it's funny. there's a lot about writer ERNEST HEMINGWAY that i don't like or identify with; his killing of animals for sport, macho sense of white privilege, womanizing, etc. that being said he was of his time for better or worse.
but for my money for a 30 period from the 1920s through to the 1950s he was one of the most adventurous both in terms of his wanderlust and his editing. yes i said it. when i think of what i like about HEMINGWAY, its his ability to showcase complex psychology using concise declarative sentences with minimal superfluous decorations like fancy adjectives and obscure references. in essence, the opposite of my writing style.
i am aware that this style came about from his time as a journalist both stateside and abroad as a war correspondent for the KANSAS CITY STAR during the spanish civil war of the 1930s. he is a case study in economy. to say the most with the least. its not minimal in the sense of a WILLIAM CARLOS WILLIAMS poem where he is playing with the form itself, for HEMINGWAY i believe he was more interested in the conveying a thought like a straight line to the heart. in a way its kind of a similar ethos to punk rock, three chords and the truth except with him its a subject, verb, object and a typewriter.
i've read and taught HERMAN MELVILLE's MOBY DICK (1851) in my prior life as a secondary english teacher. what's intellectually stimulating about it is its breadth of knowledge about nearly every aspect of whaling in northeast america in the late 18th century. it's encyclopedic. the exercise in reading that book, beside its volume, is trying to surmise which religious, cultural, economic, political allusion to attach to a given part of the narrative. several times the actual plot works on several of these levels simultaneously, which gives the book depth. so basically MOBY DICK is both massive in terms of its breadth and depth.
HEMINGWAY isn't interested in that with THE OLD MAN AND THE SEA (1952). to me the plot is more of a rorschach test where you can enjoy it for whatever you want it to be. the biblical story of job, sure. a treatise on the hardships related to aging, absolutely. an expression of HEMINGWAY'S depleted vitality and interest in life, maybe. to me HEMINGWAY presents something to project onto, as apart to MELVILLE where it feels more like an endurance test, like a marathon. love them both, but i feel the superior trick is to view the reader as an equal partner in the creation of meaning through the written word.
this was HEMINGWAY's calling card and gift as a writer. respecting his reader.
collage by nacrowe
when i think of the weimar-era german painter OTTO DIX, who famously depicted the WWI veterans as contorted, disfigured amalgamations of flesh and mechanical attachments, i think of someone interested in the idea of how identity is attached to one's physicality.
his work almost brings about notions of the paradox surrounding the Ship of Theseus, being that if you replace every piece of wood on a ship at some point it is no longer the original ship, except when exactly does that transformation happen? does it happen?
the german soldiers in his paintings are often seen to be missing limbs and parts of their face that have crudely been replaced by then-modern technology. even paintings showcasing soldiers in action on in the trenches find them wearing gas masks and charging towards the viewer like deranged madmen in a barren dream-like hellscape.
FRANCIS BACON used contorted figures to provide insight into his fragile mind-state and strikingly express the depths of his psychosis. with DIX i think that his use of body disfigurement was more to showcase the fragile collective german mindstate in the years after their defeat in WWI. along with the work of GEORGE GROSZ, i find his work endlessly compelling as it attempts to honestly channel psychological realism about the psyche of a nation. its power is what made it so dangerous to like of the third reich who later deemed it degenerate and attempted to suppress it in order to spin a much darker narrative with "realistic" historical paintings that were very much a quixotic fantasy.
ironically hitler's need to mock the work of DIX among others is what preserved their work. go figure.