. BEEGEL
Part Three: Africa
“Shootism” Versus “Sport” in Hemingway’s “Macomber”
GARY HARRINGTON
Pity and the Beasts: Teaching Hemingway’s Stories via Sympathy for Animals
RYAN HEDIGER
Teaching the Conflicts in “The Snows of Kilimanjaro”
SEAN MILLIGAN
Part Four: Europe
“I hated to Leave France”: The Geography and Terrain of Hemingway’s The Sun Also Rises
DONALD A. DAIKER
A Few Practical Things: Death in the Afternoon and Hemingway’s Natural Pedagogy
ROSS K. TANGEDAL
Part Five: The Transatlantic Hemingway Text
Flashbacks and the Trials of Hemingway’s War Veterans: Healing in the Natural World
ROBERT MCPARLAND
Skiing with Papa: Teaching Hemingway in the Backcountry Snow
SCOTT KNICKERBOCKER
Appendix
Works Cited
Selected Bibliography
Contributors
Index
Foreword
Mark P. Ott
How should the work of Ernest Hemingway be taught in the twenty-first century? Although the “culture wars” of the 1980s and 1990s have faded, Hemingway’s place in the curriculum continues to inspire discussion among writers and scholars about the lasting value of his work. To readers of this volume, his life and writing remain vital, meaningful, and still culturally resonant for today’s students.
Books in the Teaching Hemingway series build on the excellent work of founding series editor Susan F. Beegel, who guided into publication the first two volumes of this series, Teaching Hemingway’s A Farewell to Arms, edited by Lisa Tyler (2008), and Teaching Hemingway’s The Sun Also Rises, edited by Peter L. Hays (2008). In an effort to continue to be useful to instructors and professors—from high schools, community colleges, and universities—the newest volumes in this series are organized thematically, rather than around a single text. This shift attempts to open up Hemingway’s work to more interdisciplinary strategies of instruction through divergent theories, fresh juxtapositions, ethical inquiries, and often employing emergent technology to explore media beyond the text.
Kevin Maier’s Teaching Hemingway and the Natural World speaks to issues that continue to be of intense interest to students and scholars today: How did Hemingway engage the natural world? Did he see animals—marlin, trout, big game, bulls—as creatures to be conquered? Or, as a fisherman, hunter, and aficionado of the bullfight, was he trying to connect with an inner primal state, a spiritual brother? The expertise and insight Maier brings to his highly regarded, wide-ranging scholarship on such topics as environmental rhetoric, hunting, fishing, and tourism is manifest throughout this volume. These diverse essays exploring Hemingway’s fiction through the lens of the natural world will revise our understanding not only of Hemingway but of hunting, bullfighting, skiing, fishing, tourism, landscape, the literary marketplace, popular culture, and men’s studies. Indeed, this volume demonstrates that not only is Hemingway’s work being taught in more thoughtful, creative, and innovative ways in today’s classrooms and lecture halls than every before, but scholars are now extending the classroom and taking the Hemingway text to trout streams, ski slopes, and fiestas around the world.
Introduction
Kevin Maier
Ernest Hemingway is a writer we often associate with particular places and animals: Michigan’s Upper Peninsula, Spain’s countryside, East Africa’s game reserves, Cuba’s blue water, and Idaho’s sagebrush all come to mind. We can also easily picture the iconic images of Hemingway with fly rod bent by hefty trout, with bulls charging matadors in the background, or of the famous author proudly posing with trophy lions, marlin, and a whole menagerie of western American game animals. As Robert E. Fleming once put it—updating Gertrude Stein’s famous quip that Hemingway looked like a modern and smelled of museums—Hemingway “was also a hunter, fisherman, and naturalist who smelled of libraries” (1). Hemingway indeed read widely in natural history and science, as well as the literature of field sports. This lifelong interest in the natural world and its inhabitants manifests itself in Hemingway’s writing in myriad ways. To be sure, from the trout Nick Adams carefully releases to Santiago’s marlin, from Robert Jordan’s “heart beating against the pine needle floor of the forest” to Colonel Cantwell’s beloved Italian duck marshes, and from African savannahs to the Gulf Stream, animals and environments are central to Hemingway’s work and life.
Since its origins, Hemingway scholarship has been marked by a robust treatment of these animals and environments. Malcolm Cowley’s introduction to The Portable Hemingway focused on the fishing of “Big Two-Hearted River,” for example. Similarly, Phillip Young’s famous “code-hero” hypothesis arguably hinges on an understanding of hunting culture’s rules of engagement for the natural world. In both these instances, and in much of the early scholarship, however, Hemingway’s representations of the natural world are mined for how they explain male psychology more than for how they suggest a particular relationship to the natural world or its inhabitants. While these representations often served as background for broader arguments related to more human-centered matters in early scholarship, more contemporary critics have opted to treat animals and environments directly. Fleming’s 1999 collection Hemingway and the Natural World offers an excellent foundation, but with the rapid emergence of environmental literary studies in the last two decades much work remains.
This collection aims not only to advance scholarship on Hemingway’s relationship to the natural world but also to facilitate bringing this scholarship to the classroom. Indeed, the goal of the Teaching Hemingway series is to present collections of essays on various approaches to teaching emergent themes in Hemingway’s major works to a variety of students in secondary schools and at the undergraduate and graduate levels. The goal of this particular volume of the series is to explore how teaching Hemingway might help shed light on broader questions about the human relationship to the nonhuman world. Organized geographically, each section that follows features two or three essays about Hemingway’s favorite places.
Despite our association of Hemingway with particular places and with the natural world more generally, his work is not often featured as part of the broader conversations about environmental literature. As the first two essays in the collection eloquently suggest, one potential reason for this gap might be explained by the way Hemingway represents environments. Indeed, in the first texts to be firmly established as canonical environmental literature—Aldo Leopold’s Sand County Almanac or Rachel Carson’s Silent Spring, for example—verisimilitude and scientific accuracy of descriptions characterize the representations of environments; Hemingway’s environments are often much more obliquely presented. This is odd, of course, because truth and precision are certainly hallmarks of Hemingway’s ethos and style, but they do not necessarily characterize his rendering of landscape. Ellen Knodt helps her students arrive at this conclusion by linking Hemingway’s landscapes to Paul Cézanne’s cubist visual rhetoric. Unlike canonical environmental literature, Kno