I’m writing my first book. Be honest, does this idea make sense.
I’m writing a fiction story about a teenager who suffers mental illness. His name is similar to mine and he’s based on me as a teen (I’m now in my 30s). I used to suffer mental illness as a teen but I chose to put my private life through fiction.The question I’m asking is…does this idea make…
Some of the most highly regarded, widely known and best loved pieces of fiction and literature are semi-autobiographical. I could speak for hours and hours about my favourite novel, “Journey to the End of the Night”, and go into great detail about how the comic misadventures of the novel’s semi-autobiographical anti-hero, Bardamu, closely mirror many actual events from the author’s own life. The same is true for writers like Fyodor Dostoyevsky, Ernest Hemingway, James Joyce, Jack London, Cormac McCarthy, Henry Miller, Vladimir Nabokov, George Orwell, Edgar Allan Poe, John Steinbeck, and many, many others. While I really don’t have all that much knowledge about illustrated works of fiction, I can tell you that authors infusing their own work with elements of truth from their own lives is as old as the printed page. Allegory and metaphor are integral to any piece of writing that intends to stand the test of time. I have often drawn on my own personal experiences in my own writing as I’m sure most writers do or have done. So long as you don’t attempt to base each and every character off of yourself or other people that you know it ought to be just fine. So in short, yes, it makes perfect sense.
the old man and the sea, by Ernest Hemingway.
i need help can you tell me the right answers for the following questions1. Describe the setting of the story. Where and in what era does the story take place? What other world events were occurring at the time? How did those events affect the characters and the story line?2. Describe the theme of this…
I’m not going to do your homework for you, but I will gladly discuss some things about the book that I found interesting, mostly for my own entertainment.Here’s a little literary analysisThe old man and the sea is a book with many layers beneath what is written. The language is simple, yet used to convey a lot of meaning. It deals with perseverance, self-control, wisdom vs. strength, among other themes.The story deals with the old man going out to sea after a long streak of “bad luck”. He had been going out for i don’t know how long and not getting a single fish. The old man persisted in trying to catch something, in a way fishing being all he knew. He was afraid to change, he did everything the old fashioned way. He had a very hard time accepting that maybe he had changed. Maybe however hard he kept on trying to make things go back to how they used to be, how he thinks things ought to be, he’d never get them to.When he goes out to sea without the help of the young boy, he makes a decision. He didn’t let himself feel defeated by all the failures he had suffered on the days before when he fished. He knew he had to catch something. It was only a matter of time.He goes to sea, and finally hooks a fish. He hooks a marlin as big as they come, the old man, who had a bad reputation now in the island, was wrestling with a beast of unheard of proportions. He was facing, in a way, the ultimate test. He knew fish, he had been around fish his whole life. He knew he couldn’t win by force, but he could outsmart it. The fish in a way knew the same. The fish is his equal.He wants the fish to get tired, that way he can kill him and take him to shore, but the old man is weakening. He needs as much strength as he can, so does the fish. It becomes a battle of who can survive longer. Everything that the fish does, the old man analyzes, it’s like they’re connected. I think the fish is a symbol of the old man himself, of his age and of his determination.They both struggle for days, until the fish finally gives in to the old man’s tricks. The old man finally gets to kill the fish and tie it to his boat. He conquers his greatest challenge with the wisdom he’s acquired from the years. He can finally return home to prove himself to all the other fisherman that said he was too old.On the way back, he gets attacked by sharks. They eat the fish and leave only the skeleton with the old man. The sharks symbolize time and change, he conquered the biggest fish in the sea but it was consumed before he got ashore.When the old man finally gets back, he leaves the boat in the dock and heads to his home to rest. All his strength is almost gone, he had a great battle with the sea and barely won. The next day, all the people of the island look at the skeleton, the proof of his victory, the trophy of his success. He redeems himself in a way, but his victory was short handed. He did conquer the fish, but it was a greater challenge than that. He succeeded at his craft but it was still only part of the challenge, one that turned out to be too much to handle.The old man could not handle the natural forces that consumed his victory. His fishing skill was proved, but it only took him so far. Does it matter that the fish was eaten by sharks? Wasn’t the old man’s mission accomplished?
How does someone write a novel.
I used to consider myself a writer because I can whip up something short and sweet and get a strong emotional response, something like a song, a poem, or a really short story. But when it comes to real stories like books or scripts or lengthy short stories things you can actually make a living doing I feel totally…
“There is nothing to writing. All you do is sit down at a typewriter and bleed.” – Ernest Hemingway.That’s utterly true for writing narration; writing a novel just takes more conscious planning. Being a longer medium, it has more moving parts, so to speak, than something shorter. You’re with these characters longer, more stuff happens, etc. So, how do you build a machine? Start with some blueprints.(I’ll tell you this right off the bat: don’t write a novel for the sake of writing a novel. You have to have natural inspiration; an idea big enough that the best medium for it is a book and not, say, a short story. Also remember that you will be with these characters and ideas longer than any reader. Your interest for the book needs to greatly outweigh the time and effort that goes into creating it, or you won’t finish. You have to believe in your characters and your story as much as, if not more than, you believe in yourself).I find when I’m writing a novel that I do a lot of writing that isn’t narration for the story. These are things like a summary or character profiles. I cannot stress more the importance of that latter one; your characters should be more like human beings than fictitious creations. You have to know them indefinitely as people. Literally, sit down and have a cup of coffee with them. What are their goals? Their motivations? Their quirks, ticks, pet peeves, Achilles heels, backgrounds? Some good advice from Kurt Vonnegut, “Every character should want something, even if it’s just a glass of water.”Similarly, you may find it helpful to write out your own goals as the writer. Know what you want your reader to feel, think, and what you want the takeaway to be. Despite the length of a novel, it needs to have a common thread of relevant ideas, and you would benefit from being concise; every chapter should have a purpose. You also need to consider how you’ll go about making your reader feel and believe your story, which is the execution that I talk about a few paragraphs down.Take your time brainstorming; create the skeleton of the novel before fleshing it out. This skeleton can be reasonable flexible for changes later on (usually depending on genre; realistic fiction is easier to manipulate than, say, fantasy, which takes place on a larger stage, has greater stakes, and is more plot-driven. Realistic fiction is more character-driven), but you should have your basic points and I would personally advocate that you should always have your ending.As for conflicts, one author, whom I forget, said something to the effect of, “Give your character a goal. Now put every possible obstacle in between your character and that goal”.Also keep in mind that there’s basically no such thing as an original idea. I find, then, that there is more importance in HOW you say something, and not WHAT you’re saying. Say, you’re writing a novel about how love conquers all: Great. Make it the greatest, freshest version of that theme. Say it differently than others have said it before. It’s all about execution.Of course, some people disagree with that; some people read books just for the story, for example, and not the way the story is told. That’s fine; that’s personal preference. I suppose I have loftier goals for my literary endeavors. Similarly, I have stressed the importance of characters, where other readers and writers don’t put as much stock in that. This makes for a decent enough segue: There is no set way to write a novel. Everyone goes about it differently. The very nuances of it can vary from writer to writer: do characters or plot come first? Do they hand write it or type it? It’s not an easy task, either, and not everyone can do it (or do it well). But, you’ll never know until you try.Good luck!
Considering Noam Chomsky, Ernest Hemingway, and James Joyce were atheists, racists, and evil why do people….
respect them? Does anybody who reads Joyce without reading Carol Loeb Shloss’s book on his daughter Lucia, whom he probably had an incestuous relationship with, and who he definitely drove insane deserve to be ridiculed? Since Hemingway fought with Communists in Spain and committed suicide shouldn’t his…
I love how being an atheist is on the same level as being racist. Get over yourself.Author =/= book. Book =/= author. Nabokov wrote ‘Lolita’ without being (or even condoning) paedophilia. I think I can safely read Anton Chekhov without being “ridiculed” for his dying of TB, being a doctor, or being Russian.Why would you ridicule a man who committed suicide, and why would you ridicule his readers? Why would you ridicule the work and reader of men whose political allegiance sways differently to yours? Where is the relevance?People can write moving things while also being horrific people. You know Roald Dahl? The lovely, funny old man, who wrote many excellent children’s books? He was an anti-Semite. You know Enid Blyton? The witty woman who wrote so many children classics? She was a racist and horrible to her own children.Yet, funnily enough, one can read their works without bringing in the baggage of the authors. A work of art is independent of its creator.(Also, why “ridiculed”? I hope you mean “criticised”. :/)[Edit: just watched the youtube video. How is Chomsky lying or stupid in that video? What he says is true for the study of lingustics. Anyway, Sacha Baron Cohen should have chosen a funnier and more easily provoked guest.]
How did Ernest Hemingway’s life experiences influence The Old Man and the Sea..
In two ways, basically:1. Hemingway was a great “sportsman”, including deep sea fishing. So he knew a lot about catching the big ones.2. But, more importantly, on a symbolic level, Hemingway WAS the “Old Man”, the “big fish” was his work (novels, short stories) and the sharks that destoryed his “catch” were the critics who savaged his writing.Here’s a great review:”The apparent clarity of The Old Man and the Sea is deceptive, like certain biblical parables or Arthurian legends that, beneath their simplicity, contain complex religious and ethical allegories, historical references and psychological subtleties. As well as being a beautiful and moving fiction, this tale is also a representation of the human condition, according to Hemingway’s vision. And, to some extent, it was also a resurrection for its author.It was written after one of the biggest failures of his literary career, Across the River and into the Trees, a novel full of stereotypes and rhetorical flourishes which seems to be written by a mediocre imitator of The Sun Also Rises (Fiesta), and which the critics, above all in the United States, reviewed with ferocity – some of them, as respectable as Edmund Wilson, seeing in that novel the signs of the writer’s irremediable decline. This cruel premonition was close to the mark, because the truth is that Hemingway had entered a period of waning creativity and output, ever more crippled by illness and alcohol, and with little energy for life. The Old Man and the Sea was the swan song of a great writer in decline and, thanks to this proud tale, he became again a great writer by producing what in the course of time – Faulkner saw this – would become, despite its brevity, the most enduring of all his books. Many of the works he wrote, which in their time seemed as if they would have a lasting effect, such as For Whom the Bell Tolls and even the brilliant The Sun Also Rises, have lost their freshness and vigour and now seem dated, out of touch with current sensibilities that reject their elemental macho philosophy and their often superficial picturesque nature. But, like a number of his stories, The Old Man and the Sea has survived the ravages of time without a wrinkle, and preserves intact its artistic seduction and its powerful symbolism as a modern myth.It is impossible not to read the odyssey of the lone Santiago, battling against the gigantic fish and the merciless sharks along the Gulf Stream off the coast of Cuba, as a projection of the fight that Hemingway himself had begun to wage against the enemies that had already taken up residence within him. These enemies would first attack his mind and later his body, and would cause him, in 1961, impotent and having lost his memory and spirit, to blow his brains out with one of the guns that he so loved, and which had taken the lives of so many animals.But what gives the adventure of the Cuban fisherman in those tropical waters its extraordinary breadth is that, by osmosis, the reader recognises in the struggle of old Santiago against the silent enemies that will end up defeating him a description of something more constant and universal: that life is a permanent challenge, and that by facing up to this challenge with the bravery and dignity of the fisherman in the story, men and women can achieve a moral greatness, a justification for their existence, even though they might be defeated. This is the reason why when Santiago returns, exhausted and with bloody hands, to the little fishing village where he lives (Cojímar, although that name is not mentioned in the text) carrying the useless skeleton of the big fish eaten by the sharks, he seems to us to be someone who, through his recent experience, has gained enormously in moral stature, surpassing himself and transcending the physical and mental limitations of ordinary mortals.His story is sad, but not pessimistic. Quite the contrary, he shows that there is always hope, that, even with the worst tribulations and setbacks, a man’s behaviour can change defeat into victory and give meaning to his life. The day after his return, Santiago is more worthy of respect than he had been before setting sail, and that is what makes the child Manolín cry: his admiration for the resolute old man, even more than the affection and devotion that he feels for the man who taught him how to fish. This is the meaning of the famous phrase that Santiago utters to himself in the middle of the ocean and which has become the watchword of Hemingway’s view of life: “A man can be destroyed but never defeated.” Not all men, of course; only those – the heroes of his fictions: bull fighters, hunters, smugglers, adventurers of every hue – who, like the fisherman, are endowed with the emblematic virtue of the Hemingway hero: courage.Santiago in The Old Man and the Sea belongs to this noble lineage of brave men. He is a very humble man, very poor – he lives in a wretched shack and uses newspapers for bedding – and the butt of the village’s jokes. And he is also alone: he lost his wife many years earlier, and his only company since then has been his memories of the lions that he saw walking along the beaches in Africa at night from the deck of the tramp steamer where he worked, some American baseball players like Joe DiMaggio, and Manolín, the boy who used to go fishing with him and who now, due to family pressure, has to help another fisherman. For him, fishing is not as it was for Hemingway and many of his characters, a sport, a pastime, a way to win prizes or of proving themselves by facing up to the challenges of the deep, but a vital necessity, a job which – through great hardship and effort – keeps him from dying of hunger. This context makes Santiago’s struggle with the giant marlin extraordinarily human, as does the modesty and naturalness with which the old fisherman carries out his heroic deed: without boasting, without feeling a hero, like a man who is simply carrying out his duty.For the context of the story, Hemingway used his experience: his passion for fishing and his long acquaintance with the village and fishermen of Cojímar: the factory, the Perico bar, La Terraza, where the neighbours drink and talk. The text is permeated with Hemingway’s affection for, and identification with, the marine landscape and the men and women of the sea on the island of Cuba. The Old Man and the Sea pays them a great homage.There is a turning point in the novel, a real qualitative leap, which turns Santiago’s adventure, first with the fish and later with the sharks, into a symbol of the Darwinian struggle for survival, of the human condition, forced to kill in order to survive, and of the unexpected reserves of valour and resistance that human beings possess, which can be summoned when their honour is at stake. This chivalric concept of honour – respect for oneself, blind observance of a self-imposed moral code – is what finally makes the fisherman Santiago commit himself, as he does in his fight with the fish, to a struggle that, at an indefinable moment, is no longer just one more episode in his daily struggle to earn a living, and becomes instead an ordeal, a test in which the dignity and pride of the old man are being measured. And he is very conscious of this ethical and metaphysical dimension to the struggle – during his long soliloquy he exclaims: “But I will show him what a man can do and what a man endures.” At this point, the story is no longer just recounting the adventure of a fisherman with a biblical name, it is recounting the whole adventure of humankind, summed up in that odyssey without witnesses or prizes, where cruelty and valour, need and injustice, force and inventiveness are intertwined, along with the mysterious design that maps out the fate of each individual.For this remarkable transformation in the story to occur – the shift from the particular to a universal archetype – there has been a gradual build-up of emotions and sensations, of hints and allusions that gradually extend the horizons of the tale to a point of complete universality. It manages this shift through the skill with which the story is written and constructed. The omniscient narrator narrates from very close to the protagonist but often lets him take over the account, disappearing behind the thoughts, exclamations and monologues through which Santiago distracts himself from monotony or anguish as he waits for the invisible fish that is dragging his boat along to get tired and come up to the surface so that he can kill it. The narrator is always completely persuasive, both when he describes objectively what is happening from a point removed, or when he allows Santiago to relieve him of this task. He achieves this persuasive power through the coherence and simplicity of his language that seems – only seems, of course – to be that of a man as simple and intellectually limited as the old fisherman, and through displaying a prodigious knowledge of all the secrets of navigation and fishing in the waters of the Gulf, something that fits the personality of Santiago like a glove. This knowledge explains the prodigious skill that Santiago displays in his struggle with the fish that, in this story, represents brute force that is defeated by the seafaring ingenuity and art of the old man.These technical details help to reinforce the realist effect of a story which is in fact more symbolic or mythical than realist, as do the few but effective images that are used to map concisely the life and character of Santiago: those lions, those games of baseball and the extraordinary legend of DiMaggio (who, like him, was the son of a fisherman). Apart from being very believable, all of this shows the narrowness and primitiveness of the fisherman’s life, which makes his achievement all the more remarkable and praiseworthy. For the person who, in The Old Man and the Sea, represents man at his best, in one of those exceptional circumstances in which, through his will and moral conscience, he manages to rise above his condition and rub shoulders with the mythological heroes and gods, is a wretched, barely literate old man.In a highly favourable review soon after the book was published, Faulkner stated that, in this novel, Hemingway had “discovered God”. That is possible but, of course, unverifiable. But he also stated that the main theme of the story was “compassion”, and here he hit the mark. In this moving story, sentimentality is conspicuous by its absence; everything takes place with Spartan sobriety on Santiago’s small boat and in the ocean depths. And yet, from the first to the last line of the tale, a warmth and delicacy permeates everything that happens, reaching a climax in the final moments when, on the point of collapse through grief and exhaustion, old Santiago, stumbling and falling, drags the mast of his boat towards his shack through the sleeping village. What the reader feels in this moment is difficult to describe, as is always the case with the mysterious messages that great works convey. Perhaps, “mercy”, “compassion”, “humanity”, are the words that come closest to this feeling.”
How did Ernest Hemingway contribute to the 1920’s.
After being discharged from the Army, Hemingway returned home and in 1920 took a job in Toronto, Ontario, Canada at the Toronto Star newspaper as a freelancer, staff writer, and foreign correspondent.About this time, Hemingway met Canada’s young literary prodigy, Morley Callaghan who also was a cub reporter at the same paper. Callaghan, who respected Hemingway’s work, showed his own stories to him and Hemingway praised it as fine work. (The two later joined up in the Montparnasse quarter of Paris, France with F. Scott Fitzgerald and the other expatriate writers of the day.)In 1921 Hemingway married Hadley Richardson and moved to Paris as a correspondent for the Toronto Star covering the Greco-Turkish War.In 1923, Hemingway’s first book, Three Stories and Ten Poems, was published in Paris by Robert McAlmon. In the same year, his first son, John, was born in Toronto. Busy supporting a family, he became bored with the Toronto Star, and on January 1, 1924, Hemingway resigned.The Hemingways decided to live abroad for a while, and, following the advice of Sherwood Anderson, they settled in Paris. Anderson gave Hemingway a letter of introduction to Gertrude Stein. She became his mentor and introduced Hemingway to the “Parisian Modern Movement” then ongoing in Montparnasse Quarter. Hemingway’s other mentor was Ezra Pound, the founder of imagism. He was so impressed with Pound that he considered giving him the Nobel Prize gold medal. Hemingway later said of them: “Ezra was right half the time, and when he was wrong, he was so wrong you were never in any doubt about it. Gertrude was always right.” (to John Peale Bishop; Cowley (4.), p. xiii).At the same time, Hemingway became a close friend of James Joyce. These authors and many others met at Sylvia Beach’s bookshop, Shakespeare & Co., at 18 Rue de l’Odéon, Paris.In Montparnasse, Hemingway’s favorite restaurant was La Closerie des Lilas. Here, in just over just six weeks, Hemingway wrote The Sun Also Rises.A tragedy became an unexpected boon when Hemingway’s manuscripts, including A Farewell to Arms were stolen at Gare de Lyon. In re-writing A Farewell…, Hemingway had time to reconsider it, thus improving the work. The second version was a great deal less ornate. Hemingway compressed his prose to its bare essentials, related in a nearly journalistic, matter-of-fact style. These features would become essential components of Hemingway’s style.http://en.wikipedia.org/wiki/Ernest_Hemi…
anyone know some stories that ernest hemingway wrote that relate to his biography.
i need to read his biography which i did and then find some stories that relate to how he lived his life or his style
Most of Hemingway’s early work is purely autobiographical. _The Sun Also Rises_ is a _roman à clef:_ Robert Cohn = Harold Loeb, Lady Brett Ashley = Lady Duff Twysden, Jake Barnes = Hemingway, approximately. The book is based on the expatriate life Hemingway lived after World War I. ALmost all the figures are drawn straight from life.”A Very Short Story” and _A Farewell to Arms_ are based on Hemingway’s wounding in World War I. _Across the River and Into the Trees_ also revisits this event.Hemingway’s father, like that of Nick Adams, the hero of many Hemingway short stories (“Indian Camp,” “The Doctor and the Doctor’s Wife,” “Big Two-Hearted River,” “A Way You’ll Never Be,” etc.) was a doctor. Almost all the Nick Adams stories are stories about Hemingway (perhaps “The Killers” is less so)._For Whom the Bell Tolls_ uses information Hemingway picked up when he was in Spain about the Spanish civil war; Robert Jordan is one of many Hemingway dream-idealizations.
Questions about the author Ernest Hemingway… ASAP.. PLEASE….
How many times did Earnest Hemingway marry?What are the names of some of his novels?What events in his past life make him who he is today?THANK YOU SO MUCH!! IUWHRFNKWJESNDFC LOVE YOU!
Four times: to Hadley Richardson, Pauline Pfeiffer, Martha Gellhorn, and Mary Welsh.The Torrens of Spring (1926–a satirical novel, a “take-off” of Sherwood Anderson)The Sun Also Rises (1926)A Farewell to Arms (1929)To Have and Have Not (1937)For Whom the Bell Tolls (1940)Across the River and Into the Trees (1950)The Old Man and the Sea [a novella] (1952)Other novels were published posthumously–e. g., _The Garden of Eden,_ _Islands in the Stream._He wrote other books (In Our Time (1925), Men Without Women (1927), Winner Take Nothing (1933) and added some stories in a collected edition of 1938, but they weren’t novels. He also wrote a book on bullfighting (Death in the Afternoon ), and some memoir-like fiction: _The Green Hills of Africa_ (1935) and _A Moveable Feast_ [posthumously published in 1964).Who he is today? Well, he’s dead.But I know what you mean, The main event in Ernest Hemingway’s life occurred in 1918, when he was blown up while serving as an ambulance driver in World War I. Almost all the trauma, named and unnamed, behind his fiction is a rehearsing of and reference to that one crucial violent incident, described in _A Farewell to Arms._
What did Ernest Hemingway “modernize”.
I have a HW assignment at school on listing 10 different ways that Ernest Hemingway “modernized” American Literature. To me his writing is not much different than anyone elves, besides the fact that he likes to leave open ended endings in his literature.
The reason you think that his writing is not much different from anyone else’s is because for many years now everyone has tried to write like Hemingway. He’s been the gold standard in publishing for well over half a century.People writing previously did not write anything like Hemingway. You can’t really think that Dickens or Poe or Flaubert sound like Hemingway. Or, sticking to only Americans, Twain, Wharton, Faulkner or Cather.If you want to see how Hemingway changed the face of literature you must look to his predecessors and contemporaries, not to his descendants.The following link does a reasonably good job of describing the major characteristics of Hemingway’s style. If you think about those in relation to books that came before and then look at what we take for granted now I’m sure that this assignment will become much simpler for you to complete.http://www.neabigread.org/books/farewell…
- Ernest Cormier and the Universit ebook by Isabelle Gournay
- The Sun Also Rises ebook by Ernest Hemingway
- El Camino de Santiago Etapa 30- de Pedrouzo a Santiago de Compostela Spanish Edition ebook by unknown author
- Ernest William Goodpasture- Scientist Scholar Gentleman ebook by Robert D. Collins
- Old Man and the Sea The ebook by Hemingway. Ernest