WEBVTT 00:00:00.000 --> 00:00:02.339 Welcome to The Deep Dive, the show that takes 00:00:02.339 --> 00:00:05.080 a complex stack of sources and delivers the absolute 00:00:05.080 --> 00:00:08.000 essential knowledge directly to you. Our mission 00:00:08.000 --> 00:00:10.460 today is to decode one of the most romanticized 00:00:10.460 --> 00:00:13.480 yet profoundly tragic figures in 20th century 00:00:13.480 --> 00:00:16.480 literature, Ernest Hemingway. We are charting 00:00:16.480 --> 00:00:18.660 the remarkable, almost unbelievably dramatic 00:00:18.660 --> 00:00:21.600 life of Ernest Miller Hemingway, born in 1899 00:00:21.600 --> 00:00:26.500 and deceased in 1961. And we're synthesizing 00:00:26.500 --> 00:00:29.480 a life that was just one long, continuous exercise 00:00:29.480 --> 00:00:33.079 in physical and emotional extremes. The real 00:00:33.079 --> 00:00:35.579 challenge here is figuring out what fueled his 00:00:35.579 --> 00:00:38.259 masterpieces, what made his writing so lean, 00:00:38.340 --> 00:00:41.219 so powerful, and why that same life ended in 00:00:41.219 --> 00:00:43.679 such devastation. That duality is the foundation 00:00:43.679 --> 00:00:45.380 of the myth, isn't it? Right. Hemingway's this 00:00:45.380 --> 00:00:47.399 iconic contradiction. You have the high -octane 00:00:47.399 --> 00:00:50.500 public brand, the romanticized adventurer, the 00:00:50.500 --> 00:00:53.140 big game hunter in Africa, the deep -sea fisherman, 00:00:53.340 --> 00:00:55.240 the, you know, hard -drinking war correspondent. 00:00:55.460 --> 00:00:57.479 Exactly. He's the figure who was decorated for 00:00:57.479 --> 00:00:59.780 bravery in World War I, owned a legendary boat 00:00:59.780 --> 00:01:02.320 called the Pilar, and married four times. That's 00:01:02.320 --> 00:01:04.019 the outward projection, the performance you give 00:01:04.019 --> 00:01:05.819 the world. But here's the crucial counterpoint. 00:01:06.170 --> 00:01:08.769 The thing he is ultimately famous for, his actual 00:01:08.769 --> 00:01:11.450 prose, is, well, it's economical, it's surgical, 00:01:11.590 --> 00:01:14.829 and profoundly understated. He pioneered a style 00:01:14.829 --> 00:01:17.730 based almost entirely on omission. So he was 00:01:17.730 --> 00:01:21.129 this colossal, loud personality who wrote quiet, 00:01:21.189 --> 00:01:24.349 distilled fiction. And that unique style, what 00:01:24.349 --> 00:01:26.409 we know as the iceberg theory, exerted such a 00:01:26.409 --> 00:01:29.090 massive influence that it earned him the Pulitzer 00:01:29.090 --> 00:01:32.000 Prize for fiction in 1953. And the following 00:01:32.000 --> 00:01:34.799 year, the Nobel Prize in Literature. And that 00:01:34.799 --> 00:01:36.819 was an acknowledgement not just of his technical 00:01:36.819 --> 00:01:40.359 mastery of narrative, but of the indelible mark 00:01:40.359 --> 00:01:43.489 he had left on contemporary literary style. So 00:01:43.489 --> 00:01:45.909 today we're peeling back the myth to understand 00:01:45.909 --> 00:01:48.510 the methodology. We'll trace the biography chronologically, 00:01:48.730 --> 00:01:50.989 moving from the affluent conservative suburbs 00:01:50.989 --> 00:01:53.209 of his youth right into the crucible of war. 00:01:53.349 --> 00:01:55.730 Then we'll dissect how that early trauma coupled 00:01:55.730 --> 00:01:58.189 with later almost unbelievable catastrophic injuries 00:01:58.189 --> 00:02:00.629 resulted in his revolutionary technique, his 00:02:00.629 --> 00:02:02.730 commitment to showing, never telling, and ultimately 00:02:02.730 --> 00:02:05.829 his tragic final years. Okay, let's unpack the 00:02:05.829 --> 00:02:09.949 beginning. Ernest was born July 21st, 1899 in 00:02:09.949 --> 00:02:12.030 Oak Park, Illinois. And it's really important 00:02:12.030 --> 00:02:14.330 to understand the setting here. Oak Park was 00:02:14.330 --> 00:02:17.189 an affluent, deeply conservative suburb known 00:02:17.189 --> 00:02:19.569 for its strict morality. Oh, completely. It was 00:02:19.569 --> 00:02:21.930 a place where conformity was the highest value. 00:02:22.030 --> 00:02:23.750 I think Frank Lloyd Wright, who had his famous 00:02:23.750 --> 00:02:26.509 studio there, he famously described Oak Park 00:02:26.509 --> 00:02:29.669 as having so many churches for so many good people 00:02:29.669 --> 00:02:32.490 to go to. For a young Hemingway, this environment 00:02:32.490 --> 00:02:34.889 just represented a certain suffocating rigidity. 00:02:35.169 --> 00:02:37.629 And his parents were the embodiment of this split. 00:02:37.889 --> 00:02:40.210 I mean, they were educated and well -respected. 00:02:40.960 --> 00:02:43.659 But their interests pulled him in these radically 00:02:43.659 --> 00:02:46.219 different directions. Absolutely. On one side, 00:02:46.240 --> 00:02:48.400 you had his mother, Grace Hall Hemingway, a well 00:02:48.400 --> 00:02:50.780 -known local musician. She taught him the cello. 00:02:50.780 --> 00:02:53.419 Which he hated, right? He later claimed to despise 00:02:53.419 --> 00:02:55.479 the cello lessons, viewing them as an attempt 00:02:55.479 --> 00:02:58.699 to mold him into a passive, artistic boy. However, 00:02:58.919 --> 00:03:01.539 and this is key, he did credit those lessons 00:03:01.539 --> 00:03:03.759 with contributing to the contrapuntal structure 00:03:03.759 --> 00:03:06.360 of his complex narrative in the later novel, 00:03:06.460 --> 00:03:09.400 For Whom the Bell Tolls. So that idea of layered, 00:03:09.479 --> 00:03:12.199 interwoven narratives that comes from music. 00:03:12.520 --> 00:03:14.699 Exactly. And then on the other side, you have 00:03:14.699 --> 00:03:17.400 his father, Dr. Clarence Hemingway, who was pulling 00:03:17.400 --> 00:03:20.219 him toward the wild. Clarence instilled this 00:03:20.219 --> 00:03:22.819 lifelong passion for the outdoors, teaching him 00:03:22.819 --> 00:03:25.819 woodcraft, hunting, fishing, and camping at the 00:03:25.819 --> 00:03:27.879 family's summer cottage in northern Michigan. 00:03:27.919 --> 00:03:31.360 This is critical. These early experiences established 00:03:31.360 --> 00:03:34.419 the two poles of his personality. Yes, the refined 00:03:34.419 --> 00:03:37.479 artist struggling against the perceived conventionality 00:03:37.479 --> 00:03:40.639 of home and the rugged outdoorsman finding authenticity 00:03:40.639 --> 00:03:43.960 and solitude in the wilderness. And the wilderness 00:03:43.960 --> 00:03:46.919 became his primary refuge, a concept that would, 00:03:47.000 --> 00:03:49.400 you know, define his life and his fiction. But 00:03:49.400 --> 00:03:51.979 before the wilderness became a theme, his professional 00:03:51.979 --> 00:03:54.860 style was set in stone by the city. Right after 00:03:54.860 --> 00:03:57.120 high school, he worked for just six months as 00:03:57.120 --> 00:03:59.939 a cub reporter for the Kansas City Star. And 00:03:59.939 --> 00:04:01.960 that short stint became the foundational experience 00:04:01.960 --> 00:04:04.939 for his literary technique. The star's style 00:04:04.939 --> 00:04:07.900 guide was almost a moral code for writing. They 00:04:07.900 --> 00:04:11.060 demanded clarity, brevity, and strength. And 00:04:11.060 --> 00:04:12.939 these weren't just suggestions, they were dictates. 00:04:13.219 --> 00:04:16.339 The specific rules, which sound exactly like 00:04:16.339 --> 00:04:18.360 the blueprint for a Hemingway novel, were... 00:04:18.360 --> 00:04:21.480 Use short sentences. Use short first paragraphs. 00:04:21.899 --> 00:04:24.980 Use vigorous English. Be positive, not negative. 00:04:25.529 --> 00:04:27.610 It's amazing when you think about it, the entire 00:04:27.610 --> 00:04:30.189 structure of the iceberg theory, the economy, 00:04:30.310 --> 00:04:33.170 the declarative sentences, the reliance on... 00:04:33.439 --> 00:04:36.899 Dialogue and action was born not in Paris cafes. 00:04:37.220 --> 00:04:39.160 But in the rigorous, disciplined environment 00:04:39.160 --> 00:04:42.259 of a Midwestern newspaper office. Right. It trained 00:04:42.259 --> 00:04:44.939 him to strip away all the unnecessary adjectives 00:04:44.939 --> 00:04:47.600 and elaborate description, favoring impact and 00:04:47.600 --> 00:04:50.360 velocity above all else. So we have the technique 00:04:50.360 --> 00:04:52.839 established. Now let's connect that style directly 00:04:52.839 --> 00:04:55.160 to the life -changing trauma of World War I, 00:04:55.259 --> 00:04:57.240 because that provided the emotional fuel for 00:04:57.240 --> 00:04:59.319 the technique. He desperately wanted to enlist 00:04:59.319 --> 00:05:01.540 in the U .S. Army, but was rejected. Yes, because 00:05:01.540 --> 00:05:04.550 of poor eyesight. So he volunteered as an ambulance 00:05:04.550 --> 00:05:06.649 driver for the Red Cross and arrived on the Italian 00:05:06.649 --> 00:05:09.810 front in May 1918. He was still only 18 years 00:05:09.810 --> 00:05:13.029 old. And his romantic notions of war, which were 00:05:13.029 --> 00:05:15.550 typical of young men at the time, were instantly 00:05:15.550 --> 00:05:18.209 brutally obliterated. Tell us about that first 00:05:18.209 --> 00:05:21.170 day in Milan. It sounds absolutely visceral. 00:05:21.519 --> 00:05:23.699 It was horrific. He was immediately sent to the 00:05:23.699 --> 00:05:26.000 site of a munitions factory explosion where he 00:05:26.000 --> 00:05:28.100 joined rescuers retrieving the remains of female 00:05:28.100 --> 00:05:30.920 workers. He described the incident later in death 00:05:30.920 --> 00:05:34.459 in the afternoon using that stark, detached language 00:05:34.459 --> 00:05:36.800 that the star taught him, saying they simply 00:05:36.800 --> 00:05:39.839 collected fragments. Collected fragments. Just 00:05:39.839 --> 00:05:43.360 wow. That immediate, brutal confrontation with 00:05:43.360 --> 00:05:45.699 death and dismemberment happening before he even 00:05:45.699 --> 00:05:48.660 saw the front lines was a massive psychological 00:05:48.660 --> 00:05:52.100 shock. And just a month later. On July 8th, 1918, 00:05:52.459 --> 00:05:55.680 he was severely wounded himself. He was delivering 00:05:55.680 --> 00:05:58.660 supplies at Fusolta di Piave when a mortar shell 00:05:58.660 --> 00:06:00.839 exploded nearby. He was seriously wounded in 00:06:00.839 --> 00:06:03.439 the legs by shrapnel, but what followed is pure 00:06:03.439 --> 00:06:06.040 Hemingway code. Despite his severe injuries, 00:06:06.139 --> 00:06:08.500 over 200 fragments were reportedly pulled from 00:06:08.500 --> 00:06:11.100 his legs. He assisted Italian soldiers who were 00:06:11.100 --> 00:06:13.060 more seriously wounded than he was to safety. 00:06:13.300 --> 00:06:16.120 That act of bravery earned him immediate recognition. 00:06:16.920 --> 00:06:19.759 The Italian War Merit Cross and the Silver Medal 00:06:19.759 --> 00:06:23.839 of Military Valor. The citation praised his admirable 00:06:23.839 --> 00:06:26.839 spirit of brotherhood, but the cost psychologically 00:06:26.839 --> 00:06:29.480 must have been immense. It was the loss of illusion. 00:06:30.199 --> 00:06:32.259 He later famously said that going to war as a 00:06:32.259 --> 00:06:34.699 boy gives you a great illusion of immortality. 00:06:34.939 --> 00:06:37.420 He said he lost that illusion the moment she 00:06:37.420 --> 00:06:39.600 was badly wounded and knew that killing could 00:06:39.600 --> 00:06:41.740 happen to him, that he was mortal. And that moment 00:06:41.740 --> 00:06:44.740 of clarity, that lost innocence, is foundational 00:06:44.740 --> 00:06:47.759 to every character he wrote thereafter who faces 00:06:47.759 --> 00:06:50.220 the chaos of the world. And while recuperating 00:06:50.220 --> 00:06:52.279 for six months in Milan, the emotional scarring 00:06:52.279 --> 00:06:54.939 continued. He fell in love with Agnes von Karowski, 00:06:55.180 --> 00:06:58.100 a nurse seven years his senior. This relationship, 00:06:58.279 --> 00:07:00.180 which he believed would lead to marriage, ended 00:07:00.180 --> 00:07:03.160 in a devastating rejection. Well, she let him 00:07:03.160 --> 00:07:06.139 on, and he returned home in January 1919, believing 00:07:06.139 --> 00:07:09.160 they would marry. Then she sent a letter revealing 00:07:09.160 --> 00:07:12.360 she was engaged to an Italian officer. It established 00:07:12.360 --> 00:07:14.680 this painful pattern that would haunt his romantic 00:07:14.680 --> 00:07:17.860 life. He often repeated that cycle of abandoning 00:07:17.860 --> 00:07:20.459 a wife or finding a reason to leave before he 00:07:20.459 --> 00:07:22.800 could be abandoned himself. A preemptive strike 00:07:22.800 --> 00:07:25.480 against emotional vulnerability. Exactly. His 00:07:25.480 --> 00:07:28.459 return home in 1919 was deeply complicated. He 00:07:28.459 --> 00:07:30.579 was barely 20. physically and psychologically 00:07:30.579 --> 00:07:33.779 damaged, and his war -forged maturity was completely 00:07:33.779 --> 00:07:36.279 at odds with the conservative, innocent life 00:07:36.279 --> 00:07:38.779 of Oak Park. The biographer Michael Reynolds 00:07:38.779 --> 00:07:42.079 noted the specific emotional difficulty. He couldn't 00:07:42.079 --> 00:07:44.259 articulate the trauma to his parents, he couldn't 00:07:44.259 --> 00:07:46.540 tell them how scared he was, or what it was like 00:07:46.540 --> 00:07:48.699 to face surgeons who couldn't tell him in English 00:07:48.699 --> 00:07:51.259 if his leg was going to be amputated. The language 00:07:51.259 --> 00:07:54.079 of traditional sentiment just failed him. And 00:07:54.079 --> 00:07:55.600 this is where the trauma connects back to the 00:07:55.600 --> 00:07:58.639 style. The traditional narrative failed. so he 00:07:58.639 --> 00:08:01.660 sought a new one. That September, he took a fishing 00:08:01.660 --> 00:08:04.019 and camping trip to Michigan's Upper Peninsula. 00:08:04.319 --> 00:08:07.060 Exactly. This retreat became the inspiration 00:08:07.060 --> 00:08:09.819 for the story Big Two -Hearted River, where the 00:08:09.819 --> 00:08:12.680 semi -autobiographical character Nick Adams seeks 00:08:12.680 --> 00:08:15.379 solitude after returning from war. The story 00:08:15.379 --> 00:08:17.620 is a perfect example of the iceberg theory in 00:08:17.620 --> 00:08:20.560 action. The surface action is the intense physical 00:08:20.560 --> 00:08:24.100 process of fishing, but the true meaning, the 00:08:24.100 --> 00:08:27.620 war trauma, is submerged and omitted. He's controlling 00:08:27.620 --> 00:08:30.040 the external world because he cannot control 00:08:30.040 --> 00:08:33.340 the internal emotional chaos. Precisely. He eventually 00:08:33.340 --> 00:08:36.100 moved to Chicago, met and married Hadley Richardson 00:08:36.100 --> 00:08:39.440 in 1921. Hadley was eight years older, and our 00:08:39.440 --> 00:08:41.679 sources suggest she had a nurturing instinct. 00:08:42.220 --> 00:08:44.679 possibly a reflection of the security he craved 00:08:44.679 --> 00:08:47.360 after Agnes' rejection, though she was characterized 00:08:47.360 --> 00:08:49.480 as less mature than Agnes. Right, and it was 00:08:49.480 --> 00:08:51.700 Sherwood Anderson, whom he met in Chicago, who 00:08:51.700 --> 00:08:53.620 convinced them to skip Rome and head straight 00:08:53.620 --> 00:08:55.700 to Paris, providing the key letters of introduction. 00:08:56.240 --> 00:08:59.360 With Hadley, Hemingway achieved stability, a 00:08:59.360 --> 00:09:01.539 comfortable income from her trust fund, and a 00:09:01.539 --> 00:09:04.059 life in Europe. The stage was set for the creation 00:09:04.059 --> 00:09:07.879 of a literary revolution. Paris, the early 1920s. 00:09:07.879 --> 00:09:10.789 This is the literary launchpad. He arrived. working 00:09:10.789 --> 00:09:12.570 as a foreign correspondent for the Toronto Star. 00:09:12.830 --> 00:09:15.750 But his real work was absorbing the artistic 00:09:15.750 --> 00:09:18.230 ferment of the Montparnasse Quarter. It was an 00:09:18.230 --> 00:09:20.610 electric time. I mean, Paris in the 1920s was 00:09:20.610 --> 00:09:23.629 the intellectual capital of the West. The expatriate 00:09:23.629 --> 00:09:25.889 community, which Gertrude Stein coined the lost 00:09:25.889 --> 00:09:28.769 generation, was absolutely critical to his development. 00:09:28.970 --> 00:09:31.710 He met literary heavyweights, artists, thinkers, 00:09:31.929 --> 00:09:35.129 defining his place in modernism. Stein was his 00:09:35.129 --> 00:09:37.929 major mentor. She was the absolute epicenter 00:09:37.929 --> 00:09:40.289 of the movement, introducing him to artists like 00:09:40.289 --> 00:09:42.830 Pablo Picasso and the entire circle of expatriate 00:09:42.830 --> 00:09:45.129 modernists. She even became godmother to his 00:09:45.129 --> 00:09:48.120 son, Jack. Her influence was profound, particularly 00:09:48.120 --> 00:09:50.700 in encouraging him to focus on the unique rhythms 00:09:50.700 --> 00:09:53.399 and voices of American English, stripped of European 00:09:53.399 --> 00:09:56.039 ornamentation. But, as we know, their relationship 00:09:56.039 --> 00:09:58.600 didn't last. Once Hemingway achieved success, 00:09:59.039 --> 00:10:01.480 their connection deteriorated into this decades 00:10:01.480 --> 00:10:04.759 -long bitter literary quarrel, often fueled by 00:10:04.759 --> 00:10:07.159 personal jealousy and professional competitiveness. 00:10:07.500 --> 00:10:09.820 He also found an advocate in Ezra Pound, who 00:10:09.820 --> 00:10:13.059 was 14 years his senior. Pound recognized and 00:10:13.059 --> 00:10:18.070 fostered his young, raw talent. It's fascinating 00:10:18.070 --> 00:10:20.690 how quickly he integrated into the elite. Hemingway 00:10:20.690 --> 00:10:22.710 and Joyce would frequently embark on alcoholic 00:10:22.710 --> 00:10:25.629 sprees, solidifying his reputation among the 00:10:25.629 --> 00:10:28.570 avant -garde. This rapid ascent shows that the 00:10:28.570 --> 00:10:30.370 foundational discipline from the Kansas City 00:10:30.370 --> 00:10:32.649 star was already translating into compelling 00:10:32.649 --> 00:10:36.059 material. But then catastrophe struck. In December 00:10:36.059 --> 00:10:39.120 1922, we have the disaster of the lost manuscripts. 00:10:39.639 --> 00:10:41.840 Hadley was traveling from Paris to meet him in 00:10:41.840 --> 00:10:44.620 Geneva and somehow lost a suitcase at the Gare 00:10:44.620 --> 00:10:47.960 de Lyon. And that suitcase contained... Everything. 00:10:48.000 --> 00:10:50.240 Almost all of his early fiction, short stories, 00:10:50.259 --> 00:10:52.240 and Mandian grips. It was complete destruction 00:10:52.240 --> 00:10:54.799 of his professional portfolio. Hemingway was, 00:10:54.960 --> 00:10:57.399 you know, understandably furious with Hadley 00:10:57.399 --> 00:10:59.940 and utterly devastated by the loss. How did that 00:10:59.940 --> 00:11:02.879 monumental loss impact his writing style? It 00:11:02.879 --> 00:11:04.799 feels like the second major trauma following 00:11:04.799 --> 00:11:08.240 World War I that forced a stylistic choice. It's 00:11:08.240 --> 00:11:11.669 the second crucible. The WWI trauma taught him 00:11:11.669 --> 00:11:14.690 to omit emotional pain. The loss of the manuscripts 00:11:14.690 --> 00:11:17.909 taught him to omit wasteful words. It reinforced 00:11:17.909 --> 00:11:20.730 his commitment to precise, spare writing that 00:11:20.730 --> 00:11:22.950 could not afford to be overwritten. If he had 00:11:22.950 --> 00:11:25.649 to start his entire career over, every sentence 00:11:25.649 --> 00:11:28.690 had to be perfect, every word essential. This 00:11:28.690 --> 00:11:30.830 loss solidified his commitment to the radical 00:11:30.830 --> 00:11:33.850 economy that became the iceberg theory. He returned 00:11:33.850 --> 00:11:36.309 to writing furiously, and his career gained momentum 00:11:36.309 --> 00:11:39.200 rapidly. His first collection, Three Stories 00:11:39.200 --> 00:11:42.340 and Ten Poems, came out in 1923, then in our 00:11:42.340 --> 00:11:44.899 time in 1924, which included vignettes inspired 00:11:44.899 --> 00:11:47.220 by his first visit to Spain, where he discovered 00:11:47.220 --> 00:11:49.220 bullfighting the corrida. The corrida became 00:11:49.220 --> 00:11:51.860 another essential pillar of his aesthetic. He 00:11:51.860 --> 00:11:53.940 saw in bullfighting a ritualistic, authentic 00:11:53.940 --> 00:11:56.179 confrontation with death, stripped of pretense. 00:11:56.340 --> 00:11:59.179 It was of great tragic interest, being literally 00:11:59.179 --> 00:12:01.220 of life and death, as he would later analyze. 00:12:01.379 --> 00:12:03.779 It became the perfect manifestation of the code 00:12:03.779 --> 00:12:07.220 hero facing death with dignity. His 1925 collection 00:12:07.220 --> 00:12:09.940 In Our Time. with stories like Indian Camp that 00:12:09.940 --> 00:12:11.379 marked the moment the American reading public 00:12:11.379 --> 00:12:13.360 realized this young writer was doing something 00:12:13.360 --> 00:12:16.500 truly revolutionary. His use of dialogue and 00:12:16.500 --> 00:12:19.440 short declarative sentences reinvigorated the 00:12:19.440 --> 00:12:21.879 short story genre. And then F. Scott Fitzgerald. 00:12:22.000 --> 00:12:24.980 In 1925, they met and formed this friendship 00:12:24.980 --> 00:12:27.659 characterized by intense admiration coupled with 00:12:27.659 --> 00:12:31.779 intense hostility and competition. After Hemingway 00:12:31.779 --> 00:12:34.080 read The Proofs of the Great Gatsby, he recognized 00:12:34.080 --> 00:12:36.480 the scope of novelistic ambition and decided 00:12:36.480 --> 00:12:38.919 his next work had to be. be a novel. And that 00:12:38.919 --> 00:12:41.620 novel, The Sun Also Rises, became the immediate 00:12:41.620 --> 00:12:44.620 voice of a generation. The inspiration came from 00:12:44.620 --> 00:12:46.620 his third trip to the Festival of San Fermin 00:12:46.620 --> 00:12:49.039 in Pamplona. He began writing the draft on his 00:12:49.039 --> 00:12:52.320 birthday, July 24, 1925, and finished it an astonishing 00:12:52.320 --> 00:12:55.169 eight weeks later. Published in 1926, it was 00:12:55.169 --> 00:12:57.370 immediately recognized as his greatest work to 00:12:57.370 --> 00:13:00.289 date. It epitomized the post -war expatriate 00:13:00.289 --> 00:13:02.629 lost generation defined by Jake Barnes and Lady 00:13:02.629 --> 00:13:04.929 Brett Ashley. The characters are spiritually 00:13:04.929 --> 00:13:07.490 and often physically wounded, wandering, finding 00:13:07.490 --> 00:13:09.950 solace only in ritual and fleeting moments of 00:13:09.950 --> 00:13:12.429 connection. But what's fascinating is Hemingway's 00:13:12.429 --> 00:13:14.570 insistence that the book's point wasn't simply 00:13:14.570 --> 00:13:17.129 that the generation was lost. He argued that 00:13:17.129 --> 00:13:19.700 the earth abideth forever. Meaning, while the 00:13:19.700 --> 00:13:21.759 characters were battered, they were grounded 00:13:21.759 --> 00:13:24.259 in the timeless reality of nature and ritual. 00:13:24.580 --> 00:13:28.139 They endured. Yet the central theme of spiritual 00:13:28.139 --> 00:13:31.279 and physical emasculation epitomized by Jake 00:13:31.279 --> 00:13:34.620 Barnes' war wound is a direct reflection of Hemingway's 00:13:34.620 --> 00:13:37.480 own deepest trauma. The wounds is mentioned, 00:13:37.639 --> 00:13:39.840 but it's never detailed or emotionally explored. 00:13:40.000 --> 00:13:43.460 It is pure iceberg theory. We feel the effect 00:13:43.460 --> 00:13:46.159 of the wound on his life and relationships, not 00:13:46.159 --> 00:13:48.840 the wound itself. While achieving this literary 00:13:48.840 --> 00:13:51.179 success, his first marriage deteriorated because 00:13:51.179 --> 00:13:53.259 of his affair with Pauline Pfeiffer, a wealthy 00:13:53.259 --> 00:13:55.559 Vogue journalist. Pauline was much more commercially 00:13:55.559 --> 00:13:57.519 ambitious for him, even urging him to sign a 00:13:57.519 --> 00:13:59.600 contract with Scribner's against Hadley's advice. 00:13:59.879 --> 00:14:02.639 And that pattern of preemptive abandonment resurfaced. 00:14:03.100 --> 00:14:05.639 Hadley learned of the affair, asked for a separation, 00:14:05.919 --> 00:14:09.820 and they divorced in January 1927. The financial 00:14:09.820 --> 00:14:12.740 arrangement was telling. Hadley, by contract, 00:14:13.000 --> 00:14:15.620 took the future proceeds from the son, also rises. 00:14:16.399 --> 00:14:19.019 Hemingway married Pauline quickly in May, converting 00:14:19.019 --> 00:14:21.580 to Catholicism beforehand to appease her family. 00:14:21.779 --> 00:14:24.139 This shift marked the end of his great Paris 00:14:24.139 --> 00:14:28.320 period. They left in March 1928, primarily because 00:14:28.320 --> 00:14:31.179 Pauline was pregnant. But just before they departed, 00:14:31.279 --> 00:14:33.620 he suffered yet another concussion, a constant 00:14:33.620 --> 00:14:36.360 pattern in his life. He mistakenly pulled down 00:14:36.360 --> 00:14:38.440 a skylight in their Paris bathroom, thinking 00:14:38.440 --> 00:14:40.929 the chain was for the toilet. That injury left 00:14:40.929 --> 00:14:43.029 him with a prominent forehead scar he carried 00:14:43.029 --> 00:14:45.929 for life. And after this incident he made a conscious 00:14:45.929 --> 00:14:48.049 choice to move away from the chaos of modern 00:14:48.049 --> 00:14:50.870 urban life. As our sources state, he never again 00:14:50.870 --> 00:14:53.389 lived in a big city. The relocation led them 00:14:53.389 --> 00:14:55.639 to Key West, Florida. by way of Kansas City, 00:14:55.759 --> 00:14:57.960 where their son Patrick was born in June 1928. 00:14:58.259 --> 00:15:00.759 And Pauline had a difficult delivery, which later 00:15:00.759 --> 00:15:02.700 served as a direct inspiration for the tragic 00:15:02.700 --> 00:15:05.120 birth scene in his next major novel, A Farewell 00:15:05.120 --> 00:15:08.220 to Arms. Then, the profound personal tragedy 00:15:08.220 --> 00:15:11.799 of December 1928. Hemingway received the news 00:15:11.799 --> 00:15:14.379 that his father, Dr. Clarence, had killed himself 00:15:14.379 --> 00:15:16.899 with his father's Civil War pistol. This event 00:15:16.899 --> 00:15:20.000 was devastating. It provided a shocking, fatal 00:15:20.000 --> 00:15:22.639 parallel to the suicide of Hadley's father decades 00:15:22.639 --> 00:15:26.080 earlier. The trauma of WWI had been externalized, 00:15:26.139 --> 00:15:28.940 but this was internal and hereditary. And his 00:15:28.940 --> 00:15:31.080 reaction was chillingly prescient. He reportedly 00:15:31.080 --> 00:15:34.120 said, I'll probably go the same way. This experience 00:15:34.120 --> 00:15:36.759 cemented suicide, depression, and the struggle 00:15:36.759 --> 00:15:39.740 against family fate as a dark, permanent undercurrent 00:15:39.740 --> 00:15:42.659 in his subsequent work. He knew, consciously 00:15:42.659 --> 00:15:45.100 or subconsciously, the tragic path that might 00:15:45.100 --> 00:15:47.450 away him. So now we enter Act III, the period 00:15:47.450 --> 00:15:49.250 that defined him as a major American writer, 00:15:49.409 --> 00:15:52.529 starting with A Farewell to Arms in 1929. He 00:15:52.529 --> 00:15:53.970 had finished the draft months earlier, but the 00:15:53.970 --> 00:15:56.029 obsessive, meticulous Hemingway spent months 00:15:56.029 --> 00:15:58.389 refining it. This attention to detail is crucial. 00:15:58.549 --> 00:16:01.070 He famously rewrote the ending as many as 17 00:16:01.070 --> 00:16:04.210 times. 17 times. Because the ending, the tragic 00:16:04.210 --> 00:16:06.570 death of the woman he loves, Catherine Barclay, 00:16:06.570 --> 00:16:09.370 during childbirth, was the ultimate moment of 00:16:09.370 --> 00:16:12.320 omitted emotion. He needed to find the exact 00:16:12.320 --> 00:16:15.639 sequence of words, the exact cadence, the perfect 00:16:15.639 --> 00:16:17.980 collection of facts that would trigger the profound, 00:16:18.159 --> 00:16:20.940 inescapable grief in the reader without him ever 00:16:20.940 --> 00:16:23.039 having to use a single sentimental adjective. 00:16:23.460 --> 00:16:26.120 A farewell to arms cemented his stature as a 00:16:26.120 --> 00:16:29.419 complex, mature American voice. Critics recognized 00:16:29.419 --> 00:16:32.279 a level of thematic complexity and depth that 00:16:32.279 --> 00:16:34.419 went far beyond the post -war disillusionment 00:16:34.419 --> 00:16:37.299 of the sun also rises. He then immersed himself 00:16:37.299 --> 00:16:39.519 again in Spain and the philosophy of the Corda, 00:16:39.519 --> 00:16:42.200 resulting in the 1932 nonfiction treatise Death 00:16:42.200 --> 00:16:44.539 in the Afternoon. This was not merely a book 00:16:44.539 --> 00:16:46.820 about bullfighting. It was an attempt to articulate 00:16:46.820 --> 00:16:49.580 his aesthetic philosophy. He argued that bullfighting 00:16:49.580 --> 00:16:51.559 was a ritual that revealed deep truths about 00:16:51.559 --> 00:16:54.419 courage, skill, grace under pressure, and the 00:16:54.419 --> 00:16:56.899 inevitability of death. It was the perfect real 00:16:56.899 --> 00:16:59.440 -life example of the code hero, the professional 00:16:59.440 --> 00:17:01.899 who maintains dignity and authenticity in the 00:17:01.899 --> 00:17:04.619 face of oblivion. The early 1930s established 00:17:04.619 --> 00:17:07.900 his geographical pattern, winters in Key West, 00:17:08.140 --> 00:17:11.099 which offered the seclusion he loved, and summers 00:17:11.099 --> 00:17:14.480 in Wyoming, hunting elk and grizzly bear. He 00:17:14.480 --> 00:17:16.799 found Wyoming the most beautiful country he had 00:17:16.799 --> 00:17:19.680 seen in the American West. This lifestyle wasn't 00:17:19.680 --> 00:17:22.299 just a hobby, it was a necessary counterweight 00:17:22.299 --> 00:17:24.460 to the emotional and intellectual demands of 00:17:24.460 --> 00:17:27.720 his writing. In 1934, he purchased his legendary 00:17:27.720 --> 00:17:30.819 fishing boat, the Pillar, using the name of the 00:17:30.819 --> 00:17:33.460 woman in for whom the bell tolls. Though the 00:17:33.460 --> 00:17:36.119 boat's name predates the novel, which is interesting, 00:17:36.279 --> 00:17:39.000 this boat represented absolute freedom, another 00:17:39.000 --> 00:17:40.819 self -contained world where he controlled the 00:17:40.819 --> 00:17:43.279 process and the output. But his taste for extreme 00:17:43.279 --> 00:17:46.559 experience naturally led him to Africa. In 1933, 00:17:46.960 --> 00:17:49.579 he and Pauline went on a 10 -week safari to Kenya. 00:17:49.720 --> 00:17:51.920 And this trip was purely for material generation, 00:17:52.359 --> 00:17:55.119 feeding his insatiable need for authentic experience 00:17:55.119 --> 00:17:57.099 to write about. That trip provided the material 00:17:57.099 --> 00:17:59.240 for the nonfiction travelogue Green Hills of 00:17:59.240 --> 00:18:01.460 Africa and two of his greatest short stories, 00:18:01.680 --> 00:18:04.779 The Snows of Kilimanjaro and The Short Happy 00:18:04.779 --> 00:18:07.240 Life of Francis McComber. And even that trip 00:18:07.240 --> 00:18:10.210 resulted in another brush with death. While there, 00:18:10.329 --> 00:18:12.890 he contracted amoebic dysentery, which became 00:18:12.890 --> 00:18:15.930 so severe he required evacuation by plane to 00:18:15.930 --> 00:18:19.569 Nairobi. That near -death experience, the writer 00:18:19.569 --> 00:18:21.769 confronting mortality, reviewing his life and 00:18:21.769 --> 00:18:24.410 failures, is directly reflected in the story 00:18:24.410 --> 00:18:27.789 The Snows of Kilimanjaro. His life was constantly 00:18:27.789 --> 00:18:30.430 feeding, and sometimes consuming, his fiction. 00:18:30.710 --> 00:18:32.950 The next major crucible was the Spanish Civil 00:18:32.950 --> 00:18:36.240 War. He began covering it in 1937 for the North 00:18:36.240 --> 00:18:38.960 American Newspaper Alliance, accurately predicting 00:18:38.960 --> 00:18:40.900 that the conflict was a testing ground for a 00:18:40.900 --> 00:18:43.380 broader European war. This period also saw him 00:18:43.380 --> 00:18:46.019 meet Martha Gellhorn, a brilliant war correspondent 00:18:46.019 --> 00:18:48.019 and journalist who had become his third wife. 00:18:48.279 --> 00:18:50.539 Their relationship was forged in the heat and 00:18:50.539 --> 00:18:53.140 danger of the conflict. But the war also caused 00:18:53.140 --> 00:18:55.400 a major political and personal fracture that 00:18:55.400 --> 00:18:57.420 is critical to understanding Hemingway's commitment 00:18:57.420 --> 00:19:00.900 to the cause. He replaced John Dos Passos as 00:19:00.900 --> 00:19:03.000 screenwriter for the propaganda film The Spanish 00:19:03.000 --> 00:19:05.700 Earth. Right, and Dos Passos abruptly left the 00:19:05.700 --> 00:19:07.940 project because his friend and Spanish translator, 00:19:08.140 --> 00:19:10.740 Jose Robles, was arrested and executed by the 00:19:10.740 --> 00:19:13.839 Republican side. This execution shattered Dos 00:19:13.839 --> 00:19:16.480 Passos' belief in the leftist cause, causing 00:19:16.480 --> 00:19:19.279 a profound, lasting rift with Hemingway, who 00:19:19.279 --> 00:19:21.980 remained committed to the Republican anti -fascist 00:19:21.980 --> 00:19:24.079 effort. That's a fascinating conflict because 00:19:24.079 --> 00:19:27.210 Dos Passos felt... betrayed by the cause but 00:19:27.210 --> 00:19:29.509 hemingway felt the cause was greater than individual 00:19:29.509 --> 00:19:32.750 grievances how does that square with hemingway's 00:19:32.750 --> 00:19:35.609 professed value for personal integrity and authenticity 00:19:36.269 --> 00:19:38.670 It reveals the complexity of the code hero when 00:19:38.670 --> 00:19:41.369 confronting politics. For Hemingway, the larger, 00:19:41.430 --> 00:19:44.089 externalized conflict, fascism versus democracy, 00:19:44.349 --> 00:19:47.009 created a moral landscape as stark and clear 00:19:47.009 --> 00:19:50.049 as the corridor. The political choice for him 00:19:50.049 --> 00:19:52.450 became the authentic choice, even if it meant 00:19:52.450 --> 00:19:54.210 betraying a friendship or overlooking specific 00:19:54.210 --> 00:19:57.150 Republican atrocities like Robles' murder. It 00:19:57.150 --> 00:19:59.490 was a commitment to the big picture. That war 00:19:59.490 --> 00:20:01.549 formed the foundation for his massive novel, 00:20:01.670 --> 00:20:04.509 for whom The Bell Tolls from 1940, written largely 00:20:04.509 --> 00:20:07.039 at the Finca Villa in Cuba, which he rented after 00:20:07.039 --> 00:20:09.539 separating from Pauline. That book was a cultural 00:20:09.539 --> 00:20:12.839 phenomenon. It triumphantly reestablished Hemingway's 00:20:12.839 --> 00:20:15.599 literary reputation after the struggles of the 00:20:15.599 --> 00:20:18.339 mid -30s, selling half a million copies within 00:20:18.339 --> 00:20:20.839 months. It demonstrated that he could handle 00:20:20.839 --> 00:20:23.960 large -scale political and moral conflicts while 00:20:23.960 --> 00:20:26.680 still maintaining the spare, powerful prose he 00:20:26.680 --> 00:20:30.160 pioneered. And the pattern continued. divorce 00:20:30.160 --> 00:20:33.839 Pauline, marry Martha Gellhorn in 1940, and relocate 00:20:33.839 --> 00:20:36.339 again, splitting time between Cuba and Sun Valley, 00:20:36.519 --> 00:20:39.140 Idaho. He was a writer who viewed geographical 00:20:39.140 --> 00:20:42.000 relocation as essential for his artistic reset 00:20:42.000 --> 00:20:44.819 after major life events. After Pearl Harbor in 00:20:44.819 --> 00:20:47.460 December 1941, World War II followed him to Cuba. 00:20:47.640 --> 00:20:50.279 He immediately refitted the Pilar as a cue boat 00:20:50.279 --> 00:20:52.559 to patrol for German U -boats off the coast, 00:20:52.740 --> 00:20:54.900 essentially running an amateur maritime intelligence 00:20:54.900 --> 00:20:57.339 operation. And this is where his life becomes 00:20:57.339 --> 00:20:59.589 truly tangled with the surveillance state. He 00:20:59.589 --> 00:21:01.670 created a counterintelligence unit nicknamed 00:21:01.670 --> 00:21:03.809 the Crook Factory, headquartered in his guesthouse, 00:21:03.930 --> 00:21:06.549 to surveil phalangists and Nazi sympathizers 00:21:06.549 --> 00:21:09.450 in Havana. But here's the absurdity. While Hemingway 00:21:09.450 --> 00:21:11.750 is actively trying to hunt U -boats for the U 00:21:11.750 --> 00:21:14.869 .S. government, the FBI, under J. Edgar Hoover, 00:21:15.170 --> 00:21:18.690 began watching him. They compiled a 124 -page 00:21:18.690 --> 00:21:21.210 file that continued right up until his death. 00:21:21.490 --> 00:21:24.000 It's the ultimate paradox. He's hunting Nazis 00:21:24.000 --> 00:21:26.900 for America, and J. Edgar Hoover suspects him 00:21:26.900 --> 00:21:30.339 of being a potential subversive. He was the subject 00:21:30.339 --> 00:21:33.059 of the very sort of paranoid surveillance he 00:21:33.059 --> 00:21:35.359 would later fear in his final declining years. 00:21:35.720 --> 00:21:38.259 Meanwhile, his marriage to Martha Gellhorn was 00:21:38.259 --> 00:21:40.440 dissolving due to constant fighting, primarily 00:21:40.440 --> 00:21:43.140 because he refused to return to Europe, preferring 00:21:43.140 --> 00:21:46.099 to run his amateur war in the Caribbean. Their 00:21:46.099 --> 00:21:48.440 relationship was defined by conflict, often over 00:21:48.440 --> 00:21:50.839 his increasing drinking and self -centered focus 00:21:50.839 --> 00:21:53.339 on the Q -boat mission. He eventually did return 00:21:53.339 --> 00:21:56.359 to Europe in 1944, becoming a frontline correspondent 00:21:56.359 --> 00:21:59.099 for Collier's, but upon arriving in London, he 00:21:59.099 --> 00:22:01.160 suffered another severe head injury, a concussion, 00:22:01.259 --> 00:22:04.019 and a car accident. It's just a remarkable string 00:22:04.019 --> 00:22:07.680 of physical trauma. WWI shrapnel, the Paris skylight 00:22:07.680 --> 00:22:10.119 accident, the African dysentery, and now this 00:22:10.119 --> 00:22:13.220 severe car accident. He met Mary Welsh, a Time 00:22:13.220 --> 00:22:15.940 correspondent in London, while recuperating and, 00:22:16.000 --> 00:22:18.200 characteristically, asked her to marry him on 00:22:18.200 --> 00:22:20.539 their third meeting. Despite the fresh head wound, 00:22:20.740 --> 00:22:23.099 he accompanied troops during the Normandy landings. 00:22:23.599 --> 00:22:26.220 The military viewed him as precious cargo, however, 00:22:26.440 --> 00:22:29.619 and kept him from going ashore. The most ethically 00:22:29.619 --> 00:22:32.119 ambiguous event of his war period came later 00:22:32.119 --> 00:22:35.460 in France. He attached himself to the 22nd Infantry 00:22:35.460 --> 00:22:38.160 Regiment and effectively became a de facto leader 00:22:38.160 --> 00:22:40.720 of a small militia group in Rambouillet, acting 00:22:40.720 --> 00:22:43.299 far beyond the role of a journalist. He was brought 00:22:43.299 --> 00:22:45.220 up on formal charges for contravening the Geneva 00:22:45.220 --> 00:22:47.700 Convention, which forbids noncombatants from 00:22:47.700 --> 00:22:51.019 leading military actions. His defense. He claimed 00:22:51.019 --> 00:22:53.269 he beat the rap. by saying he only offered advice. 00:22:53.670 --> 00:22:56.170 This willingness to cross professional and ethical 00:22:56.170 --> 00:22:58.710 lines in pursuit of the ultimate authentic frontline 00:22:58.710 --> 00:23:01.549 experience was pure Hemingway. He was present 00:23:01.549 --> 00:23:03.450 for the liberation of Paris, where he visited 00:23:03.450 --> 00:23:06.890 Sylvia Beach, and, in a symbolic moment, forgave 00:23:06.890 --> 00:23:09.710 Gertrude Stein. He was awarded the Bronze Star 00:23:09.710 --> 00:23:13.069 in 1947 for being under fire in combat areas 00:23:13.069 --> 00:23:15.529 in order to obtain an accurate picture of conditions. 00:23:16.150 --> 00:23:19.009 He divorced Martha and married Mary Welsh in 00:23:19.009 --> 00:23:23.880 1946. The post -war years, 1946 to 1952, were 00:23:23.880 --> 00:23:26.380 defined by a massive creative slump and health 00:23:26.380 --> 00:23:28.759 crisis. He suffered from debilitating headaches, 00:23:29.039 --> 00:23:31.559 high blood pressure, weight problems, and diabetes, 00:23:31.900 --> 00:23:34.240 all aggravated by his history of accidents and 00:23:34.240 --> 00:23:36.640 heavy drinking. This slump was compounded by 00:23:36.640 --> 00:23:39.309 grief. Many of his literary contemporaries and 00:23:39.309 --> 00:23:41.950 friends, Fitzgerald Stein, his editor Max Perkins, 00:23:42.009 --> 00:23:44.390 died during this period. He sank into depression, 00:23:44.690 --> 00:23:46.809 feeling out of business as a writer, and stalled 00:23:46.809 --> 00:23:49.589 on lengthy, complex projects like The Garden 00:23:49.589 --> 00:23:51.849 of Eden and his expansive The Sea Book trilogy. 00:23:52.190 --> 00:23:54.049 The Sea Book trilogy later became Islands in 00:23:54.049 --> 00:23:56.549 the Stream. Right. That's right. But at the time, 00:23:56.569 --> 00:23:58.789 he just couldn't finish it. And this creative 00:23:58.789 --> 00:24:01.609 block climaxed with the critical flop of Across 00:24:01.609 --> 00:24:04.849 the River and Into the Trees in 1950, a novel 00:24:04.849 --> 00:24:07.670 inspired by a platonic love affair with a 19 00:24:07.670 --> 00:24:10.910 -year -old named Adriana Ivancic in Venice. The 00:24:10.910 --> 00:24:15.609 book was met with scathing reviews. And that 00:24:15.609 --> 00:24:18.589 critical failure, predictably, unleashed his 00:24:18.589 --> 00:24:21.529 fury. Raging at the critics and desperate to 00:24:21.529 --> 00:24:23.990 prove his continued mastery, he channeled his 00:24:23.990 --> 00:24:27.440 energy into a single concise work. the draft 00:24:27.440 --> 00:24:29.920 of The Old Man and the Sea in just eight weeks. 00:24:30.160 --> 00:24:32.700 He knew he had reclaimed his territory. He proclaimed 00:24:32.700 --> 00:24:35.519 it the best I can write ever for all of my life. 00:24:35.599 --> 00:24:37.900 And he was right. It was an immediate international 00:24:37.900 --> 00:24:40.500 sensation. Published in its entirety in Life 00:24:40.500 --> 00:24:43.220 magazine, it sold millions of copies. It secured 00:24:43.220 --> 00:24:46.759 the Pulitzer Prize in May 1953 and reestablished 00:24:46.759 --> 00:24:49.259 him not just as a writer, but as a living cultural 00:24:49.259 --> 00:24:52.220 monument leading directly into the final tumultuous 00:24:52.220 --> 00:24:55.900 decade. The year 1954 started with what should 00:24:55.900 --> 00:24:58.509 have been the final, definitive end to hemingway's 00:24:58.509 --> 00:25:02.250 life not once but twice while on safari in africa 00:25:02.250 --> 00:25:05.009 with mary he was almost fatally injured in two 00:25:05.009 --> 00:25:08.220 successive plane crashes only days apart The 00:25:08.220 --> 00:25:10.259 first crash happened while they were on a sightseeing 00:25:10.259 --> 00:25:12.920 flight over the Belgian Congo. The plane struck 00:25:12.920 --> 00:25:15.299 an abandoned utility pole shearing off the wing. 00:25:15.900 --> 00:25:17.839 Hemingway sustained injuries to his back and 00:25:17.839 --> 00:25:20.420 shoulder. They crash landed and spent a night 00:25:20.420 --> 00:25:23.059 in the bush waiting for rescue. And they chartered 00:25:23.059 --> 00:25:24.859 a second flight for evacuation. And that one 00:25:24.859 --> 00:25:27.299 was even worse. Much worse. When the pilot attempted 00:25:27.299 --> 00:25:29.700 a landing on a rough airstrip, the plane burst 00:25:29.700 --> 00:25:32.500 into flames. Mary and the pilot managed to escape 00:25:32.500 --> 00:25:34.940 through a window, but Hemingway... already severely 00:25:34.940 --> 00:25:37.420 hurt, had to smash his way out by battering the 00:25:37.420 --> 00:25:39.759 door open with his head. With his head. You just 00:25:39.759 --> 00:25:41.779 can't make this stuff up. Think about that accumulation 00:25:41.779 --> 00:25:45.859 of trauma. He suffered nine known serious concussions 00:25:45.859 --> 00:25:48.440 over his life. And the two plane crashes resulted 00:25:48.440 --> 00:25:51.579 in a series of catastrophic injuries. Two cracked 00:25:51.579 --> 00:25:54.900 discs, a ruptured kidney and liver, a dislocated 00:25:54.900 --> 00:25:57.700 shoulder, and a broken skull. The sheer drama 00:25:57.700 --> 00:26:00.720 of it was international news. Reporters covered 00:26:00.720 --> 00:26:03.410 the story of his death. He literally briefed 00:26:03.410 --> 00:26:06.450 the global press in Entebbe while still battered 00:26:06.450 --> 00:26:08.769 and bruised, proving the rumors of his demise 00:26:08.769 --> 00:26:11.299 were greatly exaggerated. But the physical toll 00:26:11.299 --> 00:26:13.539 was irreversible, and it created a devastating 00:26:13.539 --> 00:26:17.079 cycle. To combat the intense chronic pain from 00:26:17.079 --> 00:26:19.420 the cracked discs, the internal ruptures, and 00:26:19.420 --> 00:26:21.859 the broken skull, he drank more heavily than 00:26:21.859 --> 00:26:24.740 ever. The self -medication accelerated his physical 00:26:24.740 --> 00:26:27.839 and mental decline. Then came the ultimate validation 00:26:27.839 --> 00:26:30.779 amid the wreckage. The Nobel Prize in Literature 00:26:30.779 --> 00:26:34.599 in October 1954 awarded for his mastery of the 00:26:34.599 --> 00:26:37.240 art of narrative and for the influence that he 00:26:37.240 --> 00:26:40.210 has exerted on contemporary style. Still physically 00:26:40.210 --> 00:26:42.450 recovering he declined to travel to Stockholm. 00:26:42.670 --> 00:26:45.029 He sent a speech that stands as one of the most 00:26:45.029 --> 00:26:47.430 honest summations of his writing philosophy and 00:26:47.430 --> 00:26:49.990 the danger of celebrity. What stands out in that 00:26:49.990 --> 00:26:52.450 Nobel address is the focus on the profound loneliness 00:26:52.450 --> 00:26:55.529 required for serious artistic creation, especially 00:26:55.529 --> 00:26:57.390 when you contrast it with the public spectacle 00:26:57.390 --> 00:27:14.519 his life had become. He stated that, He saw the 00:27:14.519 --> 00:27:16.880 Hemingway myth as a threat to the Hemingway writer. 00:27:17.039 --> 00:27:19.559 But fate offered a brief artistic reprieve in 00:27:19.559 --> 00:27:22.940 1956. While staying in Paris, he was reminded 00:27:22.940 --> 00:27:24.940 of several trunks he had stored at the Ritz Hotel 00:27:24.940 --> 00:27:28.000 since 1928, and they were finally retrieved. 00:27:28.119 --> 00:27:30.039 The trunks were a treasure trove filled with 00:27:30.039 --> 00:27:32.099 notebooks and writing from his early Paris years. 00:27:32.279 --> 00:27:34.579 He was thrilled by this recovery of his past, 00:27:34.660 --> 00:27:36.759 and he immediately began shaping that material 00:27:36.759 --> 00:27:39.740 into his famous memoir, A Moveable Feast. It 00:27:39.740 --> 00:27:41.500 was the older writer revisiting the younger, 00:27:41.660 --> 00:27:44.480 simpler man. This led to a final desperate writing 00:27:44.480 --> 00:27:47.619 frenzy in 1959. He finished A Moveable Feast, 00:27:47.700 --> 00:27:50.220 expanded his African journal, True at First Light, 00:27:50.380 --> 00:27:53.099 to a monumental 200 ,000 words, added chapters 00:27:53.099 --> 00:27:55.380 to the Garden of Eden, and worked on islands 00:27:55.380 --> 00:27:58.000 in the stream. What's tragic is that these massive 00:27:58.000 --> 00:28:00.059 manuscripts were written while his health was 00:28:00.059 --> 00:28:02.819 rapidly failing. They were stored in a Havana 00:28:02.819 --> 00:28:05.119 bank vault, but his time in Cuba was ending due 00:28:05.119 --> 00:28:07.079 to the political instability under the Castro 00:28:07.079 --> 00:28:09.240 government. They bought a home near Ketchum, 00:28:09.240 --> 00:28:13.519 Idaho in 1959. They left Cuba on July 25, 1960, 00:28:13.779 --> 00:28:16.359 due to fears of the Castro government nationalizing 00:28:16.359 --> 00:28:19.730 American property. He left art and those manuscripts 00:28:19.730 --> 00:28:22.170 in the bank vault, which were later expropriated 00:28:22.170 --> 00:28:25.150 after the Bay of Pigs invasion. The loss of that 00:28:25.150 --> 00:28:28.009 unedited material was a severe blow to a man 00:28:28.009 --> 00:28:30.410 whose memory was already beginning to fail. In 00:28:30.410 --> 00:28:32.970 Idaho, the final decline was swift and terrifying. 00:28:33.269 --> 00:28:35.650 He tried to edit the massive manuscript for the 00:28:35.650 --> 00:28:37.970 bullfighting articles commissioned by Life magazine, 00:28:38.150 --> 00:28:41.220 what became... the dangerous summer. But for 00:28:41.220 --> 00:28:43.859 the first time in his professional life, he found 00:28:43.859 --> 00:28:46.700 he could not organize his writing. A .E. Hotchner, 00:28:46.799 --> 00:28:49.680 his close friend and biographer, found him unusually 00:28:49.680 --> 00:28:52.980 hesitant, disorganized, and confused. The man 00:28:52.980 --> 00:28:55.000 who had based his career on intellectual clarity 00:28:55.000 --> 00:28:57.660 and precise structure was losing the ability 00:28:57.660 --> 00:28:59.960 to edit his own thoughts. He began suffering 00:28:59.960 --> 00:29:03.140 from severely failing eyesight and intense debilitating 00:29:03.140 --> 00:29:06.319 paranoia, believing the FBI was actively monitoring 00:29:06.319 --> 00:29:09.269 his movements in Ketchum. What's deeply ironic 00:29:09.269 --> 00:29:11.670 is that while the paranoia seemed delusional 00:29:11.670 --> 00:29:14.829 to his wife, it was partially true. The FBI had 00:29:14.829 --> 00:29:17.230 compiled that 124 -page file on him since World 00:29:17.230 --> 00:29:19.910 War II, and an agent was monitoring him in the 00:29:19.910 --> 00:29:22.829 late 1950s and documented his subsequent stay 00:29:22.829 --> 00:29:25.930 at the Mayo Clinic. His fear, rooted in past 00:29:25.930 --> 00:29:28.970 reality, became present delusion. Mary was unable 00:29:28.970 --> 00:29:31.309 to cope with his deteriorating state. In late 00:29:31.309 --> 00:29:33.829 1960, he was flown to the Mayo Clinic in Minnesota, 00:29:34.089 --> 00:29:36.190 treated for severe depression and hypertension. 00:29:36.670 --> 00:29:38.789 Doctors suggested his state might have been caused 00:29:38.789 --> 00:29:41.490 by long -term use of reserpine and Ritalin, coupled 00:29:41.490 --> 00:29:44.109 with his genetic and physical history. He underwent 00:29:44.109 --> 00:29:46.509 10 to 15 electroconvulsive therapy sessions, 00:29:46.690 --> 00:29:49.769 or ECT, a common, though controversial, treatment 00:29:49.769 --> 00:29:52.450 for severe depression at the time. The ECT treatment 00:29:52.450 --> 00:29:55.329 aimed to alleviate his depression, but destroyed 00:29:55.329 --> 00:29:58.490 his greatest asset, his memory. He lamented the 00:29:58.490 --> 00:30:00.910 outcome, saying, What is the sense of ruining 00:30:00.910 --> 00:30:03.309 my head and erasing my memory, which is my capital, 00:30:03.430 --> 00:30:05.150 and putting me out of business? It was a brilliant 00:30:05.150 --> 00:30:08.349 cure, but we lost the patient. Released in ruins 00:30:08.349 --> 00:30:12.390 in late June 1961, two days later, in the early 00:30:12.390 --> 00:30:16.289 morning hours of July 6, 1961, he quite deliberately 00:30:16.289 --> 00:30:20.009 used his favorite 12 -gauge shotgun in the foyer 00:30:20.009 --> 00:30:22.920 of his Ketchum home. His wife, Mary, initially 00:30:22.920 --> 00:30:25.380 told the press it was accidental, but later confirmed 00:30:25.380 --> 00:30:28.259 it was suicide. However, the tragedy must be 00:30:28.259 --> 00:30:30.200 viewed through the lens of modern medical context. 00:30:30.599 --> 00:30:32.799 Right. Medical records later confirmed he had 00:30:32.799 --> 00:30:35.119 been diagnosed with hereditary hemochromatosis 00:30:35.119 --> 00:30:38.819 in early 1961, which is excessive iron accumulation 00:30:38.819 --> 00:30:41.839 that culminates in mental and physical deterioration. 00:30:41.920 --> 00:30:43.660 And, of course, the chilling family history. 00:30:43.859 --> 00:30:46.119 His father, his sister Ursula, and his brother 00:30:46.119 --> 00:30:49.509 Lester also died by suicide. proving his 1928 00:30:49.509 --> 00:30:52.410 prediction tragically correct. Furthermore, modern 00:30:52.410 --> 00:30:54.910 neuropsychiatrists hypothesize that the cumulative 00:30:54.910 --> 00:30:57.970 effect of those nine serious concussions, from 00:30:57.970 --> 00:31:01.089 the WWI shrapnel, the Paris skylight, the London 00:31:01.089 --> 00:31:03.210 car crash, and the two African plane crashes, 00:31:03.390 --> 00:31:06.150 likely resulted in chronic traumatic encephalopathy, 00:31:06.250 --> 00:31:09.329 or CTE, possibly leading to dementia with Lewy 00:31:09.329 --> 00:31:11.769 bodies. This physical destruction explains the 00:31:11.769 --> 00:31:14.470 paranoia, the disorganization, and the ultimate 00:31:14.470 --> 00:31:17.619 inevitable decline. Let's pivot now from the 00:31:17.619 --> 00:31:19.660 chaos of the life to the surgical precision of 00:31:19.660 --> 00:31:21.700 the craft, because the two are inextricably linked. 00:31:21.920 --> 00:31:25.339 His style is his greatest legacy. It's that lean, 00:31:25.559 --> 00:31:28.079 hard, athletic narrative prose that completely 00:31:28.079 --> 00:31:30.119 changed the nature of American writing, building 00:31:30.119 --> 00:31:32.059 on the tradition of Mark Twain and Stephen Crane. 00:31:32.430 --> 00:31:34.430 Hemingway, along with other modernists, reacted 00:31:34.430 --> 00:31:37.089 against the elaborate, heavily descriptive 19th 00:31:37.089 --> 00:31:40.109 century style. They felt World War I had used 00:31:40.109 --> 00:31:42.789 up words. They wanted to create a fiction where 00:31:42.789 --> 00:31:45.390 meaning wasn't stated explicitly, but was established 00:31:45.390 --> 00:31:47.750 through dialogue, through action, and most powerfully, 00:31:47.769 --> 00:31:50.069 through silence. This brings us back to his famous 00:31:50.069 --> 00:31:52.730 concept, the iceberg theory, or the theory of 00:31:52.730 --> 00:31:56.109 omission. Only one -eighth of the iceberg floats 00:31:56.109 --> 00:31:59.299 above the water. The facts? The dialogue, the 00:31:59.299 --> 00:32:01.960 surface action, the supporting structure, the 00:32:01.960 --> 00:32:04.640 symbolism, and the emotional weight operate out 00:32:04.640 --> 00:32:07.140 of sight, beneath the surface. And critically, 00:32:07.460 --> 00:32:09.960 this theory was not an excuse for lazy or simplistic 00:32:09.960 --> 00:32:12.920 writing. Hemingway was clear on the essential 00:32:12.920 --> 00:32:16.099 test. If a writer of prose knows enough of what 00:32:16.099 --> 00:32:18.619 he is writing about, he may omit things that 00:32:18.619 --> 00:32:20.920 he knows, and the reader will have a feeling 00:32:20.920 --> 00:32:22.960 of those things as strongly as though the writer 00:32:22.960 --> 00:32:25.359 had stated them. If the writer omits things because 00:32:25.359 --> 00:32:27.759 he doesn't know them, He only makes hollow places. 00:32:28.460 --> 00:32:30.619 The mastery lies in knowing the depth of the 00:32:30.619 --> 00:32:32.880 submerged structure, even if you never show it. 00:32:33.039 --> 00:32:35.559 The perfect early example, as we discussed, is 00:32:35.559 --> 00:32:37.619 Nick Adams fishing in Big Two -Hearted River. 00:32:37.819 --> 00:32:40.319 The intense surface action of the fishing is 00:32:40.319 --> 00:32:42.660 the one -eighth above the water. The submerged 00:32:42.660 --> 00:32:44.859 seven -eighths is Nick concentrating so completely 00:32:44.859 --> 00:32:47.259 on the physical task that he does not have to 00:32:47.259 --> 00:32:49.259 consciously process the psychological horror 00:32:49.259 --> 00:32:51.980 of his war trauma. The omission is the whole 00:32:51.980 --> 00:32:54.400 point. The syntactic techniques he employed were 00:32:54.400 --> 00:32:57.480 masterful and revolutionary. About 70 % of his 00:32:57.480 --> 00:33:00.160 sentences are simple declarative sentences. He 00:33:00.160 --> 00:33:02.460 fundamentally avoided complicated syntax and 00:33:02.460 --> 00:33:05.220 heavy punctuation, favoring short, sharp sentences 00:33:05.220 --> 00:33:08.619 that created a photographic snapshot style akin 00:33:08.619 --> 00:33:11.779 to journalistic reportage. He also perfected 00:33:11.779 --> 00:33:14.240 the use of polysyndeton, the habitual use of 00:33:14.240 --> 00:33:16.700 the conjunction and in place of commas or other 00:33:16.700 --> 00:33:19.500 subordinating clauses. It creates a sense of 00:33:19.500 --> 00:33:22.700 immediacy and relentless motion, linking disparate 00:33:22.700 --> 00:33:24.680 elements together without pausing for reflection. 00:33:25.099 --> 00:33:27.119 A great example is the famous opening passage 00:33:27.119 --> 00:33:30.579 of A Farewell to Arms. In the bed of the river 00:33:30.579 --> 00:33:32.680 there were pebbles and boulders dry and white 00:33:32.680 --> 00:33:35.000 in the sun, and the water was clear and swiftly 00:33:35.000 --> 00:33:37.299 moving and blue in the channels, and the houses 00:33:37.299 --> 00:33:39.950 were wet and the gardens were dusty. Notice how 00:33:39.950 --> 00:33:43.490 the constant driving use of and juxtaposes these 00:33:43.490 --> 00:33:46.130 disparate elements, the dry white pebbles next 00:33:46.130 --> 00:33:48.630 to the swiftly moving water, the wet houses next 00:33:48.630 --> 00:33:51.430 to the dusty gardens. It forces the reader to 00:33:51.430 --> 00:33:54.150 absorb the scene whole, creating a sense of relentless 00:33:54.150 --> 00:33:57.069 photographic reality without judgment or elaborate 00:33:57.069 --> 00:33:59.589 description. And this leads directly to his use 00:33:59.589 --> 00:34:02.170 of the objective correlative, conveying emotion 00:34:02.170 --> 00:34:05.230 not through explicit expression, not by saying 00:34:05.230 --> 00:34:07.430 Nick was depressed, but through a collage of 00:34:07.430 --> 00:34:10.019 images. He aimed to tell only what happened, 00:34:10.159 --> 00:34:13.099 but ensured the sequence of motion and fact would 00:34:13.099 --> 00:34:15.260 inevitably create the intended emotion in the 00:34:15.260 --> 00:34:18.619 reader, making the story valid always. This was 00:34:18.619 --> 00:34:20.699 a core technique shared with Pound, Elliott, 00:34:20.880 --> 00:34:23.360 and Joyce. Looking at his core themes, they are 00:34:23.360 --> 00:34:25.820 all landscapes forged by his personal experience. 00:34:26.139 --> 00:34:30.239 Love, war, wilderness, and loss. Nature, specifically, 00:34:30.480 --> 00:34:33.179 serves a profound redemptive function. Mountains, 00:34:33.300 --> 00:34:35.579 streams, and wilderness are places for rebirth 00:34:35.579 --> 00:34:37.739 and rest where the hunter or fisherman might 00:34:37.739 --> 00:34:39.579 achieve transcendence at the moment of the kill. 00:34:39.719 --> 00:34:42.860 It is a world of ritual and control, often presented 00:34:42.860 --> 00:34:44.940 as a masculine refuge where men exist without 00:34:44.940 --> 00:34:47.280 the complications of modern urban life or feminine 00:34:47.280 --> 00:34:50.440 demands. He also pioneered what we can call the 00:34:50.440 --> 00:34:53.690 transnational archetype. Because of his constant 00:34:53.690 --> 00:34:56.449 travel and expatriation, his characters are often 00:34:56.449 --> 00:34:59.130 multilingual and bicultural, integrating cultural 00:34:59.130 --> 00:35:01.909 norms from host communities like Spain, Cuba, 00:35:02.070 --> 00:35:05.230 or France. The foreign settings are not exotic 00:35:05.230 --> 00:35:07.789 backdrops. They are motivating factors for the 00:35:07.789 --> 00:35:10.230 characters who are seeking a more authentic, 00:35:10.550 --> 00:35:13.389 less conventional way of life. And of course, 00:35:13.389 --> 00:35:15.369 the theme of death and authenticity permeates 00:35:15.369 --> 00:35:18.170 his work. The underlying code hero belief is 00:35:18.170 --> 00:35:20.309 that those who face death with dignity and courage 00:35:20.309 --> 00:35:23.739 live an authentic life. Francis McComber, in 00:35:23.739 --> 00:35:25.960 the short happy life of Francis McComber, for 00:35:25.960 --> 00:35:28.659 example, only finds true happiness in his final 00:35:28.659 --> 00:35:31.280 hours, when he overcomes his cowardice and faces 00:35:31.280 --> 00:35:34.250 danger authentically, just before he dies. The 00:35:34.250 --> 00:35:36.050 bullfighter, the soldier, the fisherman, they 00:35:36.050 --> 00:35:37.829 all represent this struggle. They are judged 00:35:37.829 --> 00:35:40.050 by how they act under pressure, how they maintain 00:35:40.050 --> 00:35:42.269 control and dignity when all external forces 00:35:42.269 --> 00:35:44.969 and even internal emotions are collapsing. Finally, 00:35:45.030 --> 00:35:47.050 we must touch on the complicated gender dynamics. 00:35:48.010 --> 00:35:50.690 Emasculation is a prevalent theme, often linked 00:35:50.690 --> 00:35:53.289 to the psychological wounding of post -WWI soldiers 00:35:53.289 --> 00:35:56.449 like Jake Barnes and the simultaneous emancipation 00:35:56.449 --> 00:35:59.079 of women. Early critics often lauded his strictly 00:35:59.079 --> 00:36:01.699 male -centric world, while feminist critics often 00:36:01.699 --> 00:36:03.719 attacked him as misogynistic, dividing women 00:36:03.719 --> 00:36:06.599 into simplistic categories like castrators or 00:36:06.599 --> 00:36:08.920 love slaves. But the sources suggest a deeper 00:36:08.920 --> 00:36:12.019 complexity. Recent re -evaluations show his sensitivity 00:36:12.019 --> 00:36:14.539 to gender issues, questioning the assumption 00:36:14.539 --> 00:36:16.500 that his writing was one -sidedly masculine. 00:36:17.179 --> 00:36:19.659 Characters like Brett Ashley are incredibly complex, 00:36:19.900 --> 00:36:22.840 embodying both the tragedy and the freedom of 00:36:22.840 --> 00:36:24.980 post -war womanhood. rather than just simple 00:36:24.980 --> 00:36:27.760 antagonists. His goal was to present the authentic 00:36:27.760 --> 00:36:29.800 friction between men and women operating in a 00:36:29.800 --> 00:36:32.760 world where old social rules had collapsed. His 00:36:32.760 --> 00:36:35.019 influence, however, transcends thematic arguments. 00:36:35.340 --> 00:36:38.500 His style, that stark, powerful economy, is his 00:36:38.500 --> 00:36:40.920 absolute greatest legacy, forcing subsequent 00:36:40.920 --> 00:36:43.219 writers... even those who despise his politics 00:36:43.219 --> 00:36:45.760 or his persona, to consciously choose either 00:36:45.760 --> 00:36:48.800 to emulate it or to avoid it entirely. He became 00:36:48.800 --> 00:36:51.900 the cultural spokesperson for the post -WWI generation. 00:36:52.280 --> 00:36:54.820 And because the drama of his life was so extreme, 00:36:55.079 --> 00:36:57.980 the details became a prime vehicle for exploitation, 00:36:58.320 --> 00:37:00.960 resulting in the enduring, profitable Hemingway 00:37:00.960 --> 00:37:03.380 industry we see today. That influence stretched 00:37:03.380 --> 00:37:06.619 across generations. J .D. Salinger corresponded 00:37:06.619 --> 00:37:09.099 with him during WWII, joking that he was the 00:37:09.099 --> 00:37:11.199 national chairman of the Hemingway fan clubs. 00:37:11.440 --> 00:37:14.400 And sadly, the tragic legacy continued with his 00:37:14.400 --> 00:37:17.340 granddaughter, supermodel Margot Hemingway, whose 00:37:17.340 --> 00:37:19.860 death was also ruled a suicide. It's important 00:37:19.860 --> 00:37:21.820 to note the wealth of posthumous works, too. 00:37:22.360 --> 00:37:24.940 Mary Hemingway donated his papers to the JFK 00:37:24.940 --> 00:37:27.420 Library, allowing us to see the full scoop of 00:37:27.420 --> 00:37:29.949 his output. Works like A Moveable Feast, his 00:37:29.949 --> 00:37:32.389 Paris memoir, Islands in the Stream, and the 00:37:32.389 --> 00:37:34.449 expanded African journal True at First Light 00:37:34.449 --> 00:37:36.849 all demonstrate that even in his later years, 00:37:36.909 --> 00:37:38.889 he was constantly generating and shaping material, 00:37:39.250 --> 00:37:41.789 often without the meticulous editing that defined 00:37:41.789 --> 00:37:44.780 his early success. So let's synthesize the deepest 00:37:44.780 --> 00:37:47.300 takeaways from this complex life. Hemingway's 00:37:47.300 --> 00:37:49.980 unique, sparse prose, The Iceberg, was not an 00:37:49.980 --> 00:37:52.519 arbitrary artistic choice. It was a direct, necessary 00:37:52.519 --> 00:37:55.159 coping mechanism. It was developed from the rigid 00:37:55.159 --> 00:37:57.300 writing rules of his youth and was profoundly 00:37:57.300 --> 00:37:59.980 refined by the necessity to omit the immense, 00:38:00.260 --> 00:38:03.940 inarticulable trauma he experienced. The WWI 00:38:03.940 --> 00:38:06.940 injury, the loss of his early manuscripts, and 00:38:06.940 --> 00:38:10.360 his father's suicide. The style was a shield. 00:38:11.000 --> 00:38:13.239 And we must acknowledge the profound physical 00:38:13.239 --> 00:38:16.019 toll that undermined that shield. The multiple 00:38:16.019 --> 00:38:18.840 concussions, the severe shrapnel wounds, and 00:38:18.840 --> 00:38:21.320 the African plane crashes, injuries that were 00:38:21.320 --> 00:38:24.440 so bad he was repeatedly reported dead, contributed 00:38:24.440 --> 00:38:26.840 significantly to his ultimate mental decline, 00:38:27.139 --> 00:38:30.000 complicated further by genetics, hemochromatosis, 00:38:30.099 --> 00:38:32.429 and chronic drinking. Ultimately, he permanently 00:38:32.429 --> 00:38:34.789 altered American literature by valuing action, 00:38:35.010 --> 00:38:37.469 dialogue, and potent silence over descriptive 00:38:37.469 --> 00:38:40.090 excess. He taught writers the fundamental enduring 00:38:40.090 --> 00:38:42.650 power of economy. But here's the irony to leave 00:38:42.650 --> 00:38:45.090 you with, something to mull over long after this 00:38:45.090 --> 00:38:47.409 deep dive ends. Hemingway defined authenticity 00:38:47.409 --> 00:38:49.789 and faced death with courage and dignity throughout 00:38:49.789 --> 00:38:52.250 his fiction. He prized that quiet strength beneath 00:38:52.250 --> 00:38:54.210 the surface, that knowledge of what was omitted. 00:38:54.519 --> 00:38:57.519 Yet in his final years, his actual life was completely 00:38:57.519 --> 00:39:00.159 overwhelmed by the very chaos, physical pain, 00:39:00.280 --> 00:39:02.760 and despair he sought to conquer or omit in his 00:39:02.760 --> 00:39:05.380 writing. The physical destruction of his brain 00:39:05.380 --> 00:39:08.059 and body left him without the very mental clarity, 00:39:08.300 --> 00:39:10.699 his capital, that allowed him to create the code 00:39:10.699 --> 00:39:13.099 hero in the first place. We suggest you explore 00:39:13.099 --> 00:39:15.539 one of his newly rediscovered posthumous works, 00:39:15.659 --> 00:39:19.300 particularly a movable feast it's a look at the 00:39:19.300 --> 00:39:21.380 later hemingway trying to wrestle with and shape 00:39:21.380 --> 00:39:24.219 his own past long after the style that made him 00:39:24.219 --> 00:39:26.920 famous had been set in stone we hope you gained 00:39:26.920 --> 00:39:28.860 a new perspective on the complex man behind the 00:39:28.860 --> 00:39:30.900 myth thanks for joining us for the deep dive