Quotes About Hemingway

Hemingway's short story 'Hills Like White Elephants' is a classic of its kind. It illustrates Hemingway's 'iceberg theory,' which requires that a story find its effectiveness by hiding more than it reveals.

One gets the impression that this is how Ernest Hemingway would have written had he gone to Vassar.

Hemingway's minimalism is based on the psychological mechanics of repression. An echo of his approach can be detected in a favorite trope of 1980s minimalists: a pattern of reference to dire secrets and hidden wounds these authors didn't realize they were supposed to have imagined.

Hemingway was a jerk. I mean he was really a great jerk. He was a good writer, and he did all sorts of things that I would never have the courage to do, but I don't think I'd enjoy being in the same room with him. He's not my kind of person.

Ernest Hemingway did a great deal toward making the writer an acceptable public figure; obviously, he was no sissy.

My theory about why Hemingway killed himself is that he heard his own voice; that he reached the point where he couldn't write without feeling he was repeating himself. That's the worst thing that can happen to a writer.

Whatever simplicity I've achieved in writing, I think I owe most of it to Jean Renoir and Hemingway: simple, declarative sentences. I've read some very good writers, but the sentences were so long that I've forgotten what the point was.

Writing and travel broaden your ass if not your mind and I like to write standing up.

I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.

In For Whom the Bell Tolls, Hemingway cozies up to revolution by romanticizing it (and not only with those execrable love scenes).

Hemingway was a jerk.

My style might seem awkward, but I'm only trying to write down the things in the scene that I think the reader should know.

The thing about Hemingway that people forget is that all the stuff he did was at a time where people weren't traveling that much. At 19 he travels to Italy. He goes to the Spanish Civil War. He goes to China, he goes to Africa so at that time to travel that much is really incredible.

The fictionally correct have all the answers, and that's what's wrong with them. They're artistic technocrats. There's no dilemma so knotty, no question so baffling, that it can't be smoothly neutralized by dialing up the right attitude adjustment. Poor old Hemingway. If only he'd known.

ou could talk about Prohibition, or Hemingway, or air conditioning, or music, or horses, but in the end you had to talk about the stock market, and that was when the conversation became serious.

You could talk about Prohibition, or Hemingway, or air conditioning, or music, or horses, but in the end you had to talk about the stock market, and that was when the conversation became serious.

The key for me with historical characters is they're interesting because they're human beings. A little bit of Hemingway goes a long way here, but journalists and writers should honestly look at their material and have a real interest, a real passion in what they want to write, and they should also have a lot of knowledge as well.

Faulkner is a writer who has had much to do with my soul, but Hemingway is the one who had the most to do with my craft - not simply for his books, but for his astounding knowledge of the aspect of craftsmanship in the science of writing.

I kind of dislike 'For Whom the Bell Tolls,' but most of Hemingway in general, mainly because his stylistic shenanigans ruined so many young writers of my generation who tried to imitate him. I think, for his time, he moved fiction to a different level stylistically, or at least added to the dialogue, but in our time, he's annoying.

The truth is that the writers who most influenced me weren't people categorized as crime writers. I'd say I learned more from John O'Hara, who isn't much read today but whose short stories I really admired, and Hemingway, who I think has lasted pretty good.

They got into fact checking at the 'Paris Review,' and it was mortifying. There was a wrangle about Hemingway's lost stories that nearly killed me. It turns out he didn't lose those stories. They weren't stolen from the platform.

As one of the first editors at 'Outside' magazine in 1975, it was my contention that most American writing going back to James Fennimore Cooper and then through Twain up to Hemingway had been outdoor writing. At that time, adventure writing meant stuff like 'Saga' or 'Argosy.' 'Death Race with the Jungle Leper Army!' That kind of thing.

Hemingway was really early. I probably started reading him when I was just eleven or twelve. There was just something magnetic to me in the arrangement of those sentences. Because they were so simple - or rather they appeared to be so simple, but they weren't.

There is no symbolism to these fish, as Hemingway wrote. A cabezon is just a cabezon; a garibaldi, a garibaldi. But what wonderful stories they tell us about life in the ocean!