Ernest Hemingway is a writer we often associate with particular places and animals; Michigan's Upper Peninsula, Spain's countryside, East Africa's game reserves, Cuba's blue water, and Idaho's sagebrush all come to mind. We can easily visualize the iconic images of Hemingway with fly rod bent by hefty trout, with bulls charging matadors, or of the famous author proudly posing with trophy lions, marlin, and a menagerie of Western American game animals. As Robert E. Fleming once put it--updating Gertrude Stein's famous quip that Hemingway looked like a modern and smelled of museums--Hemingway "was also a hunter, fisherman, and naturalist who smelled of libraries." Hemingway indeed read widely in natural history and science, as well as the literature of field sports. This lifelong interest in the natural world and its inhabitants manifests itself in Hemingway's writing in myriad ways. From the trout Nick Adams carefully releases to Santiago's marlin and Robert Jordan's "heart beating against the pine needle floor of the forest" to Colonel Cantwell's beloved Italian duck marshes, and from African savannahs to the Gulf Stream, animals and environments are central to Hemingway's work and life. While these representations often served as background for broader human-centered matters in early scholarship, contemporary critics have opted to treat animals and environments directly. Teaching Hemingway and the Natural World marks a key entry in Hemingway studies, bringing the questions from the rapidly evolving field of environmental literary studies to bear on Hemingway's places, animals, and life. It not only advances scholarship on Hemingway's relationship to the natural world, but it also facilitates bringing this understanding to the classroom. This latest volume in the Teaching Hemingway series explores how his writing sheds light on broader questions of the human relationship to the nonhuman world. Organized geographically, the 16 essays by leading scholars are divided into five sections about Hemingway's favorite places. Each essay includes specific classroom advice as well as theoretically sophisticated close readings.

The subject of endless biographies, fictional depictions, and critical debate, Ernest Hemingway continues to command attention in popular culture and in literary studies. He remains both a definitive stylist of twentieth-century literature and a case study in what happens to an artist consumed by the spectacle of celebrity. The New Hemingway Studies examines how two decades of new-millennium scholarship confirm his continued relevance to an era that, on the surface, appears so distinct from his—one defined by digital realms, ecological anxiety, and globalization. It explores the various sources (print, archival, digital, and other) through which critics access Hemingway. Highlighting the latest critical trends, the contributors to this volume demonstrate how Hemingway's remarkably durable stories, novels, and essays have served as a lens for understanding preeminent concerns in our own time, including paranoia, trauma, iconicity, and racial, sexual, and national identities.

Distributed by the University of Nebraska Press for the University of Idaho Press This collection, the first consolidated effort to study Hemingway's relationship to the natural world, is essential for everyone interested not only in a key figure of twentieth century American literature, but also in the vital inheritance he bequeathed to a world whose own relationship to nature is increasingly conflicted.

"This book: Provides the fullest introduction to Hemingway and his world found in a single volume ; Offers contextual essays written on a range of topics by experts in Hemingway studies ; Provides a highly useful reference work for scholarship as well as teaching, excellent for classes on Hemingway, modernism and American literature."--Publisher's website.

This book draws on the tools of literary analysis and cultural geography to investigate Ernest Hemingway's sophisticated construction of physical environments. In doing so, Laura Gruber Godfrey revises conventional approaches to Hemingway’s literary landscapes and provides insight about his fictional characters and his readers alike.

Dust storms. Flooding. The fear of nuclear fallout. While literary critics associate authors of the 1930s and ’40s with leftist political and economic thought, they often ignore concern in the period’s literary and cultural works with major environmental crises. To fill this gap in scholarship, author Matthew M. Lambert argues that depression-era authors contributed to the development of modern environmentalist thought in a variety of ways. Writers of the time provided a better understanding of the devastating effects that humans can have on the environment. They also depicted the ecological and cultural value of nonhuman nature, including animal “predators” and “pests.” Finally, they laid the groundwork for “environmental justice” by focusing on the social effects of environmental exploitation. To show the reach of environmentalist thought during the period, the first three chapters of The Green Depression: American Ecoliterature in the 1930s and 1940s focus on different geographical landscapes, including the wild, rural, and urban. The fourth and final chapter shifts to debates over the social and environmental effects of technology during the period. In identifying modern environmental ideas and concerns in American literary and cultural works of the 1930s and ’40s, The Green Depression highlights the importance of depression-era literature in understanding the development of environmentalist thought over the twentieth century. This book also builds upon a growing body of scholarship in ecocriticism that describes the unique contributions African American and other nonwhite authors have made to the environmental justice movement and to our understanding of the natural world.

Wharton, Hemingway, and the Advent of Modernism is the first book to examine the connections linking two major American writers of the twentieth century, Edith Wharton and Ernest Hemingway. In twelve critical essays, accompanied by a foreword from Wharton scholar Laura Rattray and a critical introduction by volume editor Lisa Tyler, contributors reveal the writers’ overlapping contexts, interests, and aesthetic techniques. Thematic sections highlight modernist trends found in each author’s works. To begin, Peter Hays and Ellen Andrews Knodt argue for reading Wharton as a modernist writer, noting how her works feature characteristics that critics customarily credit to a younger generation of writers, including Hemingway. Since Wharton and Hemingway each volunteered for humanitarian medical service in World War I, then drew upon their experiences in subsequent literary works, Jennifer Haytock and Milena Radeva-Costello analyze their powerful perspectives on the cataclysmic conflict traditionally viewed as marking the advent of modernism in literature. In turn, Cecilia Macheski and Sirpa Salenius consider the authors’ passionate representations of Italy, informed by personal sojourns there, in which they observed its beautiful landscapes and culture, its liberating contrast with the United States, and its period of fascist politics. Linda Wagner-Martin, Lisa Tyler, and Anna Green focus on the complicated gender politics embedded in the works of Wharton and Hemingway, as evidenced in their ideas about female agency, sexual liberation, architecture, and modes of transportation. In the collection’s final section, Dustin Faulstick, Caroline Chamberlin Hellman, and Parley Ann Boswell address suggestive intertextualities between the two authors with respect to the biblical book of Ecclesiastes, their serialized publications in Scribner’s Magazine, and their affinities with the literary and cinematic tradition of noir. Together, the essays in this engaging collection prove that comparative studies of Wharton and Hemingway open new avenues for understanding the pivotal aesthetic and cultural movements central to the development of American literary modernism.

Teaching Hemingway and Race provides a practicable means for teaching the subject of race in Hemingway's writing and related texts--from how to approach ethnic, nonwhite international, and tribal characters to how to teach difficult questions of racial representation. Rather than suggesting that Hemingway's portrayals of cultural otherness are incidental to teaching and reading the texts, the volume brings them to the fore. Included in the collection are Marc Dudley's instruction on how students may recognize "multiple selves at work in a text"; Margaret E. Wright-Cleveland's approach to In Our Time, informed by American studies and women's studies; and Ross Tangedal's discussion of imperialism in Hemingway's two nonfiction books. Other topics addressed include questions of developing vigorous learning outcomes when teaching Hemingway, Hemingway's fascination with Latin America, teaching the Harlem Renaissance through Hemingway, discussing Hemingway's "Soldier's Home" and Langston Hughes's "Home" in tandem, discussing the black presence in The Sun Also Rises, and a means for comparing how Jean Toomer, Ernest Gaines, and Hemingway deal with the issue of race. This latest volume in the Teaching Hemingway series includes ten essays by leading scholars that place racial markers in their historical context, while also illuminating those connections for scholars, classroom teachers, and students. Readers will find it refreshing and enlightening to encounter essays that juxtapose Hemingway's work alongside Alain Locke's The New Negro and explore Hemingway's influence on Jean Toomer, Langston Hughes, Ralph Ellison, Ernest Gaines, and other black writers.

Wharton, Hemingway, and the Advent of Modernism is the first book to examine the connections linking two major American writers of the twentieth century, Edith Wharton and Ernest Hemingway. In twelve critical essays, accompanied by a foreword from Wharton scholar Laura Rattray and a critical introduction by volume editor Lisa Tyler, contributors reveal the writers’ overlapping contexts, interests, and aesthetic techniques. Thematic sections highlight modernist trends found in each author’s works. To begin, Peter Hays and Ellen Andrews Knodt argue for reading Wharton as a modernist writer, noting how her works feature characteristics that critics customarily credit to a younger generation of writers, including Hemingway. Since Wharton and Hemingway each volunteered for humanitarian medical service in World War I, then drew upon their experiences in subsequent literary works, Jennifer Haytock and Milena Radeva-Costello analyze their powerful perspectives on the cataclysmic conflict traditionally viewed as marking the advent of modernism in literature. In turn, Cecilia Macheski and Sirpa Salenius consider the authors’ passionate representations of Italy, informed by personal sojourns there, in which they observed its beautiful landscapes and culture, its liberating contrast with the United States, and its period of fascist politics. Linda Wagner-Martin, Lisa Tyler, and Anna Green focus on the complicated gender politics embedded in the works of Wharton and Hemingway, as evidenced in their ideas about female agency, sexual liberation, architecture, and modes of transportation. In the collection’s final section, Dustin Faulstick, Caroline Chamberlin Hellman, and Parley Ann Boswell address suggestive intertextualities between the two authors with respect to the biblical book of Ecclesiastes, their serialized publications in Scribner’s Magazine, and their affinities with the literary and cinematic tradition of noir. Together, the essays in this engaging collection prove that comparative studies of Wharton and Hemingway open new avenues for understanding the pivotal aesthetic and cultural movements central to the development of American literary modernism.