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ANNOUNCER: MAJOR FUNDING 
FOR "HEMINGWAY"

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WAS PROVIDED BY 
THE BETTER ANGELS SOCIETY

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AND BY ITS MEMBERS:

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THE ELIZABETH RUTH WALLACE 
LIVING TRUST,

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JOHN AND LESLIE McQUOWN,

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JOHN AND CATHERINE DEBS,

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THE FULLERTON FAMILY 
CHARITABLE TRUST,

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KISSICK FAMILY FOUNDATION, 
GAIL ELDEN,

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GILCHRIST AND AMY BERG,

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ROBERT AND BEVERLY GRAPPONE,

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AND MAUREE JANE AND MARK PERRY.

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ADDITIONAL FUNDING WAS PROVIDED 
BY THE ANNENBERG FOUNDATION,

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THE ARTHUR VINING DAVIS 
FOUNDATIONS,

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THE CORPORATION 
FOR PUBLIC BROADCASTING,

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AND BY CONTRIBUTIONS TO YOUR 
PBS STATION

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FROM VIEWERS LIKE YOU.

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THANK YOU.

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♪

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MAN: HEMINGWAY WAS A WRITER 
WHO HAPPENED TO BE AMERICAN,

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BUT HIS PALETTE 
WAS INCREDIBLY WIDE

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AND DELICIOUS AND VIOLENT 
AND BRUTAL AND UGLY,

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ALL OF THOSE THINGS.

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IT'S SOMETHING EVERY CULTURE 
CAN BASICALLY UNDERSTAND.

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EVERY CULTURE CAN UNDERSTAND 
FALLING IN LOVE WITH SOMEONE,

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THE LOSS OF THAT PERSON,

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OF HOW GREAT A MEAL TASTES,

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HOW EXTRAORDINARY 
THIS JOURNEY IS.

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THAT IS NOT NATIONALISTIC.

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IT'S HUMAN,

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AND I THINK WITH ALL 
OF HIS FLAWS,

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WITH ALL THE DIFFICULTIES, 
HIS PERSONAL LIFE, WHATEVER,

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HE SEEMED TO UNDERSTAND 
HUMAN BEINGS.

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MAN, AS HEMINGWAY: YOU SEE, 
I'M TRYING IN ALL MY STORIES

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TO GET THE FEELING 
OF THE ACTUAL LIFE ACROSS--

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NOT JUST TO DEPICT LIFE 
OR CRITICIZE IT--

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BUT TO ACTUALLY MAKE IT ALIVE

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SO THAT WHEN YOU'VE READ 
SOMETHING BY ME

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YOU ACTUALLY EXPERIENCE 
THE THING.

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YOU CAN'T DO THIS 
WITHOUT PUTTING IN

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THE BAD AND THE UGLY, 
AS WELL AS WHAT IS BEAUTIFUL,

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BECAUSE IF IT IS ALL BEAUTIFUL 
YOU CAN'T BELIEVE IN IT.

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THINGS AREN'T THAT WAY.

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IT IS ONLY BY SHOWING 
BOTH SIDES--

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3 DIMENSIONS AND IF POSSIBLE 4--

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THAT YOU CAN WRITE 
THE WAY I WANT TO.

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[THE BENNY GOODMAN SEXTET'S 
"A SMO-O-O-OTH ONE" PLAYING]

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NARRATOR: ERNEST HEMINGWAY 
REMADE AMERICAN LITERATURE.

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HE PARED STORY-TELLING 
TO ITS ESSENTIALS,

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CHANGED THE WAY 
CHARACTERS SPEAK,

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EXPANDED THE WORLDS A WRITER 
COULD LEGITIMATELY EXPLORE,

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AND LEFT AN INDELIBLE RECORD 
OF HOW MEN AND WOMEN LIVED

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DURING HIS LIFETIME.

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GENERATIONS OF WRITERS 
WOULD FIND THEIR WORK

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MEASURED AGAINST HIS.

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SOME FOLLOWED 
THE PATH HE'D BLAZED.

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OTHERS REBELLED AGAINST IT.

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NONE COULD ESCAPE IT.

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HE MADE HIMSELF THE MOST 
CELEBRATED AMERICAN WRITER

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SINCE MARK TWAIN,

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READ--AND REVERED-- 
AROUND THE WORLD.

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MAN: IT'S HARD TO IMAGINE 
A WRITER TODAY

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WHO HASN'T BEEN IN SOME WAY 
INFLUENCED BY HIM.

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IT'S LIKE HE CHANGED 
ALL THE FURNITURE

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IN THE ROOM, RIGHT, 
AND WE ALL HAVE TO SIT IN IT

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TO SOME--YOU KNOW, 
WE CAN KIND OF SIT

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ON THE EDGE OF THE ARMCHAIR, 
ON THE ARM OR DO THIS,

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BUT, YOU KNOW HE CHANGED 
THE FURNITURE IN THE ROOM.

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THE VALUE OF THE AMERICAN 
DECLARATIVE SENTENCE, RIGHT,

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THE WAY YOU BUILD A HOUSE 
BRICK BY BRICK OUT OF THOSE.

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WITHIN A FEW SENTENCES 
OF READING A HEMINGWAY STORY,

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YOU WERE NOT IN ANY CONFUSION 
AS TO WHO HAD WRITTEN IT.

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WOMAN: I CAN'T IMAGINE 
HOW IT'S POSSIBLE

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THAT ANY ONE WRITER COULD HAVE 
SO CHANGED THE LANGUAGE.

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PEOPLE HAVE BEEN COPYING HIM 
FOR NEARLY A HUNDRED YEARS,

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AND THEY HAVEN'T SUCCEEDED 
IN EQUALING WHAT HE DID.

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MAN: IF YOU'RE A WRITER, 
YOU CAN'T ESCAPE HEMINGWAY.

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HE'S SO DAMN POPULAR THAT YOU 
CAN'T BEGIN TO WRITE

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TILL YOU TRY AND KILL 
HIS GHOST IN YOU

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OR EMBRACE IT,

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AND I THINK I IDENTIFY THAT 
MOST ABOUT HEMINGWAY

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IS THAT HE WAS 
ALWAYS QUESTING.

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THE PERFECT LINE 
HAD NOT HAPPENED YET.

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IT IS ALWAYS A STRUGGLE 
TRYING TO GET IT RIGHT,

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AND YOU NEVER WILL.

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NARRATOR: FOR 3 DECADES, 
PEOPLE WHO HAD NOT READ

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A WORD HE'D WRITTEN THOUGHT 
THEY KNEW HIM--

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WOUNDED VETERAN 
AND BATTLEFIELD CORRESPONDENT,

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BIG-GAME HUNTER 
AND DEEP-SEA FISHERMAN,

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BULL-FIGHT AFICIONADO, 
BRAWLER, AND LOVER

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AND MAN ABOUT TOWN...

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BUT BEHIND THE PUBLIC FIGURE WAS 
A TROUBLED AND CONFLICTED MAN,

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WHO BELONGED TO A TROUBLED 
AND CONFLICTED FAMILY

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WITH ITS OWN DRAMA AND DARKNESS 
AND CLOSELY-HELD SECRETS.

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THE WORLD SAW HIM 
AS A MAN'S MAN,

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BUT ALL HIS LIFE, HE WOULD 
PRIVATELY BE INTRIGUED

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BY THE BLURRED LINES 
BETWEEN MALE AND FEMALE,

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MEN AND WOMEN.

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THERE WERE SO MANY SIDES 
TO HIM,

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THE FIRST OF HIS 
4 WIVES REMEMBERED,

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THAT HE DEFIED GEOMETRY.

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WOMAN: HE WAS OPEN TO LIFE.

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HE WAS OPEN TO TRAGEDY.

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HE WAS OPEN 
TO FEELING.

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I LIKED THAT HE FELL IN LOVE,

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AND HE FELL IN LOVE 
QUITE A FEW TIMES.

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HE ALWAYS HAD THE NEXT WOMAN

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BEFORE HE LEFT 
THE EXISTING WOMAN.

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NARRATOR: HE WAS OFTEN KIND 
AND GENEROUS TO THOSE

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IN NEED OF HELP 
AND SOMETIMES JUST AS CRUEL

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AND VENGEFUL TO THOSE 
WHO HAD HELPED HIM.

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MAN, AS HEMINGWAY: I HAVE ALWAYS 
HAD THE ILLUSION

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IT WAS MORE IMPORTANT, 
OR AS IMPORTANT,

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TO BE A GOOD MAN 
AS TO BE A GREAT WRITER.

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I MAY TURN OUT TO BE NEITHER

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BUT WOULD LIKE TO BE BOTH.

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NARRATOR: HEMINGWAY'S STORY 
IS A TALE OLDER EVEN

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THAN THE WRITTEN WORD 
OF A YOUNG MAN

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WHOSE AMBITION AND IMAGINATION,

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ENERGY AND ENORMOUS GIFTS 
BRING HIM WEALTH AND FAME

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BEYOND IMAGINING,

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WHO DESTROYS HIMSELF TRYING 
TO REMAIN TRUE

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TO THE CHARACTER 
HE HAS INVENTED.

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O'BRIEN: 
ONE OF HIS WEAKNESSES--

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I WAS GOING TO SAY, "FAILINGS," 
AND IT WAS A GREAT PITY--

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IT'S A GREAT PITY 
FOR ANY WRITER--

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HE LOVED AN AUDIENCE.

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HE LOVED AN AUDIENCE, 
AND IN FRONT OF AN AUDIENCE,

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HE LOST THE BEST PART OF HIMSELF

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BY TRYING TO IMPRESS 
THE AUDIENCE.

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KATAKIS: I HATE 
THE MYTH OF HEMINGWAY,

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AND THE REASON I HATE THE MYTH 
OF HEMINGWAY,

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IT OBSCURES THE MAN,

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AND THE MAN IS MUCH MORE 
INTERESTING THAN THE MYTH.

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I THINK HE WAS 
A TERRIFIC FATHER SOMETIMES.

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I THINK THAT HE WAS 
A LOVING HUSBAND SOMETIMES.

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I THINK HE WAS LIKE 
SO MANY PEOPLE

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EXCEPT THIS ENORMOUS TALENT.

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HEMINGWAY IS COMPLICATED. 
HE'S VERY COMPLICATED.

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MAN, AS HEMINGWAY: 
THE GREAT THING IS TO LAST

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AND GET YOUR WORK DONE

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AND SEE AND HEAR AND LEARN 
AND UNDERSTAND;

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AND WRITE WHEN THERE IS 
SOMETHING THAT YOU KNOW;

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AND NOT BEFORE;

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AND NOT TOO DAMNED MUCH AFTER.

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♪

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[SCOTT JOPLIN'S "PARAGON RAG" 
PLAYING]

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♪

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WOMAN, AS GRACE HEMINGWAY: 
MY BOY DELIGHTS IN SHOOTING

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IMAGINARY WOLVES, BEARS, LIONS.

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ALSO LIKES TO PRETEND 
HE IS A SOLDIER.

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HE STORMS AND KICKS AND DANCES 
WITH RAGE WHEN THWARTED.

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WHEN ASKED WHAT HE IS AFRAID OF,

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HE SHOUTS OUT 
"'FRAID OF NOTHING!"

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NARRATOR: 
ERNEST MILLER HEMINGWAY WAS BORN

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JULY 21, 1899, 
THE SECOND OF 6 CHILDREN

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AND ENJOYED WHAT SEEMED TO BE 
AN IDYLLIC BOYHOOD.

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HE HAD 4 ADORING SISTERS

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AND A WORSHIPFUL 
YOUNGER BROTHER.

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THEY ALL LIVED 
IN A BIG, COMFORTABLE HOME

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IN THE PROSPEROUS 
CHICAGO SUBURB OF OAK PARK,

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A COMPLACENT, 
WELL-MANNERED COMMUNITY

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WITH NO SALOONS 
AND SO MANY CHURCHES

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IT LIKED TO CALL ITSELF 
"SAINT'S REST."

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THE HEMINGWAYS SPENT 
LONG SUMMERS AT WINDEMERE,

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THEIR COTTAGE ON WALLOON LAKE 
IN MICHIGAN.

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[FIRE CRACKLING]

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ERNEST'S FATHER 
CLARENCE HEMINGWAY--

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KNOWN TO EVERYONE AS ED-- 
WAS A FAMILY DOCTOR.

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HE KEPT OFFICE HOURS 
EVERY DAY OF THE WEEK

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BUT WAS OFTEN FORCED 
TO MAKE HOUSE CALLS

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IN THE MIDDLE OF THE NIGHT,

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PERFORMING EMERGENCY 
CESAREAN SECTIONS

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BY LANTERN LIGHT.

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SOMETIMES, HE FAILED TO SAVE 
THE MOTHER OR THE BABY OR BOTH.

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"MY FATHER WAS VERY DEVOTED 
TO MY MOTHER,"

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ERNEST'S YOUNGEST SISTER 
REMEMBERED,

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00:10:31,933 --> 00:10:35,100
"BUT SHE WAS DEVOTED 
TO HERSELF."

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HIS MOTHER GRACE HALL HEMINGWAY

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HAD MARRIED AFTER ABANDONING 
HER DREAM

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OF BEING AN OPERA SINGER, 
BUT SHE GAVE

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VOICE AND VIOLIN 
AND PIANO LESSONS,

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DIRECTED A CHOIR,

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AND EARNED MORE 
THAN HER HUSBAND.

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GRACE EXPOSED ALL 
OF HER CHILDREN TO THE ARTS,

185
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BUT SHE NEVER LET THEM FORGET 
THAT SHE HAD SACRIFICED

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A CONCERT CAREER TO RAISE THEM.

187
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IF THEY LOVED HER, 
SHE SAID, THEY WOULD DO

188
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WHATEVER SHE TOLD THEM TO DO.

189
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IT AMUSED HER FOR A TIME TO 
PRETEND THAT ERNEST

190
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AND HIS OLDER SISTER 
MARCELLINE WERE SOMEHOW TWINS,

191
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SOMETIMES TWO BOYS, 
SOMETIMES TWO GIRLS.

192
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WOMAN: SHE DID THIS THING 
OF TWINNING HIM WITH HIS SISTER.

193
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SHE DRESSED THEM ALIKE.

194
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SHE DRESSED THEM 
IN DRESSES OFTEN,

195
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BUT THEN SHE'D PUT THEM 
IN OVERALLS.

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SHE DIDN'T ONLY DRESS HIM UP 
AS A GIRL.

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SOMETIMES, SHE'D DRESS 
THE GIRLS UP AS BOYS,

198
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AND THERE'S THIS--THERE IS 
THIS ANDROGYNY GOING ON.

199
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WOMAN, AS MARCELLINE: WE WORE 
OUR HAIR EXACTLY THE SAME

200
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IN A SQUARE-CUT DUTCH BOB.

201
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WE PLAYED WITH SMALL 
CHINA TEA SETS.

202
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WE HAD DOLLS ALIKE, 
AND WHEN ERNEST WAS GIVEN

203
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A LITTLE AIR RIFLE, 
I HAD ONE, TOO.

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NARRATOR: ONE OF HIS TEACHERS 
THOUGHT GRACE TOO CLOSE

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00:12:01,500 --> 00:12:04,033
TO HER SON, TOO CONTROLLING.

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00:12:04,033 --> 00:12:07,266
SHE REMEMBERED WONDERING IF, 
"GIVEN THE LUSH MOTHERHOOD

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00:12:07,266 --> 00:12:11,200
HE KNEW, HE WOULD FIND WIFE."

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[BIRDS CHIRPING, 
DUCKS QUACKING]

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MAN, AS HEMINGWAY: HIS FATHER 
CAME BACK TO HIM

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IN THE FALL OF THE YEAR,

211
00:12:21,800 --> 00:12:24,800
OR IN THE EARLY SPRING 
WHEN THERE HAD BEEN JACKSNIPE

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00:12:24,800 --> 00:12:27,400
ON THE PRAIRIE,

213
00:12:27,400 --> 00:12:29,566
OR WHEN HE SAW SHOCKS OF CORN,

214
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OR WHEN HE SAW A LAKE,

215
00:12:32,966 --> 00:12:36,066
OR IF HE EVER SAW 
A HORSE AND BUGGY,

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00:12:36,066 --> 00:12:39,233
OR WHEN HE SAW, OR HEARD, 
WILD GEESE,

217
00:12:39,233 --> 00:12:41,466
OR IN A DUCK BLIND.

218
00:12:41,466 --> 00:12:45,866
HIS FATHER WAS 
WITH HIM, SUDDENLY,

219
00:12:45,866 --> 00:12:49,166
IN DESERTED ORCHARDS 
AND IN NEW-PLOWED FIELDS,

220
00:12:49,166 --> 00:12:52,500
IN THICKETS, ON SMALL HILLS,

221
00:12:52,500 --> 00:12:55,266
OR WHEN GOING 
THROUGH DEAD GRASS,

222
00:12:55,266 --> 00:12:58,266
WHENEVER SPLITTING WOOD 
OR HAULING WATER,

223
00:12:58,266 --> 00:13:01,866
BY GRIST MILLS, 
CIDER MILLS, AND DAMS

224
00:13:01,866 --> 00:13:06,733
AND ALWAYS WITH OPEN FIRES.

225
00:13:06,733 --> 00:13:08,900
NARRATOR: ERNEST WORSHIPPED 
HIS FATHER,

226
00:13:08,900 --> 00:13:14,166
WHO SPENT HOURS TEACHING HIM 
HOW TO HUNT AND FISH AND CANOE,

227
00:13:14,166 --> 00:13:16,700
INCULCATING 
A LIFE-LONG FASCINATION

228
00:13:16,700 --> 00:13:20,200
WITH THE OUTDOORS 
AND WITH LEARNING PRECISELY

229
00:13:20,200 --> 00:13:23,700
HOW THINGS SHOULD BE DONE.

230
00:13:23,700 --> 00:13:27,533
MAN: HE INSTILLED IN THIS BOY 
BEFORE THE BOY

231
00:13:27,533 --> 00:13:32,066
ALMOST COULD WALK 
THIS PRIMAL FEELING

232
00:13:32,066 --> 00:13:34,100
FOR THE BEAUTY OF NATURE,

233
00:13:34,100 --> 00:13:38,233
JUST THE ORGANIC LOVE 
FOR THE WOODS, FOR WATER.

234
00:13:38,233 --> 00:13:42,033
NARRATOR: BUT ED HEMINGWAY 
WAS ALSO SEVERE, PIOUS,

235
00:13:42,033 --> 00:13:45,700
OPPOSED TO DRINKING, 
CARD-PLAYING, AND DANCING

236
00:13:45,700 --> 00:13:47,733
AND, AS ERNEST GREW OLDER,

237
00:13:47,733 --> 00:13:51,966
INCREASINGLY ANXIOUS, 
MOODY, AND UNPREDICTABLE.

238
00:13:51,966 --> 00:13:54,466
ONE MINUTE HE WAS LAUGHING 
WITH HIS CHILDREN,

239
00:13:54,466 --> 00:13:59,733
THE NEXT HE WAS PUNISHING THEM 
WITH A LEATHER STRAP.

240
00:13:59,733 --> 00:14:03,433
TWICE, HEMINGWAY'S FATHER WAS 
SO CRIPPLED BY DEPRESSION

241
00:14:03,433 --> 00:14:06,300
THAT HE HAD TO LEAVE TOWN 
FOR SEVERAL WEEKS

242
00:14:06,300 --> 00:14:08,933
IN ORDER TO REST 
WHAT HIS WIFE CALLED

243
00:14:08,933 --> 00:14:13,266
"THE WORRYING PLACE 
IN YOUR BRAIN."

244
00:14:13,266 --> 00:14:16,633
BY THE TIME ERNEST WAS 
A TEENAGER, HE REMEMBERED,

245
00:14:16,633 --> 00:14:20,800
HIS ADMIRATION FOR HIS FATHER 
HAD BEGUN TO TURN TO PITY.

246
00:14:20,800 --> 00:14:23,800
HE CAME TO SEE HIM 
AS WEAK AND SUBMISSIVE

247
00:14:23,800 --> 00:14:27,400
AND BLAMED HIS MOTHER FOR 
HIS FATHER'S UNHAPPINESS.

248
00:14:29,366 --> 00:14:32,700
ERNEST DREAMED OF ONE DAY 
BECOMING A NATURALIST

249
00:14:32,700 --> 00:14:38,100
OR AN EXPLORER LIKE HIS HERO 
THEODORE ROOSEVELT.

250
00:14:38,100 --> 00:14:41,466
HE WAS ALSO A GOOD STUDENT 
AND A FERVENT READER,

251
00:14:41,466 --> 00:14:46,333
WHO LOVED O. HENRY, JACK LONDON, 
AND RUDYARD KIPLING.

252
00:14:46,333 --> 00:14:47,966
AT HIS MOTHER'S URGING,

253
00:14:47,966 --> 00:14:50,500
HE SANG IN HER 
CONGREGATIONAL CHURCH CHOIR

254
00:14:50,500 --> 00:14:52,500
AND PLAYED THE CELLO.

255
00:14:52,500 --> 00:14:55,466
HE REMEMBERED THAT HE ESPECIALLY 
ENJOYED THE REPETITION

256
00:14:55,466 --> 00:14:59,000
AND COUNTERPOINT, 
COUNTERPOINT AND REPETITION

257
00:14:59,000 --> 00:15:02,666
THAT RAN THROUGH THE WORKS 
OF BACH.

258
00:15:02,666 --> 00:15:05,500
WOMAN: SHE ALSO TAUGHT HER KIDS 
WHAT EVERY MUSICIAN

259
00:15:05,500 --> 00:15:08,633
TEACHES THEIR KIDS, 
TO PRACTICE.

260
00:15:08,633 --> 00:15:13,000
"DON'T COME TO ME AND SAY 
THAT YOU LOVE ART

261
00:15:13,000 --> 00:15:16,500
"IF YOU DON'T PRACTICE YOUR ART 
BECAUSE PRACTICE IS LOVE.

262
00:15:16,500 --> 00:15:18,400
WORK IS LOVE."

263
00:15:18,400 --> 00:15:20,033
AND THROUGHOUT HIS LIFE,

264
00:15:20,033 --> 00:15:23,300
HE WAS A TREMENDOUSLY 
DISCIPLINED WRITER.

265
00:15:23,300 --> 00:15:26,233
NARRATOR: IN HIS JUNIOR YEAR, 
HE BEGAN TO WRITE,

266
00:15:26,233 --> 00:15:29,833
CONTRIBUTING SPORTS STORIES 
AND TALES OF ADVENTURE

267
00:15:29,833 --> 00:15:33,733
TO THE HIGH SCHOOL PAPER 
AND ITS LITERARY MAGAZINE,

268
00:15:33,733 --> 00:15:36,566
BUT HE WAS REMEMBERED MOST 
BY HIS CLASSMATES

269
00:15:36,566 --> 00:15:40,366
AS A BIG, HANDSOME, 
SLIGHTLY AWKWARD BOY

270
00:15:40,366 --> 00:15:44,166
FOND OF BOXING BUT 
TOO NEARSIGHTED AND TOO CLUMSY

271
00:15:44,166 --> 00:15:46,700
TO EXCEL AT TEAM SPORTS,

272
00:15:46,700 --> 00:15:50,000
WHO WAS SHY WITH GIRLS 
AND PREFERRED TO HUNT

273
00:15:50,000 --> 00:15:52,200
AND HIKE AND FISH 
IN THE WOODS

274
00:15:52,200 --> 00:15:56,400
OF NORTHERN MICHIGAN 
WHENEVER HE GOT THE CHANCE.

275
00:15:56,400 --> 00:15:59,900
HIS SHYNESS WITH WOMEN 
WOULD EVENTUALLY EVAPORATE,

276
00:15:59,900 --> 00:16:02,633
BUT HE WOULD REMAIN EAGER 
ALL HIS LIFE

277
00:16:02,633 --> 00:16:05,366
FOR THE COMPANY OF MEN 
WHO SHARED HIS LOVE

278
00:16:05,366 --> 00:16:08,766
OF GOOD TIMES 
AND THE GREAT OUTDOORS.

279
00:16:12,533 --> 00:16:16,200
[EXPLOSIONS]

280
00:16:16,200 --> 00:16:41,133
♪

281
00:16:41,133 --> 00:16:45,000
NARRATOR: ON APRIL 6, 1917, 
THE UNITED STATES

282
00:16:45,000 --> 00:16:47,766
ENTERED THE GREAT WAR THAT 
HAD BEEN UNDERWAY

283
00:16:47,766 --> 00:16:51,600
IN EUROPE FOR NEARLY 3 YEARS.

284
00:16:51,600 --> 00:16:55,400
MILLIONS OF YOUNG MEN HAD 
ALREADY BEEN SLAUGHTERED.

285
00:16:55,400 --> 00:16:59,500
THE WORLD ERNEST HEMINGWAY'S 
PARENTS HAD PREPARED HIM FOR

286
00:16:59,500 --> 00:17:03,533
HAD DISAPPEARED.

287
00:17:03,533 --> 00:17:05,700
SEVERAL OF HIS HIGH SCHOOL 
CLASSMATES

288
00:17:05,700 --> 00:17:09,100
HAD ALREADY VOLUNTEERED 
TO GO TO WAR.

289
00:17:09,100 --> 00:17:13,800
HE HOPED TO GO, TOO, 
BUT HE WAS TOO YOUNG AT 17,

290
00:17:13,800 --> 00:17:16,133
AND HIS PARENTS WOULD NOT 
SIGN THE PAPERS

291
00:17:16,133 --> 00:17:18,500
THAT WOULD HAVE WAIVED 
THAT REQUIREMENT.

292
00:17:18,500 --> 00:17:21,200
THEY WANTED HIM TO GO 
TO COLLEGE.

293
00:17:21,200 --> 00:17:25,500
HE REFUSED.

294
00:17:25,500 --> 00:17:28,100
A COMPROMISE 
WAS EVENTUALLY REACHED.

295
00:17:28,100 --> 00:17:33,133
AN UNCLE GOT THE BOY A JOB 
AT A NEWSPAPER IN KANSAS CITY.

296
00:17:33,133 --> 00:17:36,333
KANSAS CITY WAS A TOUGH, 
WIDE-OPEN TOWN,

297
00:17:36,333 --> 00:17:39,166
AND THE "KANSAS CITY STAR" 
WAS ONE OF THE BEST PAPERS

298
00:17:39,166 --> 00:17:40,866
IN THE COUNTRY,

299
00:17:40,866 --> 00:17:46,033
A PIONEER IN CRISP, CLEAR, 
IMMEDIATE REPORTING.

300
00:17:46,033 --> 00:17:49,166
ITS STYLE-SHEET SET THE TONE.

301
00:17:49,166 --> 00:17:51,300
MAN: USE SHORT SENTENCES.

302
00:17:51,300 --> 00:17:53,833
USE SHORT FIRST PARAGRAPHS.

303
00:17:53,833 --> 00:17:56,133
USE VIGOROUS ENGLISH.

304
00:17:56,133 --> 00:17:58,800
BE POSITIVE, NOT NEGATIVE.

305
00:17:58,800 --> 00:18:01,966
AVOID THE USE OF ADJECTIVES.

306
00:18:01,966 --> 00:18:04,733
NARRATOR: HEMINGWAY COVERED 
SHOOTINGS, STABBINGS,

307
00:18:04,733 --> 00:18:07,766
LABOR TROUBLES, 
A SMALLPOX SCARE.

308
00:18:07,766 --> 00:18:10,533
HE WAS FASCINATED BY ALL OF IT,

309
00:18:10,533 --> 00:18:14,166
AND ECHOES OF WHAT HE HAD HEARD 
AND SEEN IN KANSAS CITY

310
00:18:14,166 --> 00:18:18,600
WOULD APPEAR AGAIN AND AGAIN 
IN HIS LATER WRITING.

311
00:18:18,600 --> 00:18:20,400
MAN, AS HEMINGWAY: DEAR DAD, 
WE ARE HAVING

312
00:18:20,400 --> 00:18:21,900
A LAUNDRY STRIKE HERE,

313
00:18:21,900 --> 00:18:23,900
AND I AM HANDLING 
THE POLICE END.

314
00:18:23,900 --> 00:18:25,666
THE VIOLENCE STORIES.

315
00:18:25,666 --> 00:18:28,233
WRECKING TRUCKS, 
RUNNING THEM OVER CLIFFS,

316
00:18:28,233 --> 00:18:31,533
AND YESTERDAY, THEY MURDERED 
A NON-UNION GUARD.

317
00:18:31,533 --> 00:18:33,233
FOR OVER A MONTH 
I HAVE AVERAGED

318
00:18:33,233 --> 00:18:36,100
OVER A COLUMN A DAY.

319
00:18:38,066 --> 00:18:40,100
NARRATOR: AFTER HEMINGWAY 
TURNED 18,

320
00:18:40,100 --> 00:18:44,566
HE NO LONGER NEEDED HIS PARENTS' 
PERMISSION TO JOIN THE ARMY,

321
00:18:44,566 --> 00:18:46,633
BUT HE WAS CONVINCED 
HE WOULD BE REJECTED

322
00:18:46,633 --> 00:18:49,033
BECAUSE HE WAS NEAR-SIGHTED 
AND JOINED

323
00:18:49,033 --> 00:18:52,766
THE RED CROSS 
AMBULANCE SERVICE INSTEAD.

324
00:18:52,766 --> 00:18:59,433
NOTHING COULD HAVE PREPARED HIM 
FOR WHAT HE WAS ABOUT TO SEE.

325
00:18:59,433 --> 00:19:01,633
HEMINGWAY WAS SENT TO ITALY,

326
00:19:01,633 --> 00:19:03,866
WHERE HE WAS IMMEDIATELY 
DISPATCHED TO THE SCENE

327
00:19:03,866 --> 00:19:06,466
OF A HORRIFIC DISASTER.

328
00:19:06,466 --> 00:19:09,400
A MUNITIONS FACTORY 
HAD EXPLODED.

329
00:19:09,400 --> 00:19:13,733
35 WORKERS 
WERE BLOWN TO PIECES.

330
00:19:13,733 --> 00:19:17,000
HE HELPED GATHER UP THE DEAD, 
INCLUDING THE CORPSE

331
00:19:17,000 --> 00:19:20,166
OF A HEADLESS, LEGLESS WOMAN.

332
00:19:20,166 --> 00:19:22,500
"HEMMIE AND I NEARLY 
PASSED OUT COLD,"

333
00:19:22,500 --> 00:19:25,633
A FRIEND REMEMBERED, 
"BUT GRITTED OUR TEETH

334
00:19:25,633 --> 00:19:30,100
AND LAID THE THING 
ON THE STRETCHER."

335
00:19:30,100 --> 00:19:34,100
HEMINGWAY'S RED CROSS UNIT WAS 
ASSIGNED TO THE ITALIAN ARMY,

336
00:19:34,100 --> 00:19:35,900
FIGHTING THE AUSTRIANS 
IN THE FOOTHILLS

337
00:19:35,900 --> 00:19:39,133
OF THE ITALIAN ALPS.

338
00:19:39,133 --> 00:19:42,166
HE DROVE AN AMBULANCE 
FOR ALMOST TWO WEEKS,

339
00:19:42,166 --> 00:19:44,500
BRINGING WOUNDED ITALIAN 
SOLDIERS DOWN

340
00:19:44,500 --> 00:19:47,366
FROM THE MOUNTAINS.

341
00:19:47,366 --> 00:19:49,200
"THERE'S NOTHING HERE 
BUT SCENERY

342
00:19:49,200 --> 00:19:52,133
AND TOO DAMN MUCH OF THAT," 
HE TOLD A FRIEND.

343
00:19:52,133 --> 00:19:54,466
"I'M GOING TO GET OUT 
OF THIS AMBULANCE SECTION

344
00:19:54,466 --> 00:20:00,000
AND SEE IF I CAN'T FIND OUT 
WHERE THE WAR IS."

345
00:20:00,000 --> 00:20:03,633
ERNEST VOLUNTEERED TO BICYCLE UP 
TO THE FRONTLINE TRENCHES

346
00:20:03,633 --> 00:20:06,633
NEAR THE TOWN OF FOSSALTA 
AND DISTRIBUTE

347
00:20:06,633 --> 00:20:09,500
CANDY AND CIGARETTES 
TO THE MEN.

348
00:20:09,500 --> 00:20:14,100
LESS THAN A WEEK LATER, 
ON JULY 8, 1918,

349
00:20:14,100 --> 00:20:16,300
HE WAS PASSING OUT 
CHOCOLATE BARS

350
00:20:16,300 --> 00:20:19,066
IN A FORWARD LISTENING POST 
ON THE WEST BANK

351
00:20:19,066 --> 00:20:20,900
OF THE PIAVE RIVER

352
00:20:20,900 --> 00:20:27,400
WHEN AN ENEMY MORTAR SHELL 
EXPLODED JUST 3 FEET AWAY.

353
00:20:27,400 --> 00:20:29,666
ONE SOLDIER WAS KILLED.

354
00:20:29,666 --> 00:20:33,566
ANOTHER HAD HIS LEGS BLOWN OFF.

355
00:20:33,566 --> 00:20:38,633
MORE THAN 220 SHARDS OF SHRAPNEL 
RIPPED INTO HEMINGWAY'S LEGS

356
00:20:38,633 --> 00:20:42,100
AND LACERATED HIS SCALP, 
AND THE BLAST CAUSED

357
00:20:42,100 --> 00:20:44,833
THE FIRST OF MANY SERIOUS 
CONCUSSIONS

358
00:20:44,833 --> 00:20:49,366
HE WOULD ENDURE 
DURING HIS LIFETIME.

359
00:20:49,366 --> 00:20:51,700
MAN, AS HEMINGWAY: I DIED THEN.

360
00:20:51,700 --> 00:20:56,633
I FELT MY SOUL OR SOMETHING 
COMING RIGHT OUT OF MY BODY,

361
00:20:56,633 --> 00:20:58,500
LIKE YOU'D PULL 
A SILK HANDKERCHIEF

362
00:20:58,500 --> 00:21:02,566
OUT OF A POCKET BY ONE CORNER.

363
00:21:02,566 --> 00:21:04,833
IT FLEW AROUND 
AND THEN CAME BACK

364
00:21:04,833 --> 00:21:11,000
AND WENT IN AGAIN, 
AND I WASN'T DEAD ANYMORE.

365
00:21:11,000 --> 00:21:13,366
NARRATOR: AS STRETCHER-BEARERS 
STRUGGLED TO GET HEMINGWAY

366
00:21:13,366 --> 00:21:15,033
TO AN AID STATION,

367
00:21:15,033 --> 00:21:17,866
AN ENEMY MACHINE GUNNER 
OPENED UP.

368
00:21:17,866 --> 00:21:21,233
BULLETS LODGED 
IN HIS RIGHT KNEE AND FOOT.

369
00:21:21,233 --> 00:21:24,166
HE REFUSED TO BE TREATED 
FOR A TIME BECAUSE HE SAID

370
00:21:24,166 --> 00:21:29,000
THERE WERE OTHER MEN 
MORE SERIOUSLY WOUNDED THAN HE.

371
00:21:29,000 --> 00:21:31,633
HE THEN ENDURED THE REMOVAL 
OF THE LARGEST PIECES

372
00:21:31,633 --> 00:21:34,633
OF SHRAPNEL WITHOUT ANESTHETIC.

373
00:21:34,633 --> 00:21:37,166
BECAUSE HIS WOUNDS 
SEEMED SO SEVERE,

374
00:21:37,166 --> 00:21:41,700
A CATHOLIC PRIEST ADMINISTERED 
EXTREME UNCTION.

375
00:21:41,700 --> 00:21:44,933
ITALY WOULD EVENTUALLY 
AWARD HIM ITS SILVER MEDAL

376
00:21:44,933 --> 00:21:47,033
FOR WHAT THE CITATION CALLED

377
00:21:47,033 --> 00:21:51,233
HIS "ADMIRABLE SPIRIT 
OF FRATERNITY."

378
00:21:51,233 --> 00:21:54,433
HEMINGWAY FINALLY REACHED 
THE AMERICAN RED CROSS HOSPITAL

379
00:21:54,433 --> 00:21:58,700
IN MILAN AND UNDERWENT 
A FURTHER SERIES OF SURGERIES

380
00:21:58,700 --> 00:22:03,833
TO REMOVE THE REMAINING SHRAPNEL 
AND THE MACHINE GUN BULLETS.

381
00:22:05,833 --> 00:22:09,300
MAN, AS HEMINGWAY: DEAR FOLKS, 
THIS IS A PEACH OF A HOSPITAL.

382
00:22:09,300 --> 00:22:11,600
THERE ARE ABOUT 18 
AMERICAN NURSES

383
00:22:11,600 --> 00:22:14,366
TO TAKE CARE OF 4 PATIENTS.

384
00:22:14,366 --> 00:22:16,866
I'M ENCLOSING A PICTURE 
OF ME IN BED.

385
00:22:16,866 --> 00:22:19,133
IT LOOKS LIKE MY LEFT LEG 
WAS A STUMP,

386
00:22:19,133 --> 00:22:20,633
BUT IT REALLY ISN'T,

387
00:22:20,633 --> 00:22:24,200
JUST BENT SO IT LOOKS THAT WAY.

388
00:22:24,200 --> 00:22:26,433
THERE IS NOTHING FOR YOU 
TO WORRY ABOUT

389
00:22:26,433 --> 00:22:29,100
BECAUSE IT HAS BEEN FAIRLY 
CONCLUSIVELY PROVED

390
00:22:29,100 --> 00:22:31,800
THAT I CAN'T BE BUMPED OFF,

391
00:22:31,800 --> 00:22:33,866
AND WOUNDS DON'T MATTER.

392
00:22:33,866 --> 00:22:36,233
I WOULDN'T MIND BEING WOUNDED 
AGAIN SO MUCH

393
00:22:36,233 --> 00:22:39,733
BECAUSE I KNOW 
JUST WHAT IT IS LIKE,

394
00:22:39,733 --> 00:22:42,866
AND YOU CAN ONLY SUFFER 
SO MUCH, YOU KNOW,

395
00:22:42,866 --> 00:22:45,666
AND IT DOES GIVE YOU AN AWFULLY 
SATISFACTORY FEELING

396
00:22:45,666 --> 00:22:47,233
TO BE WOUNDED.

397
00:22:47,233 --> 00:22:52,066
IT'S GETTING BEATEN UP 
IN A GOOD CAUSE.

398
00:22:52,066 --> 00:22:55,766
THERE ARE NO HEROES IN THIS WAR.

399
00:22:55,766 --> 00:22:57,900
ALL THE HEROES ARE DEAD,

400
00:22:57,900 --> 00:23:01,800
AND THE REAL HEROES 
ARE THE PARENTS.

401
00:23:01,800 --> 00:23:04,666
DYING IS A VERY SIMPLE THING.

402
00:23:04,666 --> 00:23:08,366
I'VE LOOKED AT DEATH, 
AND REALLY I KNOW.

403
00:23:08,366 --> 00:23:10,066
IF I SHOULD HAVE DIED, 
IT WOULD HAVE BEEN

404
00:23:10,066 --> 00:23:12,833
VERY EASY FOR ME,

405
00:23:12,833 --> 00:23:15,500
AND HOW MUCH BETTER TO DIE 
IN ALL THE HAPPY PERIOD

406
00:23:15,500 --> 00:23:18,366
OF UNDISILLUSIONED YOUTH,

407
00:23:18,366 --> 00:23:20,866
TO GO OUT IN A BLAZE OF LIGHT,

408
00:23:20,866 --> 00:23:23,600
THAN TO HAVE YOUR BODY 
WORN OUT AND OLD

409
00:23:23,600 --> 00:23:27,200
AND ILLUSIONS SHATTERED.

410
00:23:27,200 --> 00:23:31,700
SO, DEAR OLD FAMILY, 
DON'T EVER WORRY ABOUT ME!

411
00:23:31,700 --> 00:23:34,200
IT ISN'T BAD TO BE WOUNDED:

412
00:23:34,200 --> 00:23:37,533
I KNOW BECAUSE 
I'VE EXPERIENCED IT,

413
00:23:37,533 --> 00:23:41,466
AND IF I DIE, I'M LUCKY.

414
00:23:44,633 --> 00:23:46,933
WOMAN: AUGUST 26.

415
00:23:46,933 --> 00:23:50,033
ERNEST HEMINGWAY 
IS GETTING EARNEST.

416
00:23:50,033 --> 00:23:52,133
HE WAS TALKING LAST NIGHT 
OF WHAT MIGHT BE

417
00:23:52,133 --> 00:23:54,700
IF HE WAS 26 OR 28.

418
00:23:54,700 --> 00:23:59,333
IN SOME WAYS--AT SOME TIMES-- 
I WISH VERY MUCH THAT HE WAS.

419
00:23:59,333 --> 00:24:01,733
HE IS ADORABLE, 
AND WE ARE VERY CONGENIAL

420
00:24:01,733 --> 00:24:05,133
IN EVERY WAY.

421
00:24:05,133 --> 00:24:07,800
NARRATOR: AS HE WAS RECOVERING, 
HEMINGWAY FELL IN LOVE

422
00:24:07,800 --> 00:24:09,566
WITH HIS NIGHT NURSE,

423
00:24:09,566 --> 00:24:12,900
AN AMERICAN NAMED 
AGNES VON KUROWSKY.

424
00:24:12,900 --> 00:24:16,033
SHE WAS AUBURN-HAIRED AND 26,

425
00:24:16,033 --> 00:24:19,033
7 1/2 YEARS OLDER 
THAN HER PATIENT,

426
00:24:19,033 --> 00:24:23,533
ENGAGED TO A DOCTOR BACK HOME, 
AND FLIRTATIOUS.

427
00:24:23,533 --> 00:24:25,833
HE BEGAN CALLING HER "AG."

428
00:24:25,833 --> 00:24:29,033
SHE CALLED HIM "KID," 
AND OVER THE WEEKS

429
00:24:29,033 --> 00:24:32,000
THAT FOLLOWED, SHE GAVE HIM 
A RING TO WEAR,

430
00:24:32,000 --> 00:24:34,233
ENJOYED WITH HIM THE WINE 
AND COGNAC

431
00:24:34,233 --> 00:24:37,033
HE BRIBED THE PORTER 
TO SMUGGLE IN,

432
00:24:37,033 --> 00:24:39,433
TOOK WALKS 
AND CARRIAGE RIDES WITH HIM

433
00:24:39,433 --> 00:24:42,266
AS SOON AS HE WAS ABLE 
TO LEAVE HIS ROOM,

434
00:24:42,266 --> 00:24:45,533
AND SHE WAS ONCE REPRIMANDED 
BY HER SUPERIOR

435
00:24:45,533 --> 00:24:50,366
FOR HAVING LEFT A GOLD HAIR-PIN 
BENEATH HIS PILLOW.

436
00:24:50,366 --> 00:24:52,900
WHEN AGNES WAS TRANSFERRED 
TO AN ARMY HOSPITAL

437
00:24:52,900 --> 00:24:56,366
IN FLORENCE, ERNEST WROTE HER 
SO MANY LETTERS,

438
00:24:56,366 --> 00:24:59,900
SHE URGED HIM TO SLOW DOWN,

439
00:24:59,900 --> 00:25:03,266
BUT SHE ALSO TOLD HIM 
SHE WAS LOST WITHOUT HIM,

440
00:25:03,266 --> 00:25:05,666
WISHED SHE COULD PUT 
HER ARMS AROUND HIM,

441
00:25:05,666 --> 00:25:08,033
DREAMED OF HIM EVERY NIGHT.

442
00:25:08,033 --> 00:25:11,766
"I SOMETIMES WISH WE COULD 
MARRY OVER HERE," SHE WROTE,

443
00:25:11,766 --> 00:25:15,600
AND SHE SIGNED SOME 
OF HER LETTERS "MRS. KID,"

444
00:25:15,600 --> 00:25:22,266
BUT SHE SIGNED OTHERS SIMPLY, 
"YOURS TILL THE WAR IS OVER."

445
00:25:22,266 --> 00:25:24,500
TO FILL THE HOURS 
WHILE SHE WAS AWAY,

446
00:25:24,500 --> 00:25:26,966
ERNEST BEGAN TO WRITE 
A SHORT STORY

447
00:25:26,966 --> 00:25:30,000
ABOUT A HIDEOUSLY WOUNDED 
AMERICAN SOLDIER,

448
00:25:30,000 --> 00:25:34,266
WHO MUSES OVER THE MEDALS 
HE'D BEEN GIVEN FOR HIS HEROISM

449
00:25:34,266 --> 00:25:37,733
AND THE MEANINGLESS CITATION 
THAT ACCOMPANIED THEM

450
00:25:37,733 --> 00:25:42,933
AND THEN DECIDES 
TO KILL HIMSELF.

451
00:25:42,933 --> 00:25:45,766
BY THE TIME HEMINGWAY WAS 
FINALLY WELL ENOUGH TO SAIL

452
00:25:45,766 --> 00:25:49,733
FOR HOME IN EARLY 1919, 
THE WAR HAD ENDED,

453
00:25:49,733 --> 00:25:53,466
AND HE WAS DETERMINED, HE SAID, 
TO "MAKE THE WORLD SAFE

454
00:25:53,466 --> 00:25:55,700
FOR ERNEST HEMINGWAY."

455
00:25:55,700 --> 00:25:58,500
AS SOON AS HIS WRITING PROVIDED 
HIM WITH A LIVING,

456
00:25:58,500 --> 00:26:01,566
HE AND AGNES WOULD MARRY.

457
00:26:01,566 --> 00:26:05,666
NARRATOR: AS HEMINGWAY LIMPED 
DOWN THE GANGPLANK IN NEW YORK,

458
00:26:05,666 --> 00:26:07,700
A REPORTER FROM 
THE "NEW YORK SUN"

459
00:26:07,700 --> 00:26:09,533
WAS THERE TO MEET HIM.

460
00:26:09,533 --> 00:26:11,366
HE MADE THE FIRST 
OF THE HUNDREDS

461
00:26:11,366 --> 00:26:15,200
OF NATIONAL HEADLINES HE WOULD 
MAKE DURING HIS LIFETIME.

462
00:26:17,900 --> 00:26:21,666
HE RETURNED TO OAK PARK 
TO A HERO'S WELCOME.

463
00:26:21,666 --> 00:26:24,700
HE LOVED THE ADULATION, 
WAS DELIGHTED

464
00:26:24,700 --> 00:26:27,700
WHEN AN ITALIAN-AMERICAN 
DELEGATION CAME OUT

465
00:26:27,700 --> 00:26:30,566
FROM CHICAGO 
TO HIS MOTHER'S MUSIC ROOM

466
00:26:30,566 --> 00:26:35,633
TO HONOR HIM FOR HIS COURAGE 
UNTIL HIS TEETOTALING PARENTS--

467
00:26:35,633 --> 00:26:38,400
APPALLED 
BY THE FREE-FLOWING WINE--

468
00:26:38,400 --> 00:26:41,366
PUT A STOP TO SUCH VISITS.

469
00:26:41,366 --> 00:26:43,233
WHENEVER HE LEFT 
HIS PARENTS' HOUSE,

470
00:26:43,233 --> 00:26:45,000
HE WORE HIS UNIFORM,

471
00:26:45,000 --> 00:26:48,200
COMPLETE WITH 
A BLACK VELVET ITALIAN CAPE,

472
00:26:48,200 --> 00:26:50,366
AND HE APPEARED 
BEFORE LOCAL GROUPS,

473
00:26:50,366 --> 00:26:55,200
RETELLING AND EMBELLISHING 
HIS WAR STORIES FOR A FEE,

474
00:26:55,200 --> 00:26:57,233
THOUGH HE SAID HE HAD 
NOTHING BUT CONTEMPT

475
00:26:57,233 --> 00:27:01,833
FOR THOSE WHO WANTED TO BE 
"VICARIOUSLY HORRIFIED."

476
00:27:05,066 --> 00:27:07,933
BUT NOW HE CLAIMED, 
DESPITE HIS WOUNDS,

477
00:27:07,933 --> 00:27:11,133
HE'D MANAGED TO CARRY 
AN INJURED MAN TO SAFETY

478
00:27:11,133 --> 00:27:14,466
BEFORE COLLAPSING, 
AND HE LET HIS AUDIENCES BELIEVE

479
00:27:14,466 --> 00:27:17,466
THAT, ALTHOUGH HE STILL 
COULD NOT WALK WITHOUT A CANE,

480
00:27:17,466 --> 00:27:20,400
HE'D SOMEHOW BEEN ABLE 
TO RETURN TO THE FRONT

481
00:27:20,400 --> 00:27:24,433
AND FIGHT ALONGSIDE AN ELITE 
UNIT OF THE ITALIAN ARMY

482
00:27:24,433 --> 00:27:27,133
BEFORE THE SHOOTING STOPPED.

483
00:27:30,233 --> 00:27:32,066
MAN, AS HEMINGWAY: TO BE 
LISTENED TO AT ALL HE

484
00:27:32,066 --> 00:27:33,800
HAD TO LIE,

485
00:27:33,800 --> 00:27:35,700
AND AFTER HE HAD 
DONE THIS TWICE,

486
00:27:35,700 --> 00:27:38,466
HE, TOO, HAD A REACTION 
AGAINST THE WAR

487
00:27:38,466 --> 00:27:40,566
AND AGAINST TALKING ABOUT IT.

488
00:27:40,566 --> 00:27:43,300
A DISTASTE FOR EVERYTHING THAT 
HAD HAPPENED TO HIM

489
00:27:43,300 --> 00:27:45,866
IN THE WAR SET IN

490
00:27:45,866 --> 00:27:50,066
BECAUSE OF THE LIES 
HE HAD TOLD.

491
00:27:50,066 --> 00:27:53,133
NARRATOR: WHEN ERNEST WAS NOT 
MAKING PUBLIC APPEARANCES,

492
00:27:53,133 --> 00:27:56,300
HE WAS IN HIS THIRD-FLOOR 
BEDROOM UNDER THE EAVES,

493
00:27:56,300 --> 00:28:00,000
HUNCHED OVER AN OLD TYPEWRITER, 
WRITING WAR STORIES

494
00:28:00,000 --> 00:28:02,866
AND SENDING THEM OFF TO 
THE "SATURDAY EVENING POST"

495
00:28:02,866 --> 00:28:07,033
AND "REDBOOK," TRYING TO 
SHOW AGNES AND HIS PARENTS

496
00:28:07,033 --> 00:28:10,000
THAT HE COULD 
MAKE IT AS A WRITER.

497
00:28:10,000 --> 00:28:13,533
ALL THE STORIES WERE REJECTED.

498
00:28:13,533 --> 00:28:15,400
DESPITE THE BRAVADO 
WITH WHICH

499
00:28:15,400 --> 00:28:18,666
HE FACED HIS NEIGHBORS, 
HE HAD BEEN DEEPLY AFFECTED

500
00:28:18,666 --> 00:28:21,533
BY THE WAR AND BY HIS WOUNDING.

501
00:28:21,533 --> 00:28:25,066
AN OLD FRIEND WHO VISITED HIM 
THAT WINTER REMEMBERED

502
00:28:25,066 --> 00:28:28,600
THAT "HE CAME BACK FIGURATIVELY 
AS WELL AS LITERALLY

503
00:28:28,600 --> 00:28:30,433
SHOT TO PIECES."

504
00:28:30,433 --> 00:28:32,466
HE COULD NOT SLEEP 
WITHOUT A LIGHT

505
00:28:32,466 --> 00:28:34,666
BECAUSE HE HAD BEEN WOUNDED 
AT NIGHT

506
00:28:34,666 --> 00:28:37,000
AND HAD COME TO BELIEVE, 
HE WOULD WRITE,

507
00:28:37,000 --> 00:28:41,333
"THAT IF I EVER SHUT MY EYES 
IN THE DARK AND LET MYSELF GO,

508
00:28:41,333 --> 00:28:45,700
MY SOUL WOULD GO 
OUT OF MY BODY."

509
00:28:45,700 --> 00:28:48,366
HIS SISTER URSULA SOMETIMES 
SLEPT IN HIS ROOM

510
00:28:48,366 --> 00:28:50,466
TO SOOTHE HIS FEARS.

511
00:28:50,466 --> 00:28:55,166
ALL HIS LIFE, HE WOULD BE 
FRIGHTENED OF SLEEPING ALONE.

512
00:28:55,166 --> 00:28:58,700
HIS GREAT CONSOLATION WAS 
THAT AGNES WOULD SOON

513
00:28:58,700 --> 00:29:03,200
BE COMING HOME TO MARRY HIM.

514
00:29:03,200 --> 00:29:07,200
WOMAN, AS AGNES: MARCH 7, 1919.

515
00:29:07,200 --> 00:29:10,200
ERNIE, DEAR BOY, 
I AM WRITING THIS

516
00:29:10,200 --> 00:29:13,433
LATE AT NIGHT AFTER 
A LONG THINK BY MYSELF,

517
00:29:13,433 --> 00:29:15,933
AND I AM AFRAID IT IS 
GOING TO HURT YOU,

518
00:29:15,933 --> 00:29:19,400
BUT I'M SURE IT WON'T 
HARM YOU PERMANENTLY.

519
00:29:19,400 --> 00:29:21,366
FOR QUITE A WHILE 
BEFORE YOU LEFT,

520
00:29:21,366 --> 00:29:26,633
I WAS TRYING TO CONVINCE MYSELF 
IT WAS A REAL LOVE-AFFAIR,

521
00:29:26,633 --> 00:29:30,733
BUT NOW, AFTER A COUPLE 
OF MONTHS AWAY FROM YOU,

522
00:29:30,733 --> 00:29:33,400
I KNOW THAT I AM STILL 
VERY FOND OF YOU,

523
00:29:33,400 --> 00:29:37,166
BUT IT IS MORE AS A MOTHER 
THAN AS A SWEETHEART,

524
00:29:37,166 --> 00:29:38,833
AND I CAN'T GET AWAY 
FROM THE FACT

525
00:29:38,833 --> 00:29:41,933
THAT YOU'RE JUST A BOY, A KID.

526
00:29:44,033 --> 00:29:46,933
I EXPECT TO BE MARRIED SOON.

527
00:29:46,933 --> 00:29:49,400
AND I HOPE AND PRAY THAT 
AFTER YOU HAVE THOUGHT

528
00:29:49,400 --> 00:29:52,033
THINGS OUT, YOU'LL BE ABLE TO 
FORGIVE ME AND START

529
00:29:52,033 --> 00:29:56,533
A WONDERFUL CAREER AND SHOW 
WHAT A MAN YOU REALLY ARE.

530
00:29:56,533 --> 00:30:02,966
EVER ADMIRINGLY AND FONDLY, 
YOUR FRIEND, AGGIE.

531
00:30:02,966 --> 00:30:05,733
NARRATOR: ERNEST IMMEDIATELY 
WROTE TO BILL HORNE,

532
00:30:05,733 --> 00:30:08,600
A FRIEND FROM 
THE AMBULANCE SERVICE.

533
00:30:12,066 --> 00:30:14,966
MAN, AS HEMINGWAY: 
IT HAS HIT ME SO SUDDEN.

534
00:30:14,966 --> 00:30:17,200
SHE DOESN'T LOVE ME, BILL.

535
00:30:17,200 --> 00:30:19,233
SHE TAKES IT ALL BACK.

536
00:30:19,233 --> 00:30:24,400
A "MISTAKE," ONE OF THOSE 
LITTLE MISTAKES, YOU KNOW.

537
00:30:24,400 --> 00:30:26,200
OH, BILL, 
I CAN'T KID ABOUT IT

538
00:30:26,200 --> 00:30:28,433
BECAUSE I'M JUST 
SMASHED BY IT,

539
00:30:28,433 --> 00:30:30,033
BUT SHE DOESN'T 
LOVE ME NOW, BILL,

540
00:30:30,033 --> 00:30:33,400
AND SHE IS GOING TO 
MARRY SOMEONE ELSE,

541
00:30:33,400 --> 00:30:35,900
AND SHE HOPES THAT 
AFTER I HAVE FORGIVEN HER

542
00:30:35,900 --> 00:30:39,866
I WILL HAVE A WONDERFUL CAREER 
AND EVERYTHING,

543
00:30:39,866 --> 00:30:43,866
BUT, BILL, I DON'T WANT 
A WONDERFUL CAREER.

544
00:30:43,866 --> 00:30:47,366
ALL I WANTED WAS AG 
AND HAPPINESS,

545
00:30:47,366 --> 00:30:52,166
AND NOW THE BOTTOM HAS DROPPED 
OUT OF THE WHOLE WORLD.

546
00:30:52,166 --> 00:30:55,433
NARRATOR: HE DEVELOPED A FEVER, 
REFUSED TO SEE ANYONE,

547
00:30:55,433 --> 00:30:58,400
BEGAN DRINKING SECRETLY 
FROM BOTTLES OF LIQUEUR

548
00:30:58,400 --> 00:31:02,766
HE HID IN HIS BOOKCASE, 
STOPPED WRITING FOR A TIME.

549
00:31:02,766 --> 00:31:06,833
THERE SEEMED TO BE NO POINT.

550
00:31:06,833 --> 00:31:10,366
I DON'T KNOW HOW MUCH 
HE TRUSTED WOMEN AFTER THAT.

551
00:31:10,366 --> 00:31:12,333
I JUST DON'T,

552
00:31:12,333 --> 00:31:15,333
BUT I DO KNOW HE LOVED 
BEING IN LOVE.

553
00:31:18,666 --> 00:31:21,166
NARRATOR: HE'D BEEN 
A BIG-CITY NEWSPAPERMAN,

554
00:31:21,166 --> 00:31:24,700
HAD EXPERIENCED WAR 
AND NEARLY BEEN KILLED,

555
00:31:24,700 --> 00:31:26,966
HAD BEEN DISAPPOINTED IN LOVE

556
00:31:26,966 --> 00:31:30,433
AND SOMEHOW NOW FOUND 
HIMSELF BACK HOME,

557
00:31:30,433 --> 00:31:33,200
STILL BEING TREATED 
AS IF HE WERE A BOY,

558
00:31:33,200 --> 00:31:37,066
AS IF NONE OF IT HAD HAPPENED.

559
00:31:37,066 --> 00:31:39,333
KATAKIS: 
THINGS WERE OUT THERE.

560
00:31:39,333 --> 00:31:43,933
HE SEEMS TO HAVE BEEN HUNGRY 
FROM AN EARLY AGE,

561
00:31:43,933 --> 00:31:47,466
AND HE COULD NEVER HAVE BEEN 
IN MY OPINION,

562
00:31:47,466 --> 00:31:50,133
ESPECIALLY AFTER 
THE FIRST WORLD WAR,

563
00:31:50,133 --> 00:31:57,333
CONTAINED BY OAK PARK'S 
QUIET SUNDAYS AND PERFECT LAWNS.

564
00:31:57,333 --> 00:31:59,766
I THINK THAT WAS 
IMPOSSIBLE THEN.

565
00:31:59,766 --> 00:32:04,400
SO THAT, OF COURSE, LED 
TO A CONFLICT WITH HIS FAMILY,

566
00:32:04,400 --> 00:32:07,533
WHO FELT AFTER WAR 
YOU SHOULD BE

567
00:32:07,533 --> 00:32:10,566
WHAT THEY PERCEIVED YOU 
TO BE BEFORE YOU LEFT,

568
00:32:10,566 --> 00:32:12,500
BUT YOU'RE 
NO LONGER THE SAME PERSON.

569
00:32:12,500 --> 00:32:16,100
HE WAS NO LONGER 
THE SAME PERSON.

570
00:32:16,100 --> 00:32:19,566
NARRATOR: THE PAIN OF LOSING 
AGNES EVENTUALLY EASED.

571
00:32:19,566 --> 00:32:21,866
THAT SUMMER, 
ERNEST TOLD A FRIEND,

572
00:32:21,866 --> 00:32:25,900
HE UNDERWENT WHAT HE CALLED 
A "PROCESS OF CAUTERIZATION

573
00:32:25,900 --> 00:32:29,700
"IN WHICH COGNAC AND 2 OR 3 
GIRLS I CARED NOTHING ABOUT

574
00:32:29,700 --> 00:32:34,300
BUT VIOLENTLY RUSHED 
TOOK THE PLACE OF THE RED IRON."

575
00:32:37,833 --> 00:32:41,733
HEMINGWAY EVENTUALLY RETURNED 
TO HIS TYPEWRITER THAT FALL,

576
00:32:41,733 --> 00:32:44,533
FIRST WRITING MORE STORIES 
IN A RENTED ROOM

577
00:32:44,533 --> 00:32:48,166
IN PETOSKEY, MICHIGAN, 
THEN IN TORONTO,

578
00:32:48,166 --> 00:32:51,466
WRITING FREELANCE PIECES 
FOR THE "DAILY STAR"

579
00:32:51,466 --> 00:32:55,700
AND "STAR WEEKLY" ABOUT FISHING 
AND CHICAGO GANGSTERS

580
00:32:55,700 --> 00:32:58,533
AND THE DANGERS 
OF ACCEPTING A FREE SHAVE

581
00:32:58,533 --> 00:33:00,966
AT A BARBER'S COLLEGE.

582
00:33:04,133 --> 00:33:06,800
BUT WHEN HE RETURNED 
TO HIS FAMILY AT WALLOON LAKE

583
00:33:06,800 --> 00:33:12,100
IN THE SUMMER OF 1920, 
THINGS WENT FROM BAD TO WORSE.

584
00:33:12,100 --> 00:33:15,433
HE SEEMED UNINTERESTED 
IN LOOKING FOR A STEADY JOB,

585
00:33:15,433 --> 00:33:17,500
SPOKE VAGUELY 
OF BOARDING A FREIGHTER

586
00:33:17,500 --> 00:33:19,500
AND SAILING AROUND THE WORLD

587
00:33:19,500 --> 00:33:23,833
AS ONE OF HIS FAVORITE WRITERS 
JACK LONDON HAD DONE.

588
00:33:23,833 --> 00:33:27,133
WHEN HIS MOTHER OBJECTED, 
HE SNAPPED AT HER.

589
00:33:27,133 --> 00:33:30,666
HIS FATHER EXHORTED HIM TO 
"SOFTEN YOUR TEMPER

590
00:33:30,666 --> 00:33:34,966
AND FEAR GOD 
AND RESPECT WOMAN."

591
00:33:34,966 --> 00:33:40,233
THINGS CAME TO A HEAD 6 DAYS 
AFTER HIS 21st BIRTHDAY.

592
00:33:40,233 --> 00:33:43,466
HE AND TWO OF HIS YOUNGER 
SISTERS JOINED FRIENDS,

593
00:33:43,466 --> 00:33:46,266
INCLUDING THEIR NEIGHBOR'S 
TEENAGE DAUGHTERS,

594
00:33:46,266 --> 00:33:51,033
AT A SECRET MOONLIGHT PARTY 
ACROSS THE LAKE.

595
00:33:51,033 --> 00:33:54,200
WHEN HIS MOTHER FOUND OUT 
ABOUT IT, SHE WAS FURIOUS.

596
00:33:54,200 --> 00:33:57,133
HE WAS OLD ENOUGH TO KNOW 
BETTER, SHE TOLD HIM.

597
00:33:57,133 --> 00:33:59,933
HE WAS CORRUPTING 
THE MORALS OF MINORS,

598
00:33:59,933 --> 00:34:03,533
HE WAS A DISGRACE TO HIS FAMILY.

599
00:34:03,533 --> 00:34:05,366
SHE HANDED HIM 
A LETTER ADDRESSED

600
00:34:05,366 --> 00:34:08,766
TO "MY DEAR SON ERNEST."

601
00:34:08,766 --> 00:34:11,666
IT BEGAN WITH A CATALOGUE 
OF THE SACRIFICES

602
00:34:11,666 --> 00:34:16,566
SHE SAID SHE HAD MADE 
FOR HIS BENEFIT.

603
00:34:16,566 --> 00:34:19,966
"A MOTHER'S LOVE," SHE TOLD HIM, 
WAS "LIKE A BANK."

604
00:34:19,966 --> 00:34:22,733
SHE HAD MADE ALL 
THE EARLY DEPOSITS--

605
00:34:22,733 --> 00:34:25,833
THE PAIN OF CHILDBIRTH, 
THE SLEEPLESS NIGHTS,

606
00:34:25,833 --> 00:34:28,200
THE YEARS OF PATIENT 
UNDERSTANDING

607
00:34:28,200 --> 00:34:30,733
AND ENCOURAGEMENT,

608
00:34:30,733 --> 00:34:33,300
BUT NOW THAT "FULL MANHOOD" 
WAS HERE,

609
00:34:33,300 --> 00:34:39,233
IT WAS HIS TURN TO MAKE 
"DEPOSITS" OF HIS OWN, SHE SAID.

610
00:34:39,233 --> 00:34:41,633
WOMAN, AS GRACE: UNLESS YOU, 
MY SON, ERNEST,

611
00:34:41,633 --> 00:34:45,100
COME TO YOURSELF, 
CEASE YOUR LAZY LOAFING

612
00:34:45,100 --> 00:34:48,033
AND PLEASURE SEEKING-- 
BORROWING WITH NO THOUGHT

613
00:34:48,033 --> 00:34:49,766
OF RETURNING--

614
00:34:49,766 --> 00:34:52,433
STOP TRYING TO GRAFT 
A LIVING OFF ANYBODY,

615
00:34:52,433 --> 00:34:56,333
AND EVERYBODY, SPENDING 
ALL YOUR EARNINGS

616
00:34:56,333 --> 00:35:00,633
LAVISHLY AND WASTEFULLY 
ON LUXURIES FOR YOURSELF--

617
00:35:00,633 --> 00:35:03,333
STOP TRADING 
ON YOUR HANDSOME FACE

618
00:35:03,333 --> 00:35:06,733
TO FOOL LITTLE GULLIBLE GIRLS,

619
00:35:06,733 --> 00:35:09,400
AND NEGLECTING YOUR DUTIES 
TO GOD

620
00:35:09,400 --> 00:35:12,000
AND YOUR SAVIOR JESUS CHRIST,

621
00:35:12,000 --> 00:35:16,566
UNLESS, IN OTHER WORDS, 
YOU COME INTO YOUR MANHOOD,

622
00:35:16,566 --> 00:35:21,033
THERE IS NOTHING BEFORE YOU, 
BUT BANKRUPTCY.

623
00:35:21,033 --> 00:35:24,566
YOU HAVE OVERDRAWN.

624
00:35:24,566 --> 00:35:27,200
NARRATOR: ERNEST WAS TO LEAVE 
HOME, SHE SAID,

625
00:35:27,200 --> 00:35:30,066
AND NOT "COME BACK 
UNTIL YOUR TONGUE HAS LEARNED

626
00:35:30,066 --> 00:35:33,700
NOT TO INSULT 
AND SHAME YOUR MOTHER."

627
00:35:33,700 --> 00:35:35,966
"MAKES A GUY FEEL 
KIND OF ROTTEN,"

628
00:35:35,966 --> 00:35:38,033
ERNEST TOLD A FRIEND, 
"TO KNOW THAT

629
00:35:38,033 --> 00:35:42,766
HE HASN'T ANY HOME, 
EVEN IF HE DOESN'T USE IT."

630
00:35:42,766 --> 00:35:46,333
HE AND HIS MOTHER WOULD 
EVENTUALLY RECONCILE,

631
00:35:46,333 --> 00:35:47,900
BUT HEMINGWAY'S ANTIPATHY

632
00:35:47,900 --> 00:35:50,766
TOWARD HER 
WOULD NEVER DISSIPATE,

633
00:35:50,766 --> 00:35:53,433
YET OF ALL HER CHILDREN, 
HE WOULD BECOME

634
00:35:53,433 --> 00:35:57,533
THE MOST LIKE HER-- 
OPINIONATED, JUDGMENTAL,

635
00:35:57,533 --> 00:36:02,600
CONTROLLING, SELF-DRAMATIZING.

636
00:36:02,600 --> 00:36:06,300
ERNEST MOVED TO CHICAGO, 
ROOMED WITH OLD FRIENDS,

637
00:36:06,300 --> 00:36:09,733
AND GOT TO KNOW THE CELEBRATED 
WRITER SHERWOOD ANDERSON,

638
00:36:09,733 --> 00:36:12,266
WHO BECAME SOMETHING 
OF A MENTOR.

639
00:36:12,266 --> 00:36:15,700
HEMINGWAY SUPPORTED HIMSELF 
WRITING AD COPY

640
00:36:15,700 --> 00:36:19,133
AND WORKED AWAY 
AT SHORT STORIES AT NIGHT.

641
00:36:19,133 --> 00:36:22,166
NO ONE SEEMED INTERESTED 
IN THEM.

642
00:36:22,166 --> 00:36:25,200
WOMAN: ALL WRITERS 
ARE NARCISSISTIC.

643
00:36:25,200 --> 00:36:27,100
THAT'S NOT THE SAME 
AS BEING A NARCISSIST,

644
00:36:27,100 --> 00:36:28,700
AS BEING A SOCIOPATH,

645
00:36:28,700 --> 00:36:31,033
BUT NO ONE CAN SIT 
IN A ROOM BY THEMSELVES

646
00:36:31,033 --> 00:36:34,666
12 HOURS A DAY, THINKING 
ABOUT WHAT THEY'RE THINKING

647
00:36:34,666 --> 00:36:36,533
AND NOT BE A LITTLE MORE 
SELF-FOCUSED

648
00:36:36,533 --> 00:36:38,300
THAN THE NORMAL PERSON.

649
00:36:38,300 --> 00:36:41,400
YOU'RE DEFINITELY ON THE FAR END 
OF THE BELL CURVE.

650
00:36:45,100 --> 00:36:48,433
WOMAN: OH, MR. HEMINGWAY, 
HOW I LOVE YOU.

651
00:36:48,433 --> 00:36:50,333
HOW EXCITING YOU ARE.

652
00:36:50,333 --> 00:36:52,933
HOW A LOT OF THINGS HAPPEN 
AROUND YOU,

653
00:36:52,933 --> 00:36:57,733
AND BESIDES ALL THAT, 
I LOVE YOU ANYWAY.

654
00:36:57,733 --> 00:37:00,266
HOW I LOVE 
THE WAY YOU LOVE ME,

655
00:37:00,266 --> 00:37:04,733
AND YOUR FLANNEL SHIRT SEEMS 
A STRANGELY BEAUTIFUL THING,

656
00:37:04,733 --> 00:37:07,500
AND IT SMELLS SO GOOD BESIDES.

657
00:37:07,500 --> 00:37:10,800
SOME DAY, IF I DON'T WATCH OUT, 
THERE'LL BE A POEM

658
00:37:10,800 --> 00:37:12,800
ON THE SMELL 
OF A CLEAN WHITE SHIRT

659
00:37:12,800 --> 00:37:15,566
THAT'LL RAISE UP THE HAIR 
ON THE DEAD.

660
00:37:15,566 --> 00:37:17,766
HADLEY RICHARDSON.

661
00:37:22,200 --> 00:37:24,866
NARRATOR: ONE OCTOBER EVENING 
IN 1920,

662
00:37:24,866 --> 00:37:27,900
HEMINGWAY ATTENDED A PARTY 
AT A FRIEND'S APARTMENT

663
00:37:27,900 --> 00:37:32,200
AND WAS INTRODUCED 
TO A VISITOR FROM ST. LOUIS.

664
00:37:32,200 --> 00:37:34,000
"THE MOMENT SHE ENTERED 
THE ROOM,

665
00:37:34,000 --> 00:37:36,033
AN INTENSE FEELING 
CAME OVER ME,"

666
00:37:36,033 --> 00:37:38,666
HEMINGWAY REMEMBERED 
MANY YEARS LATER.

667
00:37:38,666 --> 00:37:43,333
"I KNEW SHE WAS THE GIRL 
I WAS GOING TO MARRY."

668
00:37:43,333 --> 00:37:46,533
ELIZABETH HADLEY RICHARDSON 
WAS 28,

669
00:37:46,533 --> 00:37:49,333
THE SHY PRODUCT 
OF A WELL-TO-DO FAMILY

670
00:37:49,333 --> 00:37:53,400
FAR MORE TENSE AND TROUBLED 
EVEN THAN HIS.

671
00:37:53,400 --> 00:37:57,566
HER ALCOHOLIC FATHER HAD SHOT 
HIMSELF WHEN SHE WAS 13.

672
00:37:57,566 --> 00:38:00,133
A BELOVED SISTER 
HAD BURNED TO DEATH.

673
00:38:00,133 --> 00:38:02,733
SHE HERSELF HAD SUFFERED 
A NERVOUS BREAKDOWN

674
00:38:02,733 --> 00:38:06,066
AT BRYN MAWR AND BEEN FORCED 
TO SPEND THE LAST 8 YEARS

675
00:38:06,066 --> 00:38:10,600
AT HOME, CARING FOR HER ERRATIC 
AND DOMINEERING MOTHER,

676
00:38:10,600 --> 00:38:13,700
SOMETIMES DRIVEN TO SUCH DESPAIR

677
00:38:13,700 --> 00:38:17,400
THAT HADLEY CONSIDERED SUICIDE.

678
00:38:17,400 --> 00:38:21,666
HER MOTHER HAD DIED JUST WEEKS 
BEFORE SHE MET HEMINGWAY.

679
00:38:21,666 --> 00:38:24,833
SHE WAS EAGER, SHE RECALLED, 
TO FIND SOMEONE

680
00:38:24,833 --> 00:38:29,133
WITH WHOM SHE COULD BEGIN 
TO BUILD A LIFE OF HER OWN.

681
00:38:33,566 --> 00:38:36,600
WOMAN, AS RICHARDSON: I NEED YOU 
IN EVERY PART OF MY LIFE.

682
00:38:36,600 --> 00:38:38,500
I WANT TO BE KISSED.

683
00:38:38,500 --> 00:38:40,500
I WANT TO PULL YOUR HEAD DOWN 
ON MY HEART

684
00:38:40,500 --> 00:38:43,266
AND HOLD IT VERY CLOSE 
AND CRADLE YOU THERE

685
00:38:43,266 --> 00:38:46,966
FOR HOURS, 
YOU BLESSED THING.

686
00:38:46,966 --> 00:38:53,600
LOVE YOU, LOVE YOU, 
YOUR OWNEST IN THE WORLD.

687
00:38:53,600 --> 00:38:56,733
NARRATOR: FALLING IN LOVE 
WITH HEMINGWAY, HADLEY SAID,

688
00:38:56,733 --> 00:39:00,633
WAS A "GREAT EXPLOSION 
INTO LIFE."

689
00:39:00,633 --> 00:39:03,633
WITHIN 6 WEEKS, 
HE WAS CALLING HER "HASH,"

690
00:39:03,633 --> 00:39:06,500
AND THEY WERE TALKING 
OF MARRIAGE.

691
00:39:06,500 --> 00:39:09,466
THEY WOULD NOT ACTUALLY WED 
FOR NEARLY A YEAR

692
00:39:09,466 --> 00:39:12,166
AND WERE APART 
MOST OF THAT TIME,

693
00:39:12,166 --> 00:39:17,666
BUT THEY WROTE ONE ANOTHER 
ALMOST DAILY.

694
00:39:17,666 --> 00:39:19,633
MAN, AS HEMINGWAY: 
'COURSE I LOVE YOU.

695
00:39:19,633 --> 00:39:21,933
I LOVE YOU ALL THE TIME.

696
00:39:21,933 --> 00:39:24,666
WHEN I WAKE UP IN THE MORNING 
AND HAVE TO CLIMB OUT OF BED

697
00:39:24,666 --> 00:39:27,666
AND SPLASH AROUND AND SHAVE, 
I LOOK AT YOUR PICTURE

698
00:39:27,666 --> 00:39:30,200
AND THINK ABOUT YOU,

699
00:39:30,200 --> 00:39:34,700
AND IN THE EVENING, 
IT'S TOO MUCH TO STAND.

700
00:39:34,700 --> 00:39:37,666
'NIGHT, MY DEAREST HASH.

701
00:39:37,666 --> 00:39:40,500
I'D LIKE TO HOLD YOU SO 
AND KISS YOU SO

702
00:39:40,500 --> 00:39:44,300
THAT YOU WOULDN'T DOUBT 
WHETHER I WANTED TO OR NOT.

703
00:39:44,300 --> 00:39:48,533
LOVE YOU--ERNESTO

704
00:39:48,533 --> 00:39:51,466
NARRATOR: HIS LOVE RESTORED 
HER SELF-CONFIDENCE

705
00:39:51,466 --> 00:39:54,133
AFTER YEARS OF SELF-DOUBT.

706
00:39:54,133 --> 00:39:56,800
"WE'RE THE SAME FIRM," 
SHE TOLD HIM.

707
00:39:56,800 --> 00:39:58,300
"THE WORLD'S A JAIL,

708
00:39:58,300 --> 00:40:01,000
AND WE'RE GONNA 
BREAK IT TOGETHER."

709
00:40:01,000 --> 00:40:05,833
HER CONFIDENCE IN HIM WOULD 
HELP HIM REALIZE HIS TALENT.

710
00:40:05,833 --> 00:40:09,966
WHEN ERNEST TOLD HADLEY HE NOW 
FELT READY TO START A NOVEL

711
00:40:09,966 --> 00:40:13,100
BASED UPON HIS OWN BOYHOOD 
WITH "REAL PEOPLE,

712
00:40:13,100 --> 00:40:15,766
TALKING AND SAYING 
WHAT THEY THINK,"

713
00:40:15,766 --> 00:40:19,533
SHE SENT HIM 
A NEW CORONA TYPEWRITER.

714
00:40:19,533 --> 00:40:21,933
FROM THE FIRST, 
SHE SEEMED TO UNDERSTAND

715
00:40:21,933 --> 00:40:24,000
WHAT HE WAS TRYING TO DO.

716
00:40:24,000 --> 00:40:27,400
SHE LOVED IT THAT HIS STYLE 
"ELIMINATED EVERYTHING

717
00:40:27,400 --> 00:40:31,366
EXCEPT WHAT IS NECESSARY 
AND STRENGTHENING"...

718
00:40:34,566 --> 00:40:36,866
BUT AS THEIR WEDDING DAY 
APPROACHED,

719
00:40:36,866 --> 00:40:41,466
ANXIETY AND DEPRESSION 
AGAIN ENVELOPED HIM.

720
00:40:41,466 --> 00:40:44,533
HE LOST WEIGHT, WORRIED 
THAT MARRIED LIFE

721
00:40:44,533 --> 00:40:47,133
MIGHT NOT BE FOR HIM AFTER ALL

722
00:40:47,133 --> 00:40:50,966
OR THAT HADLEY WOULD 
BETRAY HIM THE WAY AGNES HAD.

723
00:40:50,966 --> 00:40:53,833
HE GREW DARKER AND DARKER.

724
00:40:53,833 --> 00:41:00,000
HE HINTED TO HADLEY THAT 
HE WAS CONSIDERING SUICIDE.

725
00:41:00,000 --> 00:41:02,233
WOMAN, AS RICHARDSON: I KNOW HOW 
IT FEELS 'CAUSE I HAVE

726
00:41:02,233 --> 00:41:06,166
SO VERY MANY TIMES 
WANTED TO GO AND COULDN'T

727
00:41:06,166 --> 00:41:09,766
ON ACCOUNT OF THE MESS I'D 
LEAVE SOME OTHER PEOPLE IN,

728
00:41:09,766 --> 00:41:14,833
BUT REMEMBER IT WOULD KILL ME 
TO ALL INTENTS AND PURPOSES.

729
00:41:14,833 --> 00:41:19,700
DON'T EVER GET CONFUSED 
WHEN SUCH A MOMENT COMES.

730
00:41:19,700 --> 00:41:21,533
YOU GOTTA LIVE--

731
00:41:21,533 --> 00:41:25,766
FIRST FOR YOU AND THEN 
FOR MY HAPPINESS.

732
00:41:25,766 --> 00:41:30,066
YOU MUSTN'T FEEL SO HORRIBLY, 
DEAR ERN.

733
00:41:30,066 --> 00:41:33,233
I'M ARRIVING SATURDAY 
TO LOVE YOU CLOSER.

734
00:41:35,566 --> 00:41:39,966
NARRATOR: ON SATURDAY AFTERNOON, 
SEPTEMBER 3, 1921,

735
00:41:39,966 --> 00:41:43,233
IN A METHODIST CHURCH NOT FAR 
FROM THE FAMILY COTTAGE

736
00:41:43,233 --> 00:41:46,300
ON WALLOON LAKE, 
HADLEY RICHARDSON

737
00:41:46,300 --> 00:41:52,066
BECAME MRS. ERNEST HEMINGWAY.

738
00:41:52,066 --> 00:42:06,966
♪

739
00:42:06,966 --> 00:42:09,800
MAN, AS HEMINGWAY: JANUARY 1922.

740
00:42:09,800 --> 00:42:12,433
DEAR FAMILY, 
HASH JUST CAME IN

741
00:42:12,433 --> 00:42:14,733
AND SAYS TO SEND LOTS 
OF LOVE TO YOU

742
00:42:14,733 --> 00:42:16,966
AND TELL YOU 
ABOUT OUR APARTMENT.

743
00:42:16,966 --> 00:42:20,633
IT IS AT 74 RUE 
DU CARDINAL LEMOINE

744
00:42:20,633 --> 00:42:24,000
AND IS THE JOLLIEST PLACE 
YOU EVER SAW.

745
00:42:24,000 --> 00:42:27,400
WE RENTED IT FURNISHED 
FOR 250 FRANCS A MONTH,

746
00:42:27,400 --> 00:42:29,133
ABOUT $18.

747
00:42:29,133 --> 00:42:31,966
IT IS THE MOST COMFORTABLE 
AND CHEAPEST WAY TO LIVE,

748
00:42:31,966 --> 00:42:34,766
AND HASH HAS A PIANO, 
AND WE HAVE ALL OUR PICTURES

749
00:42:34,766 --> 00:42:38,266
UP ON THE WALLS 
AND AN OPEN FIREPLACE.

750
00:42:38,266 --> 00:42:40,133
IT IS ON TOP OF A HIGH HILL

751
00:42:40,133 --> 00:42:43,466
IN THE VERY OLDEST PART 
OF PARIS.

752
00:42:43,466 --> 00:42:46,600
NARRATOR: THE NEWLY-WED 
HEMINGWAYS' FIRST REAL HOME

753
00:42:46,600 --> 00:42:50,166
WAS A FOURTH-FLOOR WALKUP 
IN THE LATIN QUARTER.

754
00:42:50,166 --> 00:42:52,633
EACH EVENING, 
ACCORDION MUSIC DRIFTED UP

755
00:42:52,633 --> 00:42:55,933
FROM THE WORKING-MAN'S 
DANCE-HALL NEXT DOOR.

756
00:42:55,933 --> 00:42:58,500
HIS FRIEND AND MENTOR 
SHERWOOD ANDERSON

757
00:42:58,500 --> 00:43:01,800
HAD PERSUADED ERNEST THAT 
FOR A YOUNG WRITER

758
00:43:01,800 --> 00:43:04,400
PARIS WAS THE PLACE TO BE.

759
00:43:04,400 --> 00:43:07,966
ONE COULD LIVE CHEAPLY THERE, 
AND THE LEFT BANK TEEMED

760
00:43:07,966 --> 00:43:12,233
WITH REVOLUTIONARY ARTISTS 
AND WRITERS FROM EVERYWHERE--

761
00:43:12,233 --> 00:43:15,800
PABLO PICASSO AND JOAN MIRÓ;

762
00:43:15,800 --> 00:43:19,066
IGOR STRAVINSKY AND ERIK SATIE;

763
00:43:19,066 --> 00:43:23,733
JAMES JOYCE AND GERTRUDE STEIN, 
WHO REMEMBERED PARIS

764
00:43:23,733 --> 00:43:29,166
AS "THE PLACE WHERE 
THE 20th CENTURY WAS."

765
00:43:29,166 --> 00:43:33,233
ERNEST WAS JUST 22 YEARS OLD, 
WORKING AS A CORRESPONDENT

766
00:43:33,233 --> 00:43:35,100
FOR THE "TORONTO STAR,"

767
00:43:35,100 --> 00:43:38,233
OTHERWISE UNPUBLISHED 
AND UNKNOWN,

768
00:43:38,233 --> 00:43:41,366
BUT SHERWOOD ANDERSON HAD 
WRITTEN LETTERS OF INTRODUCTION

769
00:43:41,366 --> 00:43:45,533
TO 3 INFLUENTIAL FRIENDS, 
GENEROUSLY DESCRIBING HIM

770
00:43:45,533 --> 00:43:48,166
AS A "QUITE WONDERFUL 
NEWSPAPERMAN"

771
00:43:48,166 --> 00:43:51,833
WHOSE "EXTRAORDINARY TALENT" 
WAS SURE TO TAKE HIM

772
00:43:51,833 --> 00:43:55,066
FAR BEYOND JOURNALISM.

773
00:43:55,066 --> 00:43:56,666
VAILL: HE'S TALL.

774
00:43:56,666 --> 00:43:58,866
HE IS AS HANDSOME 
AS A MOVIE STAR.

775
00:43:58,866 --> 00:44:01,233
HE HAS DIMPLES.

776
00:44:01,233 --> 00:44:05,566
HE HAS A SWASHBUCKLING 
QUALITY TO HIM,

777
00:44:05,566 --> 00:44:08,200
BUT HE HAS THIS KIND OF 
MIDWESTERN SWEETNESS

778
00:44:08,200 --> 00:44:09,933
AT THE SAME TIME.

779
00:44:09,933 --> 00:44:12,100
THE FACT IS THAT 
IF HE WOULD WALK INTO A ROOM

780
00:44:12,100 --> 00:44:15,466
PEOPLE LOVED HIM 
THE MINUTE THEY SAW HIM,

781
00:44:15,466 --> 00:44:17,533
AND THAT GIVES YOU A KIND 
OF CONFIDENCE

782
00:44:17,533 --> 00:44:20,900
THAT YOU CAN DO ANYTHING.

783
00:44:20,900 --> 00:44:23,033
NARRATOR: SHERWOOD ANDERSON'S 
FRIENDS DID

784
00:44:23,033 --> 00:44:25,266
WHAT THEY COULD 
FOR THE NEWCOMER.

785
00:44:25,266 --> 00:44:29,300
THE FIRST WAS THE AMERICAN 
EXPATRIATE POET EZRA POUND.

786
00:44:29,300 --> 00:44:32,766
HE WAS WELL-CONNECTED 
IN AVANT-GARDE LITERARY CIRCLES

787
00:44:32,766 --> 00:44:37,433
AND TALKED ERNEST UP TO 
EVERY MAGAZINE EDITOR HE KNEW.

788
00:44:37,433 --> 00:44:40,733
GERTRUDE STEIN PRESIDED 
OVER A SALON AT THE HOME

789
00:44:40,733 --> 00:44:44,566
SHE SHARED WITH HER PARTNER 
ALICE B. TOKLAS.

790
00:44:44,566 --> 00:44:47,233
ART COLLECTOR, 
AVANT-GARDE WRITER,

791
00:44:47,233 --> 00:44:50,266
CHAMPION OF MODERNISM 
IN ALL ITS FORMS,

792
00:44:50,266 --> 00:44:52,300
SHE TOOK A LIKING 
TO THE HANDSOME,

793
00:44:52,300 --> 00:44:54,733
EAGER YOUNG VISITOR 
WITH WHAT SHE REMEMBERED

794
00:44:54,733 --> 00:44:59,800
AS "DARK LUMINOUS EYES" 
AND "A FLASHING SMILE."

795
00:44:59,800 --> 00:45:02,966
SHE LIKED HIS TERSE, 
DECLARATIVE STYLE, TOO,

796
00:45:02,966 --> 00:45:06,866
AND OFFERED ENCOURAGEMENT 
AND USEFUL ADVICE.

797
00:45:06,866 --> 00:45:10,333
"MISS STEIN HAD DISCOVERED 
MANY TRUTHS ABOUT RHYTHMS

798
00:45:10,333 --> 00:45:12,933
AND THE USES OF WORDS 
IN REPETITION,"

799
00:45:12,933 --> 00:45:15,833
HEMINGWAY REMEMBERED, 
THAT ECHOED THE COUNTERPOINT

800
00:45:15,833 --> 00:45:21,166
HE'D FIRST ENCOUNTERED 
IN THE MUSIC OF BACH.

801
00:45:21,166 --> 00:45:26,300
STEIN ALSO INTRODUCED HIM 
TO THE WORLD OF MODERN ART.

802
00:45:26,300 --> 00:45:29,666
HE WAS ESPECIALLY DRAWN 
TO THE WORK OF PAUL CÉZANNE,

803
00:45:29,666 --> 00:45:33,466
WHO PAINTED THE SAME SUBJECTS 
OVER AND OVER AGAIN,

804
00:45:33,466 --> 00:45:36,100
BUILDING UP EACH IMAGE 
FROM THOUSANDS

805
00:45:36,100 --> 00:45:39,233
OF REPETITIVE BRUSH STROKES.

806
00:45:39,233 --> 00:45:42,233
MAN: CÉZANNE--HE'S TRYING 
TO BREAK DOWN

807
00:45:42,233 --> 00:45:44,133
NORMAL HABITS OF SEEING,

808
00:45:44,133 --> 00:45:47,233
AND I THINK THAT'S 
WHAT HEMINGWAY LIKED.

809
00:45:47,233 --> 00:45:53,400
THE GREAT ENEMY FOR HEMINGWAY 
IS BOREDOM AND ROUTINE

810
00:45:53,400 --> 00:45:56,633
AND ANYTHING ACCUSTOMED,

811
00:45:56,633 --> 00:46:00,766
AND I THINK HE SAW IN CÉZANNE 
A MODEL FOR TAKING

812
00:46:00,766 --> 00:46:02,466
THE SAME THING OVER AND OVER,

813
00:46:02,466 --> 00:46:04,066
LANDSCAPE, LANDSCAPE, 
LANDSCAPE,

814
00:46:04,066 --> 00:46:06,033
THE SAME MOUNTAIN, 
THE SAME MOUNTAIN,

815
00:46:06,033 --> 00:46:09,600
AND RENDERING IT NEW

816
00:46:09,600 --> 00:46:12,366
BY LOOKING AT IT 
IN DIFFERENT WAYS,

817
00:46:12,366 --> 00:46:15,833
AND I THINK THAT'S 
THE MODEL FOR HIM.

818
00:46:15,833 --> 00:46:19,266
NARRATOR: SYLVIA BEACH BECAME 
HEMINGWAY'S FRIEND, TOO.

819
00:46:19,266 --> 00:46:21,233
SHE RAN SHAKESPEARE AND COMPANY,

820
00:46:21,233 --> 00:46:26,233
A BOOKSTORE AND LENDING LIBRARY, 
AT 12 RUE DE L'ODEON.

821
00:46:26,233 --> 00:46:28,100
SYLVIA BEACH: HE CAME 
INTO MY SHOP,

822
00:46:28,100 --> 00:46:31,366
AND HE HAD AN INTRODUCTION 
FROM SHERWOOD ANDERSON,

823
00:46:31,366 --> 00:46:33,166
BUT HE DIDN'T GIVE THAT.

824
00:46:33,166 --> 00:46:34,766
HE'D FORGOTTEN TO BRING IT, 
AND HE DIDN'T NEED IT

825
00:46:34,766 --> 00:46:37,066
BECAUSE I THOUGHT 
HE WAS SO INTERESTING,

826
00:46:37,066 --> 00:46:41,266
AND HE SAID, "WOULD YOU 
LIKE TO SEE MY WOUNDS?"

827
00:46:41,266 --> 00:46:42,700
AND I SAID, "YES, INDEED,"

828
00:46:42,700 --> 00:46:45,366
AND HE TOOK OFF HIS SHOE 
AND HIS SOCK

829
00:46:45,366 --> 00:46:47,366
AND SHOWED ME 
ALL THESE DREADFUL SCARS

830
00:46:47,366 --> 00:46:49,566
ON HIS LEG AND FOOT,

831
00:46:49,566 --> 00:46:53,233
AND THEN WE BECAME 
GREAT FRIENDS.

832
00:46:53,233 --> 00:46:55,100
NARRATOR: SHAKESPEARE 
AND COMPANY WAS

833
00:46:55,100 --> 00:46:58,600
A GATHERING PLACE FOR 
EXPATRIATE ARTISTS AND WRITERS.

834
00:46:58,600 --> 00:47:00,566
HEMINGWAY CHARMED THEM ALL,

835
00:47:00,566 --> 00:47:04,433
INCLUDING THE IRISH WRITER 
JAMES JOYCE,

836
00:47:04,433 --> 00:47:07,333
WHOSE DARINGLY EXPLICIT NOVEL 
"ULYSSES"

837
00:47:07,333 --> 00:47:10,966
SYLVIA BEACH HAD JUST PUBLISHED,

838
00:47:10,966 --> 00:47:13,733
AND HE SET OUT 
TO EDUCATE HIMSELF,

839
00:47:13,733 --> 00:47:18,066
BORROWING BOOKS FROM HER SHOP 
BY D.H. LAWRENCE, TURGENEV,

840
00:47:18,066 --> 00:47:22,466
DOSTOEVSKY, TOLSTOY.

841
00:47:22,466 --> 00:47:25,500
MAN, AS HEMINGWAY: 
FEBRUARY 14, 1922.

842
00:47:25,500 --> 00:47:28,400
WE KNOW A GOOD BATCH 
OF PEOPLE NOW IN PARIS

843
00:47:28,400 --> 00:47:30,800
AND IF WE ALLOWED IT WOULD 
HAVE ALL OUR TIME

844
00:47:30,800 --> 00:47:34,000
TAKEN UP SOCIALLY, 
BUT I AM WORKING VERY HARD,

845
00:47:34,000 --> 00:47:37,666
AND WE KEEP PLENTY OF TIME 
TO OURSELVES.

846
00:47:37,666 --> 00:47:41,266
PARIS IS SO VERY BEAUTIFUL 
THAT IT SATISFIES SOMETHING

847
00:47:41,266 --> 00:47:44,333
IN YOU THAT IS 
ALWAYS HUNGRY IN AMERICA.

848
00:47:47,200 --> 00:47:48,933
NARRATOR: FOR THE REST 
OF HIS LIFE,

849
00:47:48,933 --> 00:47:51,633
HEMINGWAY WOULD INSIST 
THAT HE AND HADLEY

850
00:47:51,633 --> 00:47:55,933
HAD BEEN VIRTUALLY PENNILESS 
WHEN THEY LIVED IN PARIS.

851
00:47:55,933 --> 00:47:57,666
THEY WERE NOT.

852
00:47:57,666 --> 00:48:01,700
BESIDES HIS SALARY, 
SHE HAD AN INHERITANCE.

853
00:48:01,700 --> 00:48:03,433
"WE ALWAYS HAD MONEY 
FOR ANYTHING

854
00:48:03,433 --> 00:48:06,366
WE REALLY WANTED TO DO," 
HADLEY REMEMBERED,

855
00:48:06,366 --> 00:48:10,700
"AND WE ALWAYS HAD MONEY 
FOR WHISKEY."

856
00:48:10,700 --> 00:48:13,166
THE FIRST YEAR 
OF THEIR MARRIAGE CONSTITUTED

857
00:48:13,166 --> 00:48:18,200
A SORT OF EXTENDED HONEYMOON-- 
EXPLORING PARIS, TREKKING,

858
00:48:18,200 --> 00:48:23,833
FISHING, SKIING, 
BOBSLEDDING IN THE ALPS.

859
00:48:23,833 --> 00:48:25,800
CUSHMAN: ONE OF THE THINGS 
ABOUT HIM IS THAT

860
00:48:25,800 --> 00:48:28,400
HE'S COMMITTED TO TRAVEL.

861
00:48:28,400 --> 00:48:30,166
HE LIKES, I THINK, 
MORE THAN ANYTHING,

862
00:48:30,166 --> 00:48:34,166
TO BE A FOREIGNER, 
A STRANGER IN A STRANGE LAND.

863
00:48:34,166 --> 00:48:37,633
EVERYTHING IS HEIGHTENED, 
AND TASTE IS HEIGHTENED,

864
00:48:37,633 --> 00:48:42,200
VISION IS HEIGHTENED, 
SMELLS ARE HEIGHTENED.

865
00:48:42,200 --> 00:48:45,233
NARRATOR: HEMINGWAY WROTE 
ABOUT EVERYTHING--

866
00:48:45,233 --> 00:48:48,333
PARIS NIGHTLIFE 
AND GERMAN MANNERS,

867
00:48:48,333 --> 00:48:52,766
FASCISM AND COMMUNISM 
AND WOMEN'S HATS--

868
00:48:52,766 --> 00:48:57,033
ALWAYS WITH A WEARY, 
INSIDER'S TONE REMARKABLE

869
00:48:57,033 --> 00:49:00,966
FOR A YOUNG MAN 
IN HIS EARLY TWENTIES,

870
00:49:00,966 --> 00:49:03,166
AND WHENEVER HE COULD FIND 
THE TIME,

871
00:49:03,166 --> 00:49:05,633
HE WORKED ON SHORT STORIES 
AND THE NOVEL

872
00:49:05,633 --> 00:49:08,833
HE HAD BEGUN IN CHICAGO.

873
00:49:08,833 --> 00:49:12,933
SOMETIMES, HE TOOK HADLEY ALONG 
ON ASSIGNMENT FOR THE "STAR"--

874
00:49:12,933 --> 00:49:14,766
TO ITALY, WHERE HE SHOWED 
HER THE PLACE

875
00:49:14,766 --> 00:49:16,733
WHERE HE'D BEEN WOUNDED,

876
00:49:16,733 --> 00:49:19,566
TO THE BLACK FOREST 
FOR TROUT FISHING,

877
00:49:19,566 --> 00:49:21,900
ABOARD A PIONEERING 
PASSENGER FLIGHT

878
00:49:21,900 --> 00:49:25,033
FROM PARIS TO STRASBOURG--

879
00:49:25,033 --> 00:49:27,700
BUT MORE OFTEN, 
HE TRAVELED ALONE,

880
00:49:27,700 --> 00:49:30,433
GETTING TO KNOW 
HIS FELLOW REPORTERS,

881
00:49:30,433 --> 00:49:34,533
COVERING AN INTERNATIONAL 
ECONOMIC CONFERENCE AT GENOA,

882
00:49:34,533 --> 00:49:37,533
RIOTS IN COLOGNE,

883
00:49:37,533 --> 00:49:41,200
AND IN THE AUTUMN OF 1922, 
OPEN WARFARE

884
00:49:41,200 --> 00:49:45,633
BETWEEN GREECE AND TURKEY 
THAT SEEMED FOR A TIME

885
00:49:45,633 --> 00:49:50,600
TO THREATEN A NEW WORLD WAR.

886
00:49:50,600 --> 00:49:53,400
HE STOOD AND WATCHED 
AS A 20-MILE COLUMN

887
00:49:53,400 --> 00:49:56,633
OF GREEK REFUGEES PASSED 
SLOWLY BY

888
00:49:56,633 --> 00:50:01,400
IN FLIGHT FROM THE TURKISH ARMY.

889
00:50:01,400 --> 00:50:03,933
MAN, AS HEMINGWAY: 
IT IS A SILENT PROCESSION.

890
00:50:03,933 --> 00:50:05,833
NOBODY EVEN GRUNTS.

891
00:50:05,833 --> 00:50:09,333
IT IS ALL THEY CAN DO 
TO KEEP MOVING.

892
00:50:09,333 --> 00:50:12,800
THEIR BRILLIANT PEASANT COSTUMES 
ARE SOAKED AND DRAGGLED.

893
00:50:12,800 --> 00:50:16,800
CHICKENS DANGLE BY THEIR FEET 
FROM THE CARTS.

894
00:50:16,800 --> 00:50:19,400
AN OLD MAN MARCHES 
UNDER A YOUNG PIG,

895
00:50:19,400 --> 00:50:22,133
A SCYTHE AND A GUN, 
WITH A CHICKEN TIED

896
00:50:22,133 --> 00:50:24,100
TO HIS SCYTHE.

897
00:50:24,100 --> 00:50:27,133
A HUSBAND SPREADS A BLANKET 
OVER A WOMAN IN LABOR

898
00:50:27,133 --> 00:50:30,766
IN ONE OF THE CARTS TO 
KEEP OFF THE DRIVING RAIN.

899
00:50:30,766 --> 00:50:34,466
SHE IS THE ONLY PERSON 
MAKING A SOUND.

900
00:50:34,466 --> 00:50:36,766
HER LITTLE DAUGHTER LOOKS 
AT HER IN HORROR

901
00:50:36,766 --> 00:50:39,400
AND BEGINS TO CRY.

902
00:50:39,400 --> 00:50:41,800
AND THE PROCESSION KEEPS MOVING.

903
00:50:45,033 --> 00:50:47,800
NARRATOR: LATER, HEMINGWAY 
JOINED OTHER REPORTERS

904
00:50:47,800 --> 00:50:51,333
AT LAUSANNE, SWITZERLAND, 
WHERE EUROPEAN STATESMEN

905
00:50:51,333 --> 00:50:54,900
WERE TRYING TO STOP 
THE FIGHTING.

906
00:50:54,900 --> 00:50:57,400
ONE OF THE REPORTERS 
WITH WHOM HEMINGWAY DRANK

907
00:50:57,400 --> 00:51:01,866
EACH EVENING WAS THE VETERAN 
CORRESPONDENT LINCOLN STEFFENS.

908
00:51:01,866 --> 00:51:04,800
STEFFENS WAS IMPRESSED 
BY THE PIECE ERNEST HAD WRITTEN

909
00:51:04,800 --> 00:51:08,033
ABOUT THE GREEK REFUGEES 
AND ASKED IF HE COULD SEE

910
00:51:08,033 --> 00:51:10,833
MORE OF THE YOUNG MAN'S WRITING.

911
00:51:10,833 --> 00:51:14,333
SO WHEN ERNEST ASKED HADLEY 
TO JOIN HIM IN SWITZERLAND,

912
00:51:14,333 --> 00:51:18,166
SHE DECIDED TO BRING 
ALONG HIS WORK.

913
00:51:18,166 --> 00:51:22,266
ON DECEMBER 2, 1922, 
SHE PACKED INTO A VALISE

914
00:51:22,266 --> 00:51:24,866
ALL THE MANUSCRIPTS 
SHE COULD FIND AND TOOK

915
00:51:24,866 --> 00:51:28,266
A TAXI TO THE GARE DE LYON.

916
00:51:28,266 --> 00:51:31,666
A PORTER CARRIED THE VALISE 
ONTO A TRAIN.

917
00:51:31,666 --> 00:51:35,133
WHEN SHE GOT TO HER COMPARTMENT, 
IT WASN'T THERE.

918
00:51:39,133 --> 00:51:43,200
THE FIRST CHAPTERS 
OF HIS NOVEL WERE LOST.

919
00:51:43,200 --> 00:51:46,966
SO WERE SEVERAL SHORT STORIES.

920
00:51:46,966 --> 00:51:49,266
HADLEY WEPT ALL THE WAY 
TO LAUSANNE

921
00:51:49,266 --> 00:51:52,166
AND WHEN SHE GOT THERE 
COULD BARELY BRING HERSELF

922
00:51:52,166 --> 00:51:57,333
TO TELL HER HUSBAND 
WHAT HAD HAPPENED.

923
00:51:57,333 --> 00:51:59,066
MAN, AS HEMINGWAY: 
SHE HAD CRIED AND CRIED

924
00:51:59,066 --> 00:52:01,000
AND COULD NOT TELL ME.

925
00:52:01,000 --> 00:52:03,566
I TOLD HER THAT NO MATTER WHAT 
THE DREADFUL THING WAS

926
00:52:03,566 --> 00:52:07,133
THAT HAD HAPPENED 
NOTHING COULD BE THAT BAD,

927
00:52:07,133 --> 00:52:10,066
AND WHATEVER IT WAS, 
IT WAS ALL RIGHT

928
00:52:10,066 --> 00:52:11,733
AND NOT TO WORRY.

929
00:52:11,733 --> 00:52:13,800
WE WOULD WORK IT OUT.

930
00:52:15,966 --> 00:52:18,933
NARRATOR: BUT THEY DID NOT 
REALLY WORK IT OUT.

931
00:52:18,933 --> 00:52:20,600
HEMINGWAY WAS ANGRY.

932
00:52:20,600 --> 00:52:23,000
HE'D LOST, HE CLAIMED 
TO A FRIEND,

933
00:52:23,000 --> 00:52:26,266
"EVERYTHING I'VE DONE 
FOR TWO YEARS."

934
00:52:26,266 --> 00:52:28,900
HE WOULD HAVE TO START 
ALL OVER AGAIN,

935
00:52:28,900 --> 00:52:32,366
THOUGH IN FACT, 
SOME WRITING SURVIVED.

936
00:52:32,366 --> 00:52:34,866
HE WAS FURTHER SHAKEN 
SEVERAL WEEKS LATER

937
00:52:34,866 --> 00:52:37,566
WHEN HADLEY TOLD HIM 
SHE WAS PREGNANT.

938
00:52:37,566 --> 00:52:39,933
HE WAS JUST 23.

939
00:52:39,933 --> 00:52:44,200
"I AM TOO YOUNG TO BE A FATHER," 
HE TOLD GERTRUDE STEIN,

940
00:52:44,200 --> 00:52:48,466
AND HE SAID IT, SHE REMEMBERED 
"WITH REAL BITTERNESS."

941
00:52:54,766 --> 00:52:57,700
MAN, AS HEMINGWAY: 
I WAS TRYING TO LEARN TO WRITE,

942
00:52:57,700 --> 00:53:00,266
COMMENCING 
WITH THE SIMPLEST THINGS,

943
00:53:00,266 --> 00:53:02,433
AND ONE 
OF THE SIMPLEST THINGS OF ALL

944
00:53:02,433 --> 00:53:06,466
AND THE MOST FUNDAMENTAL 
IS VIOLENT DEATH,

945
00:53:06,466 --> 00:53:09,166
SO I WENT TO SPAIN 
TO SEE BULLFIGHTS

946
00:53:09,166 --> 00:53:12,333
AND TO TRY TO WRITE 
ABOUT THEM FOR MYSELF.

947
00:53:12,333 --> 00:53:15,800
[CROWD CHEERING, HOOFBEATS]

948
00:53:15,800 --> 00:53:20,500
I THOUGHT THEY WOULD BE SIMPLE 
AND BARBAROUS AND CRUEL

949
00:53:20,500 --> 00:53:22,800
AND THAT I WOULD NOT LIKE THEM,

950
00:53:22,800 --> 00:53:25,766
BUT THAT I WOULD SEE 
CERTAIN DEFINITE ACTION

951
00:53:25,766 --> 00:53:28,566
WHICH WOULD GIVE ME 
THE FEELING OF LIFE AND DEATH

952
00:53:28,566 --> 00:53:31,766
THAT I WAS WORKING FOR.

953
00:53:31,766 --> 00:53:34,766
WOMAN: HE TALKED 
ABOUT SEEING HIS FIRST BULL.

954
00:53:34,766 --> 00:53:36,166
HE HAD A FRONT-ROW SEAT.

955
00:53:36,166 --> 00:53:38,633
HE COULD SEE 
THE BULL VERY WELL,

956
00:53:38,633 --> 00:53:41,100
AND HE SAID HE WAS STRUCK 
BY THE POWER OF IT

957
00:53:41,100 --> 00:53:43,766
AND THE SIZE OF IT,

958
00:53:43,766 --> 00:53:47,300
THIS NATURAL STRENGTH OF IT.

959
00:53:47,300 --> 00:53:50,233
I THINK MAYBE SOME OF THAT 
SPOKE TO HIM BECAUSE

960
00:53:50,233 --> 00:53:52,300
HE HAD POWER 
AND NATURAL STRENGTH,

961
00:53:52,300 --> 00:53:55,600
AND HE WAS A FORCE 
OF NATURE, TOO,

962
00:53:55,600 --> 00:54:00,266
AND THAT'S WHAT AN ARTIST DOES 
WITH HIS SUBJECT MATTER.

963
00:54:00,266 --> 00:54:02,433
WITH YOUR STRENGTH, 
WITH YOUR WILL,

964
00:54:02,433 --> 00:54:05,233
WITH YOUR SKILLS, 
YOU GO IN,

965
00:54:05,233 --> 00:54:07,266
AND YOU CONTROL 
THE SUBJECT MATTER,

966
00:54:07,266 --> 00:54:09,533
AND YOU MAKE SOMETHING 
BEAUTIFUL FROM IT.

967
00:54:09,533 --> 00:54:12,433
[CROWD CHEERING]

968
00:54:12,433 --> 00:54:16,000
NARRATOR: HEMINGWAY FELL 
IN LOVE WITH SPAIN.

969
00:54:16,000 --> 00:54:18,666
HE WAS SURE, HE WROTE, 
THAT BULLFIGHTING

970
00:54:18,666 --> 00:54:22,066
"WILL MAKE FINE STORIES SOMEDAY.

971
00:54:22,066 --> 00:54:25,366
"IT'S JUST LIKE HAVING 
A RINGSIDE SEAT AT THE WAR

972
00:54:25,366 --> 00:54:28,666
WITH NOTHING GOING TO 
HAPPEN TO YOU."

973
00:54:28,666 --> 00:54:31,333
HADLEY REMEMBERED SITTING 
IN THE STANDS,

974
00:54:31,333 --> 00:54:33,233
STITCHING BABY CLOTHES,

975
00:54:33,233 --> 00:54:37,866
"EMBROIDERING IN THE PRESENCE 
OF ALL THAT BRUTALITY."

976
00:54:41,566 --> 00:54:43,133
MAN, AS HEMINGWAY: 
TORONTO, CANADA,

977
00:54:43,133 --> 00:54:46,833
NOVEMBER 7, 1923.

978
00:54:46,833 --> 00:54:50,900
THE BABY HAS TAKEN TO SQUALLING 
AND IS A FINE NUISANCE.

979
00:54:50,900 --> 00:54:52,733
I SUPPOSE HE WILL YELL 
HIS HEAD OFF

980
00:54:52,733 --> 00:54:54,900
FOR THE NEXT 2 OR 3 YEARS.

981
00:54:54,900 --> 00:54:57,900
IT SEEMS HIS ONLY FORM 
OF ENTERTAINMENT.

982
00:54:57,900 --> 00:55:01,600
NO ONE GETS AS MUCH PLEASURE 
OUT OF IT AS HE DOES.

983
00:55:01,600 --> 00:55:04,633
NARRATOR: JOHN HADLEY 
NICANOR HEMINGWAY WAS BORN

984
00:55:04,633 --> 00:55:10,133
IN TORONTO 
ON OCTOBER 10, 1923.

985
00:55:10,133 --> 00:55:13,100
"NICANOR" WAS IN HONOR 
OF A SPANISH BULLFIGHTER

986
00:55:13,100 --> 00:55:16,266
HEMINGWAY ESPECIALLY ADMIRED.

987
00:55:16,266 --> 00:55:18,800
HADLEY NICKNAMED 
THE BABY "BUMBY"

988
00:55:18,800 --> 00:55:21,666
BECAUSE, SHE SAID, 
"OF THE ROUND, SOLID FEEL

989
00:55:21,666 --> 00:55:24,733
OF HIM," IN HER ARMS.

990
00:55:24,733 --> 00:55:26,900
THE HEMINGWAYS HAD COME BACK 
TO NORTH AMERICA

991
00:55:26,900 --> 00:55:28,966
EARLIER THAT YEAR.

992
00:55:28,966 --> 00:55:31,366
ERNEST THOUGHT HE SHOULD HAVE 
A STEADY JOB

993
00:55:31,366 --> 00:55:33,966
AT LEAST FOR THE BABY'S 
FIRST YEAR,

994
00:55:33,966 --> 00:55:36,233
AND THE "TORONTO STAR" WAS 
EAGER TO HAVE

995
00:55:36,233 --> 00:55:40,600
THEIR TALENTED CORRESPONDENT 
BACK IN THE HOME OFFICE,

996
00:55:40,600 --> 00:55:43,100
BUT HE CAME TO HATE HIS EDITOR,

997
00:55:43,100 --> 00:55:46,533
LOATHED THE CUB REPORTER 
ASSIGNMENTS HE WAS GIVEN,

998
00:55:46,533 --> 00:55:49,733
COULD FIND NO TIME 
TO WRITE FOR HIMSELF,

999
00:55:49,733 --> 00:55:53,466
AND LONGED FOR PARIS, WHERE, 
HE TOLD HIS SISTER,

1000
00:55:53,466 --> 00:55:57,200
"THERE ARE FEW BATH TUBS, 
NO ELECTRIC FIXTURES,

1001
00:55:57,200 --> 00:56:01,333
"BUT VERY NEARLY ALL THE CHARM, 
ALL THE GOOD FOOD,

1002
00:56:01,333 --> 00:56:05,000
AND MOST OF THE GOOD PEOPLE 
IN THE WORLD."

1003
00:56:07,633 --> 00:56:11,866
IN FEBRUARY, 1924, 
AFTER LESS THAN 4 MONTHS,

1004
00:56:11,866 --> 00:56:16,300
THEY RETURNED TO PARIS AND MOVED 
INTO A SECOND-FLOOR APARTMENT

1005
00:56:16,300 --> 00:56:22,833
ABOVE A NOISY SAWMILL AT 
113 RUE NOTRE-DAME-DES-CHAMPS.

1006
00:56:22,833 --> 00:56:26,500
"WE LIVED AS SAVAGES AND KEPT 
OUR OWN TRIBAL RULES,"

1007
00:56:26,500 --> 00:56:29,666
HEMINGWAY WROTE, 
"AND HAD OUR OWN CUSTOMS

1008
00:56:29,666 --> 00:56:35,166
AND OUR OWN STANDARDS, SECRETS, 
TABOOS, AND DELIGHTS."

1009
00:56:35,166 --> 00:56:39,433
HADLEY CUT HER HAIR SHORT, 
AND HE GREW HIS LONG

1010
00:56:39,433 --> 00:56:41,566
UNTIL THEY MATCHED.

1011
00:56:44,433 --> 00:56:47,800
ERNEST HAD ALSO DECIDED TO 
ABANDON JOURNALISM

1012
00:56:47,800 --> 00:56:51,666
IN ORDER TO DO THE KIND 
OF WRITING HE WANTED TO DO.

1013
00:56:54,166 --> 00:56:57,433
"IN NEWSPAPER WORK," HE WOULD 
EVENTUALLY EXPLAIN,

1014
00:56:57,433 --> 00:57:00,766
"YOU HAVE TO LEARN TO FORGET 
EVERY DAY WHAT HAPPENED

1015
00:57:00,766 --> 00:57:02,533
"THE DAY BEFORE.

1016
00:57:02,533 --> 00:57:05,600
"NEWSPAPER WORK IS VALUABLE UP 
UNTIL THE POINT

1017
00:57:05,600 --> 00:57:09,966
THAT IT FORCIBLY BEGINS 
TO DESTROY YOUR MEMORY."

1018
00:57:09,966 --> 00:57:11,933
WOLFF: WHAT DID HE SAY ONCE?

1019
00:57:11,933 --> 00:57:16,200
A WRITER MUST COME TO HIS WORK 
LIKE A PRIEST TO THE ALTAR,

1020
00:57:16,200 --> 00:57:18,100
AND HE HAD THAT SENSE 
OF THE SACRED

1021
00:57:18,100 --> 00:57:19,733
ABOUT HIS VOCATION.

1022
00:57:19,733 --> 00:57:22,266
HE REALLY DID. 
HE WENT TO WORK,

1023
00:57:22,266 --> 00:57:25,133
AND I WOULD SAY THE COURAGE 
THAT HE SHOWED IN THE WAR

1024
00:57:25,133 --> 00:57:26,933
DOESN'T COMPARE TO ME 
TO THE COURAGE

1025
00:57:26,933 --> 00:57:29,400
HE SHOWED IN HIS WRITING LIFE.

1026
00:57:31,566 --> 00:57:33,733
NARRATOR: WITH THE HELP OF 
SYMPATHETIC FRIENDS,

1027
00:57:33,733 --> 00:57:37,033
HEMINGWAY WOULD PUBLISH 
TWO SLENDER BOOKS,

1028
00:57:37,033 --> 00:57:41,266
"THREE STORIES & TEN POEMS" 
AND "IN OUR TIME".

1029
00:57:41,266 --> 00:57:43,200
THEY MEANT THE WORLD 
TO HEMINGWAY,

1030
00:57:43,200 --> 00:57:46,700
BUT ONLY A VERY FEW COPIES 
WERE PRINTED.

1031
00:57:46,700 --> 00:57:51,233
HEMINGWAY'S PARENTS ORDERED 
6 COPIES OF "IN OUR TIME."

1032
00:57:51,233 --> 00:57:54,433
HIS SISTER REMEMBERED THAT 
WHEN HIS FATHER READ A STORY

1033
00:57:54,433 --> 00:57:56,600
ABOUT A WAR VETERAN, 
WHO HAS BEEN JILTED

1034
00:57:56,600 --> 00:58:00,166
BY A NURSE NAMED AG 
AND CONTRACTS GONORRHEA

1035
00:58:00,166 --> 00:58:03,166
FROM A SALESGIRL, 
HE WROTE TO HIS SON

1036
00:58:03,166 --> 00:58:05,433
THAT THE BOOK WAS FILTH.

1037
00:58:05,433 --> 00:58:08,666
NO GENTLEMAN EVER MENTIONED 
A VENEREAL DISEASE

1038
00:58:08,666 --> 00:58:11,700
OUTSIDE A DOCTOR'S OFFICE.

1039
00:58:11,700 --> 00:58:15,366
HIS MOTHER HAD HOPED 
HE MIGHT BECOME AN ARTIST

1040
00:58:15,366 --> 00:58:19,433
BUT NOT THIS KIND.

1041
00:58:19,433 --> 00:58:23,533
ANOTHER STORY WAS SO DARING, 
THAT EVEN GERTRUDE STEIN

1042
00:58:23,533 --> 00:58:28,033
HAD TOLD HEMINGWAY IT WAS 
TOO OBSCENE TO BE PUBLISHED.

1043
00:58:28,033 --> 00:58:33,200
IT WAS CALLED "UP IN MICHIGAN."

1044
00:58:33,200 --> 00:58:34,833
KATAKIS: I THINK 
"UP IN MICHIGAN"

1045
00:58:34,833 --> 00:58:38,300
IS VERY IMPORTANT BECAUSE, 
FIRST OF ALL,

1046
00:58:38,300 --> 00:58:41,166
HE IS SAYING 
THERE ARE NO BOUNDARIES.

1047
00:58:41,166 --> 00:58:44,133
"I'M GOING TO WRITE WITH 
NO BOUNDARIES, NO RESTRICTIONS.

1048
00:58:44,133 --> 00:58:47,266
"I'M NOT GOING TO LISTEN 
TO YOU, POLITE WORLD.

1049
00:58:47,266 --> 00:58:50,133
"I'M GOING TO WHAT 
I THINK IS TRUE,

1050
00:58:50,133 --> 00:58:52,500
"BUT I'M GOING TO SEE IT 
FROM THE POINT OF VIEW

1051
00:58:52,500 --> 00:58:55,400
OF THE WOMAN."

1052
00:58:55,400 --> 00:58:58,400
NARRATOR: LIZ COATES IS 
A TEEN-AGED GIRL WORKING

1053
00:58:58,400 --> 00:59:01,000
IN A BOARDING HOUSE 
IN THE TINY TOWN

1054
00:59:01,000 --> 00:59:03,000
OF HORTONS BAY.

1055
00:59:03,000 --> 00:59:05,800
AMONG THE BOARDERS IS 
A HANDSOME YOUNG BLACKSMITH

1056
00:59:05,800 --> 00:59:08,900
NAMED JIM GILMORE.

1057
00:59:08,900 --> 00:59:14,233
ONE EVENING, THEY GO DOWN 
TO THE DOCK.

1058
00:59:14,233 --> 00:59:17,500
MAN, AS HEMINGWAY: 
"DON'T, JIM," LIZ SAID.

1059
00:59:17,500 --> 00:59:20,433
JIM SLID THE HAND FURTHER UP.

1060
00:59:20,433 --> 00:59:22,166
"YOU MUSTN'T, JIM.

1061
00:59:22,166 --> 00:59:24,400
YOU MUSTN'T."

1062
00:59:24,400 --> 00:59:26,566
NEITHER JIM NOR JIM'S 
BIG HAND PAID

1063
00:59:26,566 --> 00:59:28,400
ANY ATTENTION TO HER.

1064
00:59:28,400 --> 00:59:30,433
THE BOARDS WERE HARD.

1065
00:59:30,433 --> 00:59:32,400
JIM HAD HER DRESS UP 
AND WAS TRYING TO DO

1066
00:59:32,400 --> 00:59:34,600
SOMETHING TO HER.

1067
00:59:34,600 --> 00:59:37,200
SHE WAS FRIGHTENED, 
BUT SHE WANTED IT.

1068
00:59:37,200 --> 00:59:41,033
SHE HAD TO HAVE IT, 
BUT IT FRIGHTENED HER.

1069
00:59:41,033 --> 00:59:43,833
"YOU MUSTN'T DO IT, JIM. 
YOU MUSTN'T."

1070
00:59:43,833 --> 00:59:46,633
"I GOT TO. 
I'M GOING TO.

1071
00:59:46,633 --> 00:59:49,366
YOU KNOW WE GOT TO."

1072
00:59:49,366 --> 00:59:52,866
"NO WE HAVEN'T, JIM. 
WE AIN'T GOT TO.

1073
00:59:52,866 --> 00:59:54,533
"OH, IT ISN'T RIGHT.

1074
00:59:54,533 --> 00:59:57,200
"OH, IT'S SO BIG, 
AND IT HURTS SO.

1075
00:59:57,200 --> 00:59:58,833
"YOU CAN'T.

1076
00:59:58,833 --> 01:00:00,300
"OH, JIM.

1077
01:00:00,300 --> 01:00:03,033
JIM. OH."

1078
01:00:06,033 --> 01:00:11,766
O'BRIEN: I THINK MANY WOMEN 
FEEL, AND, INDEED,

1079
01:00:11,766 --> 01:00:19,433
UM, BROADCAST THE IDEA 
THAT HEMINGWAY HATED WOMEN

1080
01:00:19,433 --> 01:00:23,833
AND WROTE ADVERSELY 
ALWAYS ABOUT THEM.

1081
01:00:23,833 --> 01:00:26,266
THIS ISN'T TRUE.

1082
01:00:26,266 --> 01:00:28,666
"THE HEMLOCK PLANKS OF THE DOCK 
WERE HARD

1083
01:00:28,666 --> 01:00:30,933
"AND SPLINTERY AND COLD,

1084
01:00:30,933 --> 01:00:34,866
"AND JIM WAS HEAVY ON HER, 
AND HE HAD HURT HER.

1085
01:00:34,866 --> 01:00:36,433
"LIZ PUSHED HIM.

1086
01:00:36,433 --> 01:00:39,033
"SHE WAS SO UNCOMFORTABLE 
AND CRAMPED.

1087
01:00:39,033 --> 01:00:41,566
"JIM WAS ASLEEP. 
HE WOULDN'T MOVE.

1088
01:00:41,566 --> 01:00:43,966
"SHE WORKED OUT FROM UNDER HIM

1089
01:00:43,966 --> 01:00:48,000
"AND SAT UP AND STRAIGHTENED 
HER SKIRT AND COAT

1090
01:00:48,000 --> 01:00:51,500
"AND TRIED TO DO SOMETHING 
WITH HER HAIR.

1091
01:00:51,500 --> 01:00:54,733
"JIM WAS SLEEPING 
WITH HIS MOUTH A LITTLE OPEN.

1092
01:00:54,733 --> 01:00:58,033
"LIZ LEANED OVER 
AND KISSED HIM ON THE CHEEK.

1093
01:00:58,033 --> 01:00:59,666
"HE WAS STILL ASLEEP.

1094
01:00:59,666 --> 01:01:03,366
"SHE LIFTED HIS HEAD 
A LITTLE AND SHOOK IT.

1095
01:01:03,366 --> 01:01:05,966
"HE ROLLED HIS HEAD OVER 
AND SWALLOWED.

1096
01:01:05,966 --> 01:01:08,366
"LIZ STARTED TO CRY.

1097
01:01:08,366 --> 01:01:10,633
"SHE WALKED OVER 
TO THE EDGE OF THE DOCK

1098
01:01:10,633 --> 01:01:13,433
"AND LOOKED DOWN TO THE WATER.

1099
01:01:13,433 --> 01:01:16,300
"THERE WAS A MIST COMING UP 
FROM THE BAY.

1100
01:01:16,300 --> 01:01:23,466
SHE WAS COLD AND MISERABLE 
AND EVERYTHING FELT GONE."

1101
01:01:23,466 --> 01:01:29,000
NOW, I WOULD ASK, 
UM, HIS DETRACTORS,

1102
01:01:29,000 --> 01:01:33,300
FEMALE OR MALE, 
JUST TO READ THAT STORY,

1103
01:01:33,300 --> 01:01:38,500
AND COULD YOU IN ALL HONOR 
SAY THAT THIS WAS A WRITER

1104
01:01:38,500 --> 01:01:42,400
WHO DIDN'T UNDERSTAND 
WOMEN'S EMOTIONS

1105
01:01:42,400 --> 01:01:43,766
AND WHO HATED WOMEN?

1106
01:01:43,766 --> 01:01:46,733
YOU COULDN'T. 
NOBODY COULD.

1107
01:01:46,733 --> 01:01:49,366
KATAKIS: 
THIS IS ABOUT DATE RAPE.

1108
01:01:49,366 --> 01:01:54,533
HE WAS DRILLING DOWN DEEPER 
INTO THOSE DARK SIDES OF US,

1109
01:01:54,533 --> 01:01:58,466
AND MANY PEOPLE DIDN'T 
WANT TO SEE THAT,

1110
01:01:58,466 --> 01:02:01,033
LIKE HIS PARENTS, 
LIKE MS. STEIN,

1111
01:02:01,033 --> 01:02:04,100
LIKE SO MANY OTHER PEOPLE.

1112
01:02:04,100 --> 01:02:07,100
HE WAS UNCONCERNED WITH THAT,

1113
01:02:07,100 --> 01:02:12,166
AND I THINK AT THE END THAT'S 
WHAT MAKES HIM AN ARTIST.

1114
01:02:12,166 --> 01:02:14,300
NARRATOR: THE CRITIC 
EDMUND WILSON

1115
01:02:14,300 --> 01:02:16,800
PRAISED HEMINGWAY 
FOR WRITING PROSE

1116
01:02:16,800 --> 01:02:19,800
OF "THE FIRST DISTINCTION" 
AND FOR PROVIDING

1117
01:02:19,800 --> 01:02:22,500
"A HARROWING RECORD 
OF THE BARBARITIES

1118
01:02:22,500 --> 01:02:26,966
OF THE PERIOD 
IN WHICH WE LIVE."

1119
01:02:26,966 --> 01:02:29,666
FULL-TIME WRITING WASN'T EASY.

1120
01:02:29,666 --> 01:02:31,300
THE BABY CRIED.

1121
01:02:31,300 --> 01:02:34,566
FRIENDS DROPPED IN, 
DAY AND NIGHT.

1122
01:02:34,566 --> 01:02:37,233
MAN, AS HEMINGWAY: SOMETIMES 
WHEN I WAS STARTING A NEW STORY

1123
01:02:37,233 --> 01:02:41,033
AND I COULD NOT GET IT GOING, 
I WOULD STAND AND LOOK OUT

1124
01:02:41,033 --> 01:02:45,500
OVER THE ROOFS OF PARIS 
AND THINK, "DO NOT WORRY.

1125
01:02:45,500 --> 01:02:50,533
"YOU HAVE ALWAYS WRITTEN BEFORE, 
AND YOU WILL WRITE NOW.

1126
01:02:50,533 --> 01:02:54,033
"ALL YOU HAVE TO DO IS WRITE 
ONE TRUE SENTENCE.

1127
01:02:55,866 --> 01:03:00,133
WRITE THE TRUEST SENTENCE 
THAT YOU KNOW."

1128
01:03:00,133 --> 01:03:03,333
SO FINALLY I WOULD WRITE 
ONE TRUE SENTENCE

1129
01:03:03,333 --> 01:03:06,933
AND THEN GO ON FROM THERE.

1130
01:03:06,933 --> 01:03:10,366
IT WAS EASY THEN BECAUSE THERE 
WAS ALWAYS ONE TRUE SENTENCE

1131
01:03:10,366 --> 01:03:15,200
THAT YOU KNEW OR HAD SEEN 
OR HEARD SOMEONE SAY.

1132
01:03:15,200 --> 01:03:17,866
IF I STARTED TO 
WRITE ELABORATELY

1133
01:03:17,866 --> 01:03:21,266
OR LIKE SOMEONE INTRODUCING 
OR PRESENTING SOMETHING,

1134
01:03:21,266 --> 01:03:24,400
I FOUND THAT I COULD CUT THAT 
SCROLLWORK OR ORNAMENT OUT

1135
01:03:24,400 --> 01:03:27,400
AND THROW IT AWAY AND START 
WITH THE FIRST TRUE,

1136
01:03:27,400 --> 01:03:30,966
SIMPLE DECLARATIVE SENTENCE 
I HAD WRITTEN

1137
01:03:30,966 --> 01:03:34,533
AND THEN GO ON FROM THERE.

1138
01:03:34,533 --> 01:03:38,433
KATAKIS: THE SHORT STORIES 
MEAN MORE TO ME NOW

1139
01:03:38,433 --> 01:03:41,066
BECAUSE IT IS A YOUNG MAN

1140
01:03:41,066 --> 01:03:44,866
AT THE BEGINNING 
OF HIS ADVENTURE.

1141
01:03:44,866 --> 01:03:48,433
HE'S HUNGRY, HE'S EXCITED, 
HIS OBSERVATIONS

1142
01:03:48,433 --> 01:03:51,600
ARE LIKE A HAWK.

1143
01:03:51,600 --> 01:03:53,833
HE'S FEELING EVERYTHING.

1144
01:03:53,833 --> 01:03:56,266
HE'S ANTICIPATING EVERYTHING.

1145
01:03:56,266 --> 01:04:00,433
HE'S TRYING TO MAKE 
EVERYTHING GO HIS WAY.

1146
01:04:00,433 --> 01:04:04,333
IT'S TERRIBLY EXCITING.

1147
01:04:04,333 --> 01:04:07,066
VAILL: IF HE WERE A CAMERA, 
HE WOULD BE COMING IN

1148
01:04:07,066 --> 01:04:09,133
FOR EXTREME CLOSEUP 
ALL THE TIME.

1149
01:04:09,133 --> 01:04:12,000
HE'S COMING IN, IN, IN AT IT,

1150
01:04:12,000 --> 01:04:16,800
AND EVERY LITTLE DETAIL 
SUDDENLY IS VERY, VERY BIG.

1151
01:04:16,800 --> 01:04:19,600
IT'S NOT LIKE THE WAY 
19th CENTURY WRITERS

1152
01:04:19,600 --> 01:04:21,466
WOULD WRITE, WHICH WAS 
VERY PANORAMIC,

1153
01:04:21,466 --> 01:04:23,500
WHERE THE CAMERA IS SET 
WAY, WAY BACK,

1154
01:04:23,500 --> 01:04:27,133
AND YOU SEE A GIANT EXPANSE 
OF EXPERIENCE,

1155
01:04:27,133 --> 01:04:30,433
AND YET HE'S REALLY 
UP CLOSE AT IT.

1156
01:04:30,433 --> 01:04:33,266
YOU CAN SEE EVERY PORE 
IN EVERYBODY'S SKIN

1157
01:04:33,266 --> 01:04:38,433
WHEN HE'S WRITING, 
AND THIS IS EXTREMELY EXCITING.

1158
01:04:38,433 --> 01:04:41,500
NARRATOR: DURING THE FIRST 
6 MONTHS OF 1924,

1159
01:04:41,500 --> 01:04:44,966
HEMINGWAY WROTE MORE STORIES, 
HOPING TO INCLUDE THEM

1160
01:04:44,966 --> 01:04:50,266
IN A NEW AND EXPANDED COLLECTION 
OF "IN OUR TIME."

1161
01:04:50,266 --> 01:04:54,800
CUSHMAN: "IN OUR TIME" JUST 
REARRANGED THE GEOGRAPHY

1162
01:04:54,800 --> 01:04:58,800
OF WHAT WAS POSSIBLE FOR A LOT 
OF PEOPLE WRITING IN ENGLISH.

1163
01:04:58,800 --> 01:05:02,333
WHEN I GO BACK TO THAT BOOK 
AND TRY TO FORGET ABOUT

1164
01:05:02,333 --> 01:05:05,900
WHO HE BECAME, 
I'M JUST BLOWN AWAY.

1165
01:05:05,900 --> 01:05:09,066
THAT BOOK, IT TAKES 
THE TOP OF YOUR HEAD OFF.

1166
01:05:11,333 --> 01:05:14,633
NARRATOR: HALF THE STORIES 
IN "IN OUR TIME" FEATURE

1167
01:05:14,633 --> 01:05:20,233
NICK ADAMS, A CHARACTER WHO IS 
VERY LIKE THE YOUNG HEMINGWAY.

1168
01:05:20,233 --> 01:05:23,966
IN "INDIAN CAMP," HE IS 
A LITTLE BOY WHO ACCOMPANIES

1169
01:05:23,966 --> 01:05:26,866
HIS PHYSICIAN FATHER 
ACROSS A LAKE

1170
01:05:26,866 --> 01:05:28,966
TO AN ENCAMPMENT, 
WHERE A WOMAN

1171
01:05:28,966 --> 01:05:32,633
HAS BEEN IN LABOR 
FOR TWO DAYS.

1172
01:05:32,633 --> 01:05:35,700
PURE HORROR FOLLOWS.

1173
01:05:35,700 --> 01:05:38,466
AS THE BOY LOOKS ON, 
HIS FATHER PERFORMS

1174
01:05:38,466 --> 01:05:42,100
AN EMERGENCY CAESARIAN SECTION 
BY LAMP LIGHT,

1175
01:05:42,100 --> 01:05:45,166
USING A JACKKNIFE 
AND SUTURING THE WOUND

1176
01:05:45,166 --> 01:05:50,200
WITH FISHING LINE, 
ALL WITHOUT ANESTHETIC.

1177
01:05:50,200 --> 01:05:52,966
WHEN NICK ASKS HIS FATHER 
IF HE CAN'T DO SOMETHING

1178
01:05:52,966 --> 01:05:59,766
ABOUT HER SCREAMS, HE ANSWERS 
"THEY ARE NOT IMPORTANT."

1179
01:05:59,766 --> 01:06:02,466
AFTERWARDS, THE FATHER 
OF THE CHILD,

1180
01:06:02,466 --> 01:06:05,500
APPARENTLY UNABLE TO ENDURE 
HIS HELPLESSNESS

1181
01:06:05,500 --> 01:06:08,133
DURING HIS WIFE'S ORDEAL, 
IS FOUND

1182
01:06:08,133 --> 01:06:11,066
TO HAVE SLIT HIS OWN THROAT.

1183
01:06:13,833 --> 01:06:15,500
MAN, AS HEMINGWAY: 
"DO LADIES ALWAYS HAVE

1184
01:06:15,500 --> 01:06:19,033
SUCH A HARD TIME HAVING BABIES?" 
NICK ASKED.

1185
01:06:19,033 --> 01:06:23,066
"NO, THAT WAS VERY, 
VERY EXCEPTIONAL."

1186
01:06:23,066 --> 01:06:26,266
"WHY DID HE KILL HIMSELF, 
DADDY?"

1187
01:06:26,266 --> 01:06:28,033
"I DON'T KNOW, NICK.

1188
01:06:28,033 --> 01:06:31,200
HE COULDN'T STAND THINGS, 
I GUESS."

1189
01:06:31,200 --> 01:06:34,200
"DO MANY MEN 
KILL THEMSELVES, DADDY?"

1190
01:06:34,200 --> 01:06:36,233
"NOT VERY MANY, NICK."

1191
01:06:36,233 --> 01:06:38,100
"DO MANY WOMEN?"

1192
01:06:38,100 --> 01:06:40,100
"HARDLY EVER."

1193
01:06:40,100 --> 01:06:41,933
"DON'T THEY EVER?"

1194
01:06:41,933 --> 01:06:45,233
"OH, YES. 
THEY DO SOMETIMES."

1195
01:06:45,233 --> 01:06:48,100
"IS DYING HARD, DADDY?"

1196
01:06:48,100 --> 01:06:51,400
"NO, I THINK IT'S 
PRETTY EASY, NICK.

1197
01:06:51,400 --> 01:06:53,600
IT ALL DEPENDS."

1198
01:06:56,333 --> 01:06:59,333
THEY WERE SEATED IN THE BOAT, 
NICK IN THE STERN,

1199
01:06:59,333 --> 01:07:02,033
HIS FATHER ROWING.

1200
01:07:02,033 --> 01:07:05,100
THE SUN WAS COMING UP 
OVER THE HILLS.

1201
01:07:05,100 --> 01:07:08,966
A BASS JUMPED, MAKING 
A CIRCLE IN THE WATER.

1202
01:07:08,966 --> 01:07:11,533
NICK TRAILED HIS HAND 
IN THE WATER.

1203
01:07:11,533 --> 01:07:14,600
IT FELT WARM IN THE SHARP CHILL 
OF THE MORNING.

1204
01:07:16,600 --> 01:07:18,466
IN THE EARLY MORNING 
ON THE LAKE,

1205
01:07:18,466 --> 01:07:22,400
SITTING IN THE STERN OF THE BOAT 
WITH HIS FATHER ROWING,

1206
01:07:22,400 --> 01:07:25,933
HE FELT QUITE SURE 
THAT HE WOULD NEVER DIE.

1207
01:07:28,733 --> 01:07:32,166
WOLFF: "INDIAN CAMP," THAT'S ONE

1208
01:07:32,166 --> 01:07:35,166
OF MY FAVORITE STORIES 
IN THE WORLD,

1209
01:07:35,166 --> 01:07:37,900
AND HE WAS A BABY 
WHEN HE WROTE IT,

1210
01:07:37,900 --> 01:07:41,766
BUT IT IS COMPL--IT IS A WORK 
OF GREAT SOPHISTICATION,

1211
01:07:41,766 --> 01:07:45,266
AND IT HANDLES 
VERY SENSATIONAL MATERIAL

1212
01:07:45,266 --> 01:07:48,400
IN AN ABSOLUTELY 
UNSENSATIONAL WAY.

1213
01:07:48,400 --> 01:07:53,300
AND WHAT IT ALL COMES DOWN TO IS 
"YOU'RE GOING TO DIE."

1214
01:07:53,300 --> 01:07:56,166
HE KNOWS HE'S GOING TO DIE. 
HE'S SEEN IT,

1215
01:07:56,166 --> 01:07:59,900
BUT THERE'S THIS FEELING, 
BEING WITH HIS FATHER,

1216
01:07:59,900 --> 01:08:03,966
BEING OUTDOORS IN THE DAWN,

1217
01:08:03,966 --> 01:08:09,833
THAT IT'S POSSIBLE TO HOPE 
OR DENY OR EVADE THAT TRUTH

1218
01:08:09,833 --> 01:08:11,966
FOR A LITTLE WHILE.

1219
01:08:14,333 --> 01:08:16,766
NARRATOR: THE LAST STORIES 
IN THE COLLECTION

1220
01:08:16,766 --> 01:08:21,100
ARE "BIG TWO-HEARTED RIVER, 
PARTS I AND II."

1221
01:08:21,100 --> 01:08:23,700
THEY ARE ABOUT A NOW OLDER 
NICK ADAMS,

1222
01:08:23,700 --> 01:08:26,300
A WRITER WHO HAD BEEN WOUNDED 
AND TRAUMATIZED

1223
01:08:26,300 --> 01:08:28,533
FROM THE GREAT WAR.

1224
01:08:28,533 --> 01:08:31,666
"IT WAS ABOUT THE WAR," 
HEMINGWAY LATER RECALLED,

1225
01:08:31,666 --> 01:08:34,766
"BUT THERE WAS NO MENTION 
OF THE WAR IN IT."

1226
01:08:37,466 --> 01:08:38,966
NICK JOURNEYS ALONE

1227
01:08:38,966 --> 01:08:41,400
TO THE UPPER PENINSULA 
OF MICHIGAN,

1228
01:08:41,400 --> 01:08:46,133
WHERE HE HAD FREQUENTLY FISHED 
FOR TROUT BEFORE THE WAR.

1229
01:08:46,133 --> 01:08:49,866
A FOREST FIRE HAS DESTROYED 
THE TOWN HE HAD KNOWN.

1230
01:08:49,866 --> 01:08:52,500
HE FEARS THE RIVER 
AND THE LIFE HE KNEW

1231
01:08:52,500 --> 01:08:55,400
BEFORE THE WAR 
HAD BEEN RUINED, TOO.

1232
01:08:59,466 --> 01:09:02,166
MAN, AS HEMINGWAY: 
THE RIVER WAS THERE.

1233
01:09:02,166 --> 01:09:06,366
IT SWIRLED AGAINST THE LOG PILES 
OF THE BRIDGE.

1234
01:09:06,366 --> 01:09:09,000
NICK LOOKED DOWN 
INTO THE CLEAR, BROWN WATER,

1235
01:09:09,000 --> 01:09:12,833
COLORED FROM THE PEBBLY BOTTOM, 
AND WATCHED THE TROUT

1236
01:09:12,833 --> 01:09:14,866
KEEPING THEMSELVES STEADY 
IN THE CURRENT

1237
01:09:14,866 --> 01:09:17,033
WITH WAVERING FINS.

1238
01:09:19,700 --> 01:09:22,166
AS HE WATCHED THEM, 
THEY CHANGED THEIR POSITIONS

1239
01:09:22,166 --> 01:09:24,933
BY QUICK ANGLES, 
ONLY TO HOLD STEADY

1240
01:09:24,933 --> 01:09:27,700
IN THE FAST WATER AGAIN.

1241
01:09:27,700 --> 01:09:30,433
NICK WATCHED THEM A LONG TIME.

1242
01:09:32,233 --> 01:09:34,200
IT WAS A HOT DAY.

1243
01:09:34,200 --> 01:09:37,233
A KINGFISHER FLEW UP THE STREAM.

1244
01:09:37,233 --> 01:09:40,133
IT WAS A LONG TIME SINCE NICK 
HAD LOOKED INTO A STREAM

1245
01:09:40,133 --> 01:09:42,366
AND SEEN TROUT.

1246
01:09:42,366 --> 01:09:46,133
THEY WERE VERY SATISFACTORY.

1247
01:09:46,133 --> 01:09:48,700
WOMAN: I LOVED IT.

1248
01:09:48,700 --> 01:09:52,100
I LOVED THE DESCRIPTION 
OF THE SCENERY

1249
01:09:52,100 --> 01:09:57,933
WITHOUT SAYING ANYTHING 
ABOUT HIS INNER SITUATION.

1250
01:09:57,933 --> 01:10:00,566
HE HAD SOME HURT, 
OR SOMETHING BAD,

1251
01:10:00,566 --> 01:10:03,066
IT WAS INSIDE OF HIMSELF.

1252
01:10:03,066 --> 01:10:07,233
BY FOLLOWING HIS DESCRIPTION 
OF THE LANDSCAPE

1253
01:10:07,233 --> 01:10:13,700
AND WHAT HE DOES, WE FEEL 
HE IS CURED, HEALED.

1254
01:10:16,900 --> 01:10:21,066
NARRATOR: IN 1925, THE NEW YORK 
PUBLISHER HORACE LIVERIGHT

1255
01:10:21,066 --> 01:10:25,000
BROUGHT OUT THE EXPANDED EDITION 
OF "IN OUR TIME,"

1256
01:10:25,000 --> 01:10:27,833
BUT HE REFUSED TO INCLUDE 
"UP IN MICHIGAN,"

1257
01:10:27,833 --> 01:10:32,500
THE STORY GERTRUDE STEIN 
HAD SAID WAS UNPUBLISHABLE.

1258
01:10:32,500 --> 01:10:35,866
HEMINGWAY WAS DISAPPOINTED 
BUT SAID HE HOPED THE BOOK

1259
01:10:35,866 --> 01:10:40,900
WOULD BE "PRAISED BY HIGHBROWS 
AND CAN BE READ BY LOWBROWS.

1260
01:10:40,900 --> 01:10:43,200
"THERE IS NO WRITING IN IT 
THAT ANYBODY

1261
01:10:43,200 --> 01:10:47,200
WITH A HIGH SCHOOL EDUCATION 
CANNOT READ."

1262
01:10:47,200 --> 01:10:48,633
CUSHMAN: ONE OF THE THINGS 
TO THINK ABOUT,

1263
01:10:48,633 --> 01:10:50,766
WHEN YOU THINK ABOUT MODERNISM,

1264
01:10:50,766 --> 01:10:54,433
AT LEAST ANGLO-IRISH, 
AMERICAN, HIGH MODERNISM,

1265
01:10:54,433 --> 01:10:59,100
IS THERE WAS A CULT 
OF DIFFICULTY:

1266
01:10:59,100 --> 01:11:02,700
JOYCE, DIFFICULT; 
GERTRUDE STEIN, DIFFICULT;

1267
01:11:02,700 --> 01:11:06,933
FAULKNER, DIFFICULT; 
E.E. CUMMINGS, DIFFICULT.

1268
01:11:06,933 --> 01:11:10,833
AND HEMINGWAY JUST WENT 
AGAINST THE GRAIN ON THAT.

1269
01:11:10,833 --> 01:11:13,300
HE DARED TO BE STRAIGHTFORWARD

1270
01:11:13,300 --> 01:11:15,300
OR APPARENTLY STRAIGHTFORWARD.

1271
01:11:15,300 --> 01:11:19,733
HE DARED TO 
IMPERSONATE SIMPLICITY.

1272
01:11:19,733 --> 01:11:22,966
HE HOOKS YOU 
WITH THE LOWBROW APPEARANCE.

1273
01:11:22,966 --> 01:11:29,966
THEN, HE PLAYS YOU, 
AND THEN, YOU'RE HIS TROPHY.

1274
01:11:29,966 --> 01:11:33,266
NARRATOR: THE BOOK WAS 
A CRITICAL SENSATION.

1275
01:11:33,266 --> 01:11:36,166
THE "NEW YORK TIMES" SAID 
THAT HEMINGWAY PACKED

1276
01:11:36,166 --> 01:11:38,866
"A WHOLE CHARACTER 
INTO A PHRASE,

1277
01:11:38,866 --> 01:11:42,600
AN ENTIRE SITUATION 
INTO A SENTENCE OR TWO"

1278
01:11:42,600 --> 01:11:47,033
AND MADE "EACH WORD COUNT 
3 OR 4 WAYS."

1279
01:11:47,033 --> 01:11:50,500
"ERNEST HEMINGWAY IS SOMEBODY," 
SAID "TIME,"

1280
01:11:50,500 --> 01:11:59,433
"A NEW, HONEST, UNLITERARY 
TRANSCRIBER OF LIFE, A WRITER."

1281
01:11:59,433 --> 01:12:02,500
CUSHMAN: HE WAS 
VERY RESTLESS AND AMBITIOUS,

1282
01:12:02,500 --> 01:12:04,533
VERY COMPETITIVE,

1283
01:12:04,533 --> 01:12:11,000
AND FAULKNER'S GETTING GOING, 
FITZGERALD'S GETTING GOING,

1284
01:12:11,000 --> 01:12:13,866
JOYCE IS KING OF THE MOUNTAIN,

1285
01:12:13,866 --> 01:12:18,466
AND HE KNEW THAT A NOVEL 
HAD TO HAPPEN.

1286
01:12:18,466 --> 01:12:23,333
HOW DOES ONE GO 
FROM THE MICROSTITCHING

1287
01:12:23,333 --> 01:12:26,166
OF SENTENCE TO SENTENCE 
TO SENTENCE AND,

1288
01:12:26,166 --> 01:12:28,466
"OH, MY GOODNESS, A PARAGRAPH!

1289
01:12:28,466 --> 01:12:31,033
IT ONLY TOOK ME A MORNING"--

1290
01:12:31,033 --> 01:12:33,233
HOW DO YOU GO FROM THAT 
TO A LONGER FORM?

1291
01:12:39,400 --> 01:12:42,500
I STARTED IN VALENCIA 
ON MY 26th BIRTHDAY,

1292
01:12:42,500 --> 01:12:45,166
JULY 21st.

1293
01:12:45,166 --> 01:12:47,700
EVERYBODY MY AGE HAD 
WRITTEN A NOVEL,

1294
01:12:47,700 --> 01:12:49,533
AND I WAS STILL HAVING 
A DIFFICULT TIME

1295
01:12:49,533 --> 01:12:52,200
WRITING A PARAGRAPH,

1296
01:12:52,200 --> 01:12:54,933
SO I STARTED THE BOOK 
ON MY BIRTHDAY,

1297
01:12:54,933 --> 01:12:58,766
WROTE ALL THROUGH THE FERIA, 
IN BED IN THE MORNING,

1298
01:12:58,766 --> 01:13:02,666
WENT ON TO MADRID 
AND WROTE THERE.

1299
01:13:02,666 --> 01:13:05,900
WE HAD A ROOM WITH A TABLE, 
AND I WROTE IN GREAT LUXURY

1300
01:13:05,900 --> 01:13:08,633
ON THE TABLE 
AND AROUND THE CORNER

1301
01:13:08,633 --> 01:13:11,966
FROM THE HOTEL IN A BEER PLACE, 
WHERE IT WAS COOL.

1302
01:13:11,966 --> 01:13:27,866
♪

1303
01:13:27,866 --> 01:13:32,600
NARRATOR: IN THE SUMMER OF 1925, 
LEAVING BUMBY WITH A NANNY,

1304
01:13:32,600 --> 01:13:34,800
THE HEMINGWAYS RETURNED 
TO PAMPLONA

1305
01:13:34,800 --> 01:13:38,733
FOR THE ANNUAL RUNNING 
OF THE BULLS.

1306
01:13:38,733 --> 01:13:43,000
WITH THEM WENT A GROUP OF 5 
AMERICAN AND BRITISH FRIENDS,

1307
01:13:43,000 --> 01:13:47,400
INCLUDING THE SEDUCTIVE 
LADY DUFF TWYSDEN.

1308
01:13:47,400 --> 01:13:49,900
"EVERYBODY WAS DRINKING 
ALL THE TIME,

1309
01:13:49,900 --> 01:13:52,500
AND EVERYBODY WAS HAVING 
AFFAIRS ALL THE TIME,"

1310
01:13:52,500 --> 01:13:54,400
HADLEY REMEMBERED.

1311
01:13:54,400 --> 01:13:57,900
"I FOUND IT SORT OF UPSETTING."

1312
01:13:57,900 --> 01:14:01,100
AFTERWARDS, ERNEST AND HADLEY 
CONTINUED TO FOLLOW

1313
01:14:01,100 --> 01:14:08,800
THE BULLFIGHTS ACROSS SPAIN-- 
VALENCIA, MADRID, SAN SEBASTIAN,

1314
01:14:08,800 --> 01:14:12,633
AND AS THEY TRAVELED 
ABOARD TRAINS AND BUSES,

1315
01:14:12,633 --> 01:14:16,533
ON RESTAURANT TABLES 
AND IN HOTEL ROOMS AT NIGHT,

1316
01:14:16,533 --> 01:14:19,166
HE WORKED FEVERISHLY ON A NOVEL,

1317
01:14:19,166 --> 01:14:21,866
INSPIRED BY 
THE TURBULENT TIME THEY'D HAD

1318
01:14:21,866 --> 01:14:24,366
WITH THEIR FRIENDS 
IN PAMPLONA.

1319
01:14:24,366 --> 01:14:29,700
IT WOULD BE CALLED 
"THE SUN ALSO RISES."

1320
01:14:29,700 --> 01:14:33,933
THE FIRST DRAFT WAS FINISHED 
IN JUST 8 WEEKS.

1321
01:14:33,933 --> 01:14:36,700
IT WOULD BE A CLEAR-EYED 
AND SARDONIC PORTRAIT

1322
01:14:36,700 --> 01:14:41,133
OF WHAT GERTRUDE STEIN CALLED, 
"THE LOST GENERATION,"

1323
01:14:41,133 --> 01:14:44,033
MEN AND WOMEN SCARRED 
BY THE GREAT WAR,

1324
01:14:44,033 --> 01:14:48,866
WHO DID THEIR BEST 
TO ERASE ITS MEMORY.

1325
01:14:48,866 --> 01:14:52,333
THE NARRATOR, A NEWSPAPERMAN 
FROM KANSAS CITY,

1326
01:14:52,333 --> 01:14:58,233
WAS FIRST NAMED "HEM" 
BEFORE HE BECAME JAKE BARNES.

1327
01:14:58,233 --> 01:15:01,100
BARNES IS A WAR VETERAN 
WITH A MYSTERIOUS

1328
01:15:01,100 --> 01:15:06,200
AND UNEXPLAINED WOUND THAT 
HAS MADE HIM IMPOTENT.

1329
01:15:06,200 --> 01:15:08,233
[MAN SPEAKING SPANISH]

1330
01:15:19,933 --> 01:15:22,066
MAN, AS HEMINGWAY: 
OUTSIDE A NIGHT TRAIN,

1331
01:15:22,066 --> 01:15:23,833
RUNNING ON THE STREETCAR TRACKS,

1332
01:15:23,833 --> 01:15:26,900
WENT BY CARRYING VEGETABLES 
TO THE MARKETS.

1333
01:15:26,900 --> 01:15:31,033
THEY WERE NOISY AT NIGHT 
WHEN YOU COULD NOT SLEEP.

1334
01:15:31,033 --> 01:15:33,733
UNDRESSING, I LOOKED 
AT MYSELF IN THE MIRROR

1335
01:15:33,733 --> 01:15:38,000
OF THE BIG ARMOIRE 
BESIDE THE BED.

1336
01:15:38,000 --> 01:15:40,533
OF ALL THE WAYS TO BE WOUNDED.

1337
01:15:42,266 --> 01:15:44,433
[VARGAS LLOSA SPEAKING SPANISH]

1338
01:16:07,200 --> 01:16:09,533
NARRATOR: IN THE EARLY DRAFTS, 
HEMINGWAY HAD USED

1339
01:16:09,533 --> 01:16:11,500
THE REAL NAMES OF HIS FRIENDS

1340
01:16:11,500 --> 01:16:15,000
FROM THEIR RECKLESS, 
DRUNKEN TIME IN PAMPLONA.

1341
01:16:15,000 --> 01:16:19,500
FOR FEAR OF BEING SUED, 
HE LATER CHANGED THEM.

1342
01:16:19,500 --> 01:16:22,866
LADY DUFF TWYSDEN, 
WHO HAD CAPTIVATED HEMINGWAY

1343
01:16:22,866 --> 01:16:24,633
AND HAD WORRIED HADLEY,

1344
01:16:24,633 --> 01:16:27,333
WOULD EVENTUALLY BECOME 
THE THINLY DISGUISED

1345
01:16:27,333 --> 01:16:30,600
LADY BRETT ASHLEY, 
THE PROMISCUOUS WOMAN

1346
01:16:30,600 --> 01:16:35,600
JAKE BARNES LONGS FOR 
BUT CAN NEVER HAVE.

1347
01:16:35,600 --> 01:16:38,500
MAN, AS HEMINGWAY: 
BRETT WAS DAMNED GOOD-LOOKING.

1348
01:16:38,500 --> 01:16:40,533
SHE WORE A SLIPOVER 
JERSEY SWEATER

1349
01:16:40,533 --> 01:16:42,300
AND A TWEED SKIRT,

1350
01:16:42,300 --> 01:16:45,800
AND HER HAIR WAS BRUSHED BACK 
LIKE A BOY'S.

1351
01:16:45,800 --> 01:16:48,633
SHE STARTED ALL THAT.

1352
01:16:48,633 --> 01:16:51,933
SHE WAS BUILT WITH CURVES LIKE 
THE HULL OF A RACING YACHT,

1353
01:16:51,933 --> 01:16:55,933
AND YOU MISSED NONE OF IT 
WITH THAT WOOL JERSEY.

1354
01:16:55,933 --> 01:16:58,733
MAN: SOMEBODY LIKE LADY BRETT 
IS EFFECTIVELY

1355
01:16:58,733 --> 01:17:00,800
A VERY STRONG CHARACTER.

1356
01:17:00,800 --> 01:17:03,666
SHE ACTIVELY GOES OUT OF HER WAY 
TO DRESS LIKE A MAN,

1357
01:17:03,666 --> 01:17:05,366
DRESS LIKE A BOY.

1358
01:17:05,366 --> 01:17:07,733
SHE WEARS A RUGBY SWEATER, 
CUTS HER HAIR SHORT,

1359
01:17:07,733 --> 01:17:12,166
AND CHOOSES TO LIVE HER LIFE 
AS A MAN WOULD IN THAT MOMENT.

1360
01:17:12,166 --> 01:17:17,200
THAT'S HIGHLY PROVOCATIVE 
FOR A 1926 TEXT.

1361
01:17:17,200 --> 01:17:20,166
NARRATOR: ANOTHER MEMBER 
OF THE PARTY HAROLD LOEB,

1362
01:17:20,166 --> 01:17:24,733
HANDSOME, ATHLETIC, AND JEWISH, 
BECAME ROBERT COHN,

1363
01:17:24,733 --> 01:17:26,733
WEAK AND OBNOXIOUS,

1364
01:17:26,733 --> 01:17:31,666
SCORNED BY SOME IN THE GROUP 
BECAUSE HE WAS A JEW.

1365
01:17:31,666 --> 01:17:33,833
MAN, AS HEMINGWAY: 
BILL LOOKED AROUND, HALF-SHAVED,

1366
01:17:33,833 --> 01:17:35,466
AND THEN WENT ON TALKING 
INTO THE MIRROR

1367
01:17:35,466 --> 01:17:38,200
WHILE HE LATHERED HIS FACE.

1368
01:17:38,200 --> 01:17:39,833
"HAVEN'T YOU GOT 
SOME MORE JEWISH FRIENDS

1369
01:17:39,833 --> 01:17:42,000
YOU COULD BRING ALONG?"

1370
01:17:42,000 --> 01:17:44,533
HE RUBBED HIS CHIN WITH HIS 
THUMB, LOOKED AT IT,

1371
01:17:44,533 --> 01:17:47,200
AND THEN STARTED SCRAPING AGAIN.

1372
01:17:47,200 --> 01:17:50,033
"YOU'VE GOT SOME 
FINE ONES YOURSELF."

1373
01:17:50,033 --> 01:17:52,833
"OH, YES. 
I'VE GOT SOME DARBS.

1374
01:17:52,833 --> 01:17:55,700
"BUT NOT ALONGSIDE 
OF THIS ROBERT COHN.

1375
01:17:55,700 --> 01:17:58,166
"THE FUNNY THING IS 
HE'S NICE, TOO.

1376
01:17:58,166 --> 01:17:59,766
"I LIKE HIM.

1377
01:17:59,766 --> 01:18:02,566
BUT HE'S JUST SO AWFUL."

1378
01:18:02,566 --> 01:18:04,900
"HE CAN BE DAMNED NICE."

1379
01:18:04,900 --> 01:18:06,733
"I KNOW IT.

1380
01:18:06,733 --> 01:18:09,833
THAT'S THE TERRIBLE PART."

1381
01:18:09,833 --> 01:18:12,566
DEARBORN: I LOVE 
"THE SUN ALSO RISES"

1382
01:18:12,566 --> 01:18:15,566
BUT IT'S TRAGIC 
THAT HE MAKES HAROLD LOEB

1383
01:18:15,566 --> 01:18:18,933
INTO THIS DESPICABLE JEW.

1384
01:18:18,933 --> 01:18:23,566
IT'S JUST, UM, STUNNING.

1385
01:18:23,566 --> 01:18:26,066
IT'S JUST STUNNING,

1386
01:18:26,066 --> 01:18:29,000
AND HAROLD LOEB 
COULD NOT BELIEVE IT.

1387
01:18:29,000 --> 01:18:31,233
YOU KNOW, HE THOUGHT 
THEY WERE SO CLOSE.

1388
01:18:31,233 --> 01:18:32,966
THEY WERE CLOSE,

1389
01:18:32,966 --> 01:18:35,966
AND HE JUST SAID, "I STILL 
DON'T UNDERSTAND HIM.

1390
01:18:35,966 --> 01:18:38,300
HE WAS MY FRIEND."

1391
01:18:41,133 --> 01:18:43,966
NARRATOR: HEMINGWAY'S 
PROTAGONIST JAKE BARNES

1392
01:18:43,966 --> 01:18:46,966
IS A JADED INSIDER AT PAMPLONA.

1393
01:18:46,966 --> 01:18:49,266
HE SEEMS TO KNOW 
EVERYTHING THERE IS TO KNOW

1394
01:18:49,266 --> 01:18:51,800
ABOUT BULLFIGHTING.

1395
01:18:51,800 --> 01:18:56,066
THE STAR OF THE FIESTA IS 
A MATADOR NAMED PEDRO ROMERO,

1396
01:18:56,066 --> 01:18:59,966
JUST 19, INNOCENT, 
AND UNSPOILED.

1397
01:18:59,966 --> 01:19:03,933
THE BULLFIGHTING WORLD HOPES 
TO KEEP HIM THAT WAY,

1398
01:19:03,933 --> 01:19:06,000
BUT JAKE BREAKS THE RULES

1399
01:19:06,000 --> 01:19:08,833
AND INTRODUCES HIM 
TO BRETT ASHLEY,

1400
01:19:08,833 --> 01:19:13,800
THE WOMAN HE CAN NEVER 
BE WITH HIMSELF.

1401
01:19:13,800 --> 01:19:16,100
MANDEL: JAKE BARNES 
SHOULDN'T HAVE DONE THAT.

1402
01:19:16,100 --> 01:19:19,166
SHE'S NOT A SERIOUS, 
COMMITTED PERSON.

1403
01:19:19,166 --> 01:19:21,466
SHE'S A FREE WOMAN. 
SHE'S A FREE WOMAN.

1404
01:19:21,466 --> 01:19:23,533
SHE INDULGES HERSELF,

1405
01:19:23,533 --> 01:19:25,966
AND SHE WANTS TO INDULGE HERSELF 
WITH THE BULLFIGHTER.

1406
01:19:25,966 --> 01:19:28,100
JAKE BARNES 
SHOULD HAVE PROTECTED

1407
01:19:28,100 --> 01:19:32,266
THIS YOUNG, VULNERABLE, 
ETHICAL FIGURE,

1408
01:19:32,266 --> 01:19:35,466
AND AFTER THAT, THE PEOPLE 
IN THE KNOW IN PAMPLONA

1409
01:19:35,466 --> 01:19:37,633
TURN AGAINST JAKE.

1410
01:19:37,633 --> 01:19:40,666
THEY BARELY TALK TO HIM. 
THEY AVOID HIM,

1411
01:19:40,666 --> 01:19:44,533
AND THAT'S A BIG TURNING POINT 
IN THIS CHARACTER.

1412
01:19:44,533 --> 01:19:48,533
OF COURSE, 
HE KNOWS WHAT HE DID.

1413
01:19:48,533 --> 01:19:50,133
NARRATOR: AT THE END 
OF THE NOVEL,

1414
01:19:50,133 --> 01:19:54,066
JAKE AND BRETT SHARE 
A TAXI IN MADRID.

1415
01:19:56,366 --> 01:19:58,900
MAN, AS HEMINGWAY: THE DRIVER 
STARTED UP THE STREET.

1416
01:19:58,900 --> 01:20:00,466
I SETTLED BACK.

1417
01:20:00,466 --> 01:20:02,900
BRETT MOVED CLOSE TO ME.

1418
01:20:02,900 --> 01:20:05,566
WE SAT CLOSE AGAINST EACH OTHER.

1419
01:20:05,566 --> 01:20:07,200
I PUT MY ARM AROUND HER,

1420
01:20:07,200 --> 01:20:10,233
AND SHE RESTED 
AGAINST ME COMFORTABLY.

1421
01:20:10,233 --> 01:20:12,400
IT WAS VERY HOT AND BRIGHT,

1422
01:20:12,400 --> 01:20:15,566
AND THE HOUSES LOOKED 
SHARPLY WHITE.

1423
01:20:15,566 --> 01:20:18,833
WE TURNED OUT 
ONTO THE GRAN VIA.

1424
01:20:18,833 --> 01:20:20,966
"OH, JAKE," BRETT SAID,

1425
01:20:20,966 --> 01:20:24,833
"WE COULD HAVE HAD SUCH 
A DAMNED GOOD TIME TOGETHER."

1426
01:20:24,833 --> 01:20:29,466
AHEAD WAS A MOUNTED POLICEMAN 
IN KHAKI DIRECTING TRAFFIC.

1427
01:20:29,466 --> 01:20:31,533
HE RAISED HIS BATON.

1428
01:20:31,533 --> 01:20:35,733
THE CAR SLOWED, SUDDENLY 
PRESSING BRETT AGAINST ME.

1429
01:20:35,733 --> 01:20:38,500
"YES," I SAID.

1430
01:20:38,500 --> 01:20:41,833
ISN'T IT PRETTY TO THINK SO?"

1431
01:20:41,833 --> 01:20:44,500
TIM O'BRIEN: "ISN'T IT PRETTY 
TO THINK SO?"

1432
01:20:44,500 --> 01:20:48,233
IT'S THE WISTFULNESS 
OF WHAT WE BOTH LOSE

1433
01:20:48,233 --> 01:20:51,333
AND NEVER HAD, 
A WISTFULNESS.

1434
01:20:51,333 --> 01:20:53,500
"ISN'T IT PRETTY TO THINK 
THAT MY DAD AND I

1435
01:20:53,500 --> 01:20:57,733
"COULD HAVE TALKED 
ABOUT VIRTUALLY ANYTHING?

1436
01:20:57,733 --> 01:21:00,533
IT'S PRETTY TO THINK SO,"

1437
01:21:00,533 --> 01:21:03,366
BUT IT DIDN'T HAPPEN, 
AND IT WON'T HAPPEN,

1438
01:21:03,366 --> 01:21:07,400
AND SO THERE'S A SADNESS TO IT 
THAT FEELS TO ME FULLY HUMAN.

1439
01:21:07,400 --> 01:21:10,166
"ALL THAT WILL NOT BE," 
WHICH IS GOING TO BE TRUE

1440
01:21:10,166 --> 01:21:12,866
FOR EVERY HUMAN BEING 
IN SOME WAY OR ANOTHER

1441
01:21:12,866 --> 01:21:15,833
ON THIS PLANET, 
"ALL THAT WILL NEVER BE."

1442
01:21:15,833 --> 01:21:18,733
IT HAS A UNIVERSALITY TO IT.

1443
01:21:18,733 --> 01:21:21,700
"ISN'T IT PRETTY TO THINK SO?"

1444
01:21:23,900 --> 01:21:26,500
NARRATOR: THE WAR HAD 
OBLITERATED ANY ILLUSIONS

1445
01:21:26,500 --> 01:21:29,433
ABOUT THE FUTURE, 
BUT HEMINGWAY SEEMED

1446
01:21:29,433 --> 01:21:33,500
TO BE SUGGESTING THAT EVEN 
IN THE MOST DAMAGED LIVES,

1447
01:21:33,500 --> 01:21:36,566
DESPITE THE INDIGNITIES 
MEN AND WOMEN INFLICT

1448
01:21:36,566 --> 01:21:42,733
UPON EACH OTHER, SOME HOPE, 
SOME SWEETNESS COULD BE FOUND.

1449
01:21:42,733 --> 01:21:45,600
EDNA O'BRIEN: I LOVE 
"THE SUN ALSO RISES."

1450
01:21:45,600 --> 01:21:49,500
THE PITH OF IT, FOR ME.

1451
01:21:49,500 --> 01:21:53,000
THERE'S ALL THE HOTELS 
AND THE DRINK

1452
01:21:53,000 --> 01:21:55,266
AND THE BULLFIGHTING 
AND THE FISHING

1453
01:21:55,266 --> 01:21:57,666
AND THE MOUNTAINS 
AND THEIR KNAPSACKS,

1454
01:21:57,666 --> 01:21:59,500
"THAT'S A DAMN FINE WINE,"

1455
01:21:59,500 --> 01:22:03,000
AND THERE'S ALL THAT BLUSTER,

1456
01:22:03,000 --> 01:22:05,700
AND THERE'S IMPOTENCE.

1457
01:22:05,700 --> 01:22:08,666
WHAT IT DID FOR ME, 
WHEN I READ IT,

1458
01:22:08,666 --> 01:22:16,600
WAS TO INTRODUCE ME 
TO AN EXOTICA, A GLAMOUR,

1459
01:22:16,600 --> 01:22:22,200
A LIFE THAT, COMING 
FROM COUNTY CLARE IN IRELAND,

1460
01:22:22,200 --> 01:22:23,666
I COULDN'T BELIEVE IT.

1461
01:22:23,666 --> 01:22:24,966
I WAS SEDUCED BY IT.

1462
01:22:24,966 --> 01:22:27,766
THAT IS THE WORD 
I'M LOOKING FOR.

1463
01:22:27,766 --> 01:22:31,133
MAN, AS HEMINGWAY: 
AUGUST 23, 1925.

1464
01:22:31,133 --> 01:22:33,466
IT IS A HELL OF A FINE NOVEL.

1465
01:22:33,466 --> 01:22:36,300
WRITTEN VERY SIMPLY AND FULL 
OF THINGS HAPPENING

1466
01:22:36,300 --> 01:22:39,133
AND PEOPLE AND PLACES 
AND EXCITING AS HELL

1467
01:22:39,133 --> 01:22:42,200
AND NO AUTOBIOGRAPHICAL 
FIRST NOVEL STUFF.

1468
01:22:42,200 --> 01:22:44,166
I THINK IT WILL BE A KNOCKOUT

1469
01:22:44,166 --> 01:22:46,033
AND WILL LET THESE BASTARDS 
WHO SAY,

1470
01:22:46,033 --> 01:22:48,333
"YES, HE CAN WRITE VERY 
BEAUTIFUL LITTLE PARAGRAPHS KNOW

1471
01:22:48,333 --> 01:22:50,633
WHERE THEY GET OFF AT."

1472
01:22:50,633 --> 01:22:52,466
I'VE TRIED TO WRITE A HELL 
OF A GOOD STORY

1473
01:22:52,466 --> 01:22:57,200
ABOUT PEOPLE WITHOUT FAKING, 
PRECIOSITY, OR HORSE...

1474
01:22:57,200 --> 01:22:59,933
EVERYBODY KNOWS LIFE IS 
A TRAGIC SHOW,

1475
01:22:59,933 --> 01:23:03,733
I.E. BORN HERE, DIE THERE.

1476
01:23:03,733 --> 01:23:07,666
EVERYBODY DIES, 
EVERYBODY GETS BITCHED.

1477
01:23:10,333 --> 01:23:13,000
NARRATOR: ERNEST WAS HAPPY 
WITH HIS MANUSCRIPT

1478
01:23:13,000 --> 01:23:17,166
BUT UNHAPPY WITH HIS PUBLISHER 
HORACE LIVERIGHT.

1479
01:23:17,166 --> 01:23:21,200
HIS LAST BOOK "IN OUR TIME" 
HAD BEEN A CRITICAL SUCCESS,

1480
01:23:21,200 --> 01:23:23,300
BUT IT HADN'T SOLD.

1481
01:23:23,300 --> 01:23:26,466
BY CONTRACT, LIVERIGHT HAD 
THE RIGHT TO PUBLISH

1482
01:23:26,466 --> 01:23:30,366
HIS NEXT TWO BOOKS PROVIDED 
HE ACCEPTED THE FIRST ONE

1483
01:23:30,366 --> 01:23:33,666
WITHIN 60 DAYS 
OF ITS SUBMISSION.

1484
01:23:33,666 --> 01:23:37,733
BY THIS TIME, THE CELEBRATED 
NOVELIST F. SCOTT FITZGERALD

1485
01:23:37,733 --> 01:23:41,133
HAD BECOME A GOOD FRIEND 
AND HAD ALERTED HIS OWN EDITOR

1486
01:23:41,133 --> 01:23:46,833
MAXWELL PERKINS OF SCRIBNER'S, 
TO HEMINGWAY'S GREAT PROMISE.

1487
01:23:46,833 --> 01:23:49,233
MAN AS FITZGERALD: 
DEAR MAX, THIS IS TO TELL YOU

1488
01:23:49,233 --> 01:23:51,866
ABOUT A YOUNG MAN NAMED 
ERNEST HEMINGWAY,

1489
01:23:51,866 --> 01:23:53,733
WHO LIVES IN PARIS,

1490
01:23:53,733 --> 01:23:57,133
AN AMERICAN, WRITES FOR 
THE "TRANSATLANTIC REVIEW,"

1491
01:23:57,133 --> 01:23:59,666
AND HAS A BRILLIANT FUTURE.

1492
01:23:59,666 --> 01:24:01,400
EZRA POUND PUBLISHED 
A COLLECTION

1493
01:24:01,400 --> 01:24:03,133
OF HIS SHORT PIECES.

1494
01:24:03,133 --> 01:24:05,666
I HAVEN'T IT HERE NOW, 
BUT IT'S REMARKABLE,

1495
01:24:05,666 --> 01:24:07,766
AND I'D LOOK HIM UP RIGHT AWAY.

1496
01:24:07,766 --> 01:24:09,633
HE'S THE REAL THING.

1497
01:24:09,633 --> 01:24:11,466
SCOTT.

1498
01:24:11,466 --> 01:24:14,500
NARRATOR: FITZGERALD WOULD 
EVENTUALLY PERSUADE ERNEST

1499
01:24:14,500 --> 01:24:17,433
TO JETTISON 
THE FIRST TWO CLUMSY CHAPTERS

1500
01:24:17,433 --> 01:24:20,133
OF "THE SUN ALSO RISES," 
THOUGH HEMINGWAY

1501
01:24:20,133 --> 01:24:25,066
WOULD LATER CLAIM IT 
HAD BEEN HIS IDEA ALL ALONG.

1502
01:24:25,066 --> 01:24:28,133
NOW, FITZGERALD SUGGESTED A WAY 
HEMINGWAY COULD GET

1503
01:24:28,133 --> 01:24:30,833
OUT OF HIS CONTRACT-- 
WRITE SOMETHING

1504
01:24:30,833 --> 01:24:34,800
HORACE LIVERIGHT 
WOULD HAVE TO REJECT.

1505
01:24:36,933 --> 01:24:41,600
IN JUST 10 DAYS, ERNEST BANGED 
OUT "THE TORRENTS OF SPRING,"

1506
01:24:41,600 --> 01:24:43,933
A CRUEL LAMPOON OF HIS FRIEND

1507
01:24:43,933 --> 01:24:45,500
SHERWOOD ANDERSON,

1508
01:24:45,500 --> 01:24:47,166
WHO HAD BEEN ESPECIALLY KIND

1509
01:24:47,166 --> 01:24:48,300
TO HEMINGWAY

1510
01:24:48,300 --> 01:24:49,666
AND WAS ONE OF LIVERIGHT'S

1511
01:24:49,666 --> 01:24:52,400
BEST-SELLING AUTHORS.

1512
01:24:52,400 --> 01:24:56,433
HADLEY THOUGHT THE PARODY 
OF ANDERSON "DETESTABLE,"

1513
01:24:56,433 --> 01:24:59,333
BUT ANOTHER WOMAN'S OPINION 
HAD BEGUN TO MATTER

1514
01:24:59,333 --> 01:25:02,900
MORE TO HIM THAN HADLEY'S.

1515
01:25:02,900 --> 01:25:06,733
PAULINE PFEIFFER THOUGHT 
THE MANUSCRIPT WAS HILARIOUS,

1516
01:25:06,733 --> 01:25:10,166
FURTHER EVIDENCE 
OF ERNEST'S GENIUS.

1517
01:25:10,166 --> 01:25:13,866
SHE WAS WITTY, WEALTHY, 
WELL-READ,

1518
01:25:13,866 --> 01:25:16,833
A REPORTER COVERING 
PARIS FASHION FOR "VOGUE,"

1519
01:25:16,833 --> 01:25:19,100
AND A PRACTICING CATHOLIC.

1520
01:25:19,100 --> 01:25:21,833
SHE HAD BECOME 
HADLEY'S FRIEND FIRST,

1521
01:25:21,833 --> 01:25:23,833
A FREQUENT VISITOR 
AT THE APARTMENT

1522
01:25:23,833 --> 01:25:26,533
ABOVE THE SAWMILL.

1523
01:25:26,533 --> 01:25:29,466
ERNEST INVITED PAULINE TO JOIN 
HIM AND HADLEY

1524
01:25:29,466 --> 01:25:32,000
FOR CHRISTMAS IN AUSTRIA.

1525
01:25:32,000 --> 01:25:34,533
"PAULINE WAS NICE TO ME," 
HADLEY RECALLED.

1526
01:25:34,533 --> 01:25:37,033
"SHE WANTED TO BE FRIENDS."

1527
01:25:37,033 --> 01:25:39,333
THEY TOOK TURNS PLAYING 
WITH BUMBY,

1528
01:25:39,333 --> 01:25:44,466
SKIED AND DRANK AND PLAYED 
BRIDGE TOGETHER EVERY EVENING,

1529
01:25:44,466 --> 01:25:48,133
BUT IN THE AFTERNOONS, 
IT WAS PAULINE, NOT HADLEY,

1530
01:25:48,133 --> 01:25:53,166
WHOM ERNEST TOOK FOR LONG WALKS 
THROUGH THE SNOW.

1531
01:25:53,166 --> 01:25:55,466
"SHE DIDN'T GO STRAIGHT 
FOR MY HUSBAND,"

1532
01:25:55,466 --> 01:25:57,966
HADLEY RECALLED YEARS LATER,

1533
01:25:57,966 --> 01:26:01,500
"BUT ONCE SHE MADE UP HER MIND 
THAT HE WAS WHAT SHE WANTED,

1534
01:26:01,500 --> 01:26:04,333
"SHE WAS VERY AGGRESSIVE.

1535
01:26:04,333 --> 01:26:06,466
HE COULDN'T HELP HIMSELF."

1536
01:26:10,733 --> 01:26:14,100
MAN, AS HEMINGWAY: TO REALLY 
LOVE TWO WOMEN AT THE SAME TIME,

1537
01:26:14,100 --> 01:26:18,600
TRULY LOVE THEM, IS THE MOST 
DESTRUCTIVE AND TERRIBLE THING

1538
01:26:18,600 --> 01:26:21,200
THAT CAN HAPPEN TO A MAN.

1539
01:26:21,200 --> 01:26:23,566
YOU DO THINGS THAT 
ARE IMPOSSIBLE,

1540
01:26:23,566 --> 01:26:26,300
AND WHEN YOU ARE WITH ONE, 
YOU LOVE HER,

1541
01:26:26,300 --> 01:26:29,266
AND WITH THE OTHER, 
YOU LOVE HER,

1542
01:26:29,266 --> 01:26:32,233
AND TOGETHER, 
YOU LOVE THEM BOTH.

1543
01:26:32,233 --> 01:26:35,566
YOU BREAK ALL PROMISES, 
AND YOU DO EVERYTHING YOU KNEW

1544
01:26:35,566 --> 01:26:39,366
THAT YOU COULD NEVER DO 
NOR WOULD WANT TO DO.

1545
01:26:39,366 --> 01:26:43,533
YOU LIE AND HATE IT, 
AND IT DESTROYS YOU,

1546
01:26:43,533 --> 01:26:46,366
AND EVERY DAY IS MORE DANGEROUS.

1547
01:26:46,366 --> 01:26:48,866
EVERYTHING IS SPLIT 
INSIDE OF YOU,

1548
01:26:48,866 --> 01:26:52,766
AND YOU LOVE TWO PEOPLE NOW 
INSTEAD OF ONE,

1549
01:26:52,766 --> 01:26:56,633
AND THE STRANGE PART IS 
THAT YOU ARE HAPPY.

1550
01:26:58,433 --> 01:27:00,033
NARRATOR: WHEN HEMINGWAY 
SUBMITTED

1551
01:27:00,033 --> 01:27:02,700
"THE TORRENTS OF SPRING" 
TO HORACE LIVERIGHT,

1552
01:27:02,700 --> 01:27:08,300
THE PUBLISHER REJECTED IT RIGHT 
AWAY JUST AS ERNEST HAD HOPED.

1553
01:27:08,300 --> 01:27:12,033
HE WAS NOW FREE TO BRING IT 
AND "THE SUN ALSO RISES"

1554
01:27:12,033 --> 01:27:13,966
TO SCRIBNER'S.

1555
01:27:13,966 --> 01:27:19,433
IN JANUARY 1926, ERNEST MADE 
A 3-WEEK TRIP TO NEW YORK

1556
01:27:19,433 --> 01:27:23,933
TO MEET WITH HIS NEW EDITOR 
MAX PERKINS.

1557
01:27:23,933 --> 01:27:27,166
HADLEY AND BUMBY STAYED ON 
IN AUSTRIA.

1558
01:27:27,166 --> 01:27:29,733
AS SOON AS HER HUSBAND 
RETURNED TO FRANCE,

1559
01:27:29,733 --> 01:27:32,633
HADLEY EXPECTED HIM 
TO BOARD THE TRAIN

1560
01:27:32,633 --> 01:27:35,000
AND COME TO HER IN THE ALPS.

1561
01:27:35,000 --> 01:27:38,766
INSTEAD, HE WENT TO PARIS, 
TO PAULINE'S APARTMENT,

1562
01:27:38,766 --> 01:27:42,300
A DECISION THAT WOULD 
ONE DAY COME TO HAUNT HIM.

1563
01:27:46,800 --> 01:27:48,566
MAN, AS HEMINGWAY: 
THE GIRL I WAS IN LOVE WITH

1564
01:27:48,566 --> 01:27:50,833
WAS IN PARIS NOW, 
AND I DID NOT TAKE

1565
01:27:50,833 --> 01:27:54,733
THE FIRST TRAIN 
OR THE SECOND OR THE THIRD,

1566
01:27:54,733 --> 01:27:57,300
AND WHERE WE WENT 
AND WHAT WE DID

1567
01:27:57,300 --> 01:28:01,700
AND THE UNBELIEVABLE WRENCHING, 
KICKING HAPPINESS,

1568
01:28:01,700 --> 01:28:05,166
THE SELFISHNESS AND TREACHERY 
OF EVERYTHING WE DID,

1569
01:28:05,166 --> 01:28:07,033
GAVE ME SUCH HAPPINESS

1570
01:28:07,033 --> 01:28:11,866
AND UNKILLABLE DREADFUL 
HAPPINESS

1571
01:28:11,866 --> 01:28:14,200
SO THAT THE BLACK REMORSE CAME

1572
01:28:14,200 --> 01:28:17,333
AND HATRED OF THE SIN 
AND NO CONTRITION,

1573
01:28:17,333 --> 01:28:21,033
ONLY A TERRIBLE REMORSE.

1574
01:28:21,033 --> 01:28:26,200
NARRATOR: HE DID NOT GET TO 
HADLEY FOR 3 DAYS.

1575
01:28:26,200 --> 01:28:27,900
MAN, AS HEMINGWAY: 
WHEN I SAW MY WIFE AGAIN

1576
01:28:27,900 --> 01:28:30,566
STANDING BY THE TRACKS 
AS THE TRAIN CAME IN

1577
01:28:30,566 --> 01:28:32,933
BY THE PILED LOGS 
AT THE STATION,

1578
01:28:32,933 --> 01:28:35,200
I WISHED I HAD DIED 
BEFORE I EVER LOVED

1579
01:28:35,200 --> 01:28:37,200
ANYONE BUT HER.

1580
01:28:37,200 --> 01:28:40,333
SHE WAS SMILING, 
THE SUN ON HER LOVELY FACE

1581
01:28:40,333 --> 01:28:44,900
TANNED BY THE SNOW AND SUN, 
BEAUTIFULLY BUILT,

1582
01:28:44,900 --> 01:28:47,333
HER HAIR RED GOLD IN THE SUN

1583
01:28:47,333 --> 01:28:50,766
AND MR. BUMBY STANDING WITH HER, 
BLONDE AND CHUNKY

1584
01:28:50,766 --> 01:28:54,100
AND WITH WINTER CHEEKS.

1585
01:28:54,100 --> 01:28:57,366
I LOVED HER, 
AND I LOVED NO ONE ELSE,

1586
01:28:57,366 --> 01:29:01,066
AND WE HAD A LOVELY MAGIC TIME 
WHILE WE WERE ALONE.

1587
01:29:01,066 --> 01:29:05,100
I WORKED WELL, 
AND WE MADE GREAT TRIPS,

1588
01:29:05,100 --> 01:29:08,466
AND IT WASN'T UNTIL WE WERE OUT 
OF THE MOUNTAINS IN LATE SPRING,

1589
01:29:08,466 --> 01:29:12,633
AND BACK IN PARIS THAT 
THE OTHER THING STARTED AGAIN.

1590
01:29:15,400 --> 01:29:17,700
NARRATOR: ERNEST HOPED 
THAT THINGS COULD SOMEHOW

1591
01:29:17,700 --> 01:29:21,033
GO ON THAT WAY, 
STILL MARRIED TO HADLEY

1592
01:29:21,033 --> 01:29:24,400
BUT WITH HIS MISTRESS 
CONVENIENTLY AT HAND,

1593
01:29:24,400 --> 01:29:28,200
BUT PAULINE WAS NOT CONTENT 
TO REMAIN HIS MISTRESS.

1594
01:29:28,200 --> 01:29:31,400
SHE WAS DETERMINED 
TO BECOME HIS WIFE.

1595
01:29:32,766 --> 01:29:35,300
HADLEY CONFRONTED HER HUSBAND.

1596
01:29:35,300 --> 01:29:37,900
"WE HAD A TERRIFIC SCENE," 
SHE RECALLED.

1597
01:29:37,900 --> 01:29:40,800
ERNEST LASHED OUT AT HER.

1598
01:29:40,800 --> 01:29:44,466
IF ONLY SHE HADN'T BROUGHT UP 
HIS INFIDELITY, HE SAID,

1599
01:29:44,466 --> 01:29:47,266
THINGS COULD HAVE CONTINUED 
AS THEY WERE,

1600
01:29:47,266 --> 01:29:49,466
BUT NOW THAT SHE HAD BROKEN 
THE SPELL

1601
01:29:49,466 --> 01:29:52,466
THEIR LOVE WAS NO LONGER SAFE.

1602
01:29:52,466 --> 01:29:56,100
"IF I'D HAD ANY SENSE AT ALL," 
HADLEY REMEMBERED YEARS LATER,

1603
01:29:56,100 --> 01:29:58,033
"I'D HAVE LET HIM GO 
WITH PAULINE

1604
01:29:58,033 --> 01:29:59,700
"AND BURN HIMSELF OUT,

1605
01:29:59,700 --> 01:30:02,866
AND THEN WE COULD HAVE 
BEGUN AGAIN."

1606
01:30:02,866 --> 01:30:05,900
INSTEAD, IN SEPTEMBER, 
SHE SCRIBBLED OUT

1607
01:30:05,900 --> 01:30:08,433
A SORT OF CONTRACT IN PENCIL.

1608
01:30:08,433 --> 01:30:13,133
ERNEST AND PAULINE WOULD 
HAVE TO SPEND 100 DAYS APART,

1609
01:30:13,133 --> 01:30:16,566
AND AFTERWARDS IF THEY STILL 
WANTED ONE ANOTHER,

1610
01:30:16,566 --> 01:30:19,600
SHE WOULD GRANT HIM A DIVORCE.

1611
01:30:19,600 --> 01:30:24,166
ERNEST AND PAULINE AGREED 
TO ABIDE BY HER TERMS.

1612
01:30:24,166 --> 01:30:27,500
HE MOVED 
TO A FRIEND'S APARTMENT.

1613
01:30:27,500 --> 01:30:30,833
PAULINE SAILED FOR HOME.

1614
01:30:30,833 --> 01:30:33,500
HER MOTHER WAS 
INITIALLY APPALLED.

1615
01:30:33,500 --> 01:30:36,633
HER DAUGHTER HAD BROKEN UP 
HEMINGWAY'S MARRIAGE.

1616
01:30:36,633 --> 01:30:38,766
ERNEST WAS NOT A CATHOLIC.

1617
01:30:38,766 --> 01:30:42,433
A CHILD WAS INVOLVED.

1618
01:30:42,433 --> 01:30:46,600
ALONE IN PARIS, DEPRESSION 
AGAIN GRIPPED HEMINGWAY,

1619
01:30:46,600 --> 01:30:48,633
THIS TIME TINGED WITH GUILT

1620
01:30:48,633 --> 01:30:51,833
ABOUT WHAT HE WAS DOING 
TO HADLEY.

1621
01:30:51,833 --> 01:30:55,600
HE DRANK TOO MUCH, 
PICKED FIGHTS, COULDN'T SLEEP,

1622
01:30:55,600 --> 01:30:59,600
SOMEHOW CONVINCED HIMSELF 
THAT HE WAS THE VICTIM.

1623
01:31:02,400 --> 01:31:06,866
ONLY TWO MONTHS LATER, 
ON NOVEMBER 16, 1926,

1624
01:31:06,866 --> 01:31:09,633
HADLEY WROTE ERNEST THAT 
IF HE AND PAULINE

1625
01:31:09,633 --> 01:31:11,900
REALLY WANTED TO BE TOGETHER

1626
01:31:11,900 --> 01:31:15,533
SHE WOULD NO LONGER 
STAND IN THE WAY.

1627
01:31:15,533 --> 01:31:17,933
THEY WERE FREE TO MARRY.

1628
01:31:21,533 --> 01:31:22,966
WOMAN, AS RICHARDSON: 
THE ENTIRE PROBLEM BELONGS

1629
01:31:22,966 --> 01:31:25,466
TO YOU TWO.

1630
01:31:25,466 --> 01:31:29,666
I AM NOT RESPONSIBLE 
FOR YOUR FUTURE WELFARE.

1631
01:31:29,666 --> 01:31:32,466
I TOOK YOU ORIGINALLY 
FOR BETTER, FOR WORSE

1632
01:31:32,466 --> 01:31:36,200
AND MEANT IT!

1633
01:31:36,200 --> 01:31:39,500
BUT IN THE CASE OF YOUR 
MARRYING SOMEONE ELSE,

1634
01:31:39,500 --> 01:31:43,666
I CAN STAND BY MY VOW ONLY 
AS AN OUTSIDE FRIEND.

1635
01:31:46,700 --> 01:31:49,933
COME TO SEE BUMBY 
AS MUCH AS YOU WANT--

1636
01:31:49,933 --> 01:31:52,766
HE IS YOURS AS MUCH AS MINE--

1637
01:31:52,766 --> 01:31:54,700
AND TAKE HIM OUT SOMETIMES 
IF YOU FEEL LIKE

1638
01:31:54,700 --> 01:31:56,500
THAT KIND OF THING--

1639
01:31:56,500 --> 01:31:59,700
SO THAT HE WILL KNOW 
YOU ARE HIS REAL PAPA.

1640
01:32:02,766 --> 01:32:07,166
NARRATOR: HADLEY AND BUMBY SOON 
SAILED FOR THE UNITED STATES.

1641
01:32:07,166 --> 01:32:13,933
ERNEST STAYED IN PARIS. 
PAULINE JOINED HIM.

1642
01:32:13,933 --> 01:32:16,566
MEANWHILE, SCRIBNER'S HAD 
FINALLY PUBLISHED

1643
01:32:16,566 --> 01:32:18,933
"THE SUN ALSO RISES."

1644
01:32:18,933 --> 01:32:21,933
EDMUND WILSON DECLARED IT 
THE BEST NOVEL WRITTEN

1645
01:32:21,933 --> 01:32:24,933
BY ANYONE 
OF HEMINGWAY'S GENERATION.

1646
01:32:24,933 --> 01:32:28,133
A REVIEWER FOR "THE ATLANTIC" 
SAID THAT HEMINGWAY

1647
01:32:28,133 --> 01:32:31,866
"WRITES AS IF HE HAD NEVER 
READ ANYBODY'S WRITING,

1648
01:32:31,866 --> 01:32:35,900
AS IF HE HAD FASHIONED 
THE ART OF WRITING HIMSELF."

1649
01:32:35,900 --> 01:32:38,600
THE BOOK SOLD WELL.

1650
01:32:38,600 --> 01:32:45,566
ITS AUTHOR INSISTED THAT ALL 
THE ROYALTIES GO TO HADLEY.

1651
01:32:45,566 --> 01:32:48,966
ON MAY 10, 1927, 
ERNEST HEMINGWAY

1652
01:32:48,966 --> 01:32:52,966
AND PAULINE PFEIFFER 
WERE MARRIED IN PARIS.

1653
01:32:52,966 --> 01:32:56,900
THERE WERE TWO CEREMONIES, 
ONE AT THE MAYOR'S OFFICE

1654
01:32:56,900 --> 01:33:00,266
AND A SECOND 
AT A CATHOLIC CHURCH.

1655
01:33:00,266 --> 01:33:03,300
THE PFEIFFER FAMILY HAD COME 
AROUND TO APPROVING PAULINE'S

1656
01:33:03,300 --> 01:33:05,766
DECISION TO MARRY HEMINGWAY.

1657
01:33:05,766 --> 01:33:09,433
HE NOW CLAIMED HE'D SECRETLY 
ALWAYS BEEN A CATHOLIC

1658
01:33:09,433 --> 01:33:12,500
BECAUSE A PRIEST HAD GIVEN HIM 
EXTREME UNCTION

1659
01:33:12,500 --> 01:33:14,766
AFTER HE WAS WOUNDED.

1660
01:33:14,766 --> 01:33:18,833
SINCE HIS FIRST MARRIAGE HAD 
TAKEN PLACE OUTSIDE THE CHURCH,

1661
01:33:18,833 --> 01:33:21,633
THE CHURCH DID NOT RECOGNIZE IT.

1662
01:33:21,633 --> 01:33:24,633
HADLEY HAD NEVER REALLY 
BEEN HIS WIFE,

1663
01:33:24,633 --> 01:33:29,033
AND, BY EXTENSION, 
BUMBY WAS ILLEGITIMATE.

1664
01:33:31,166 --> 01:33:33,666
NARRATOR: HEMINGWAY HOPED TO 
LIVE THE SAME KIND OF LIFE

1665
01:33:33,666 --> 01:33:36,833
WITH PAULINE THAT 
HE HAD LED WITH HADLEY--

1666
01:33:36,833 --> 01:33:40,333
PARIS CAFÉS, 
BULLFIGHTS, SKIING--

1667
01:33:40,333 --> 01:33:44,833
AND DREAMED OF HAVING ONE 
LITERARY SUCCESS AFTER ANOTHER,

1668
01:33:44,833 --> 01:33:49,266
BUT THINGS DIDN'T GO 
QUITE AS PLANNED.

1669
01:33:49,266 --> 01:33:52,333
HE STARTED A NOVEL 
ABOUT A FATHER AND SON,

1670
01:33:52,333 --> 01:33:55,000
ONLY TO ABANDON IT.

1671
01:33:55,000 --> 01:33:59,100
A NEW BOOK OF 14 SHORT STORIES, 
"MEN WITHOUT WOMEN,"

1672
01:33:59,100 --> 01:34:01,466
DID NOT SELL 
AS WELL AS HE LIKED,

1673
01:34:01,466 --> 01:34:03,900
AND THERE WERE MIXED REVIEWS.

1674
01:34:03,900 --> 01:34:06,966
SOME READERS WERE PUT OFF 
BY ITS THEMES,

1675
01:34:06,966 --> 01:34:12,666
INCLUDING HOMOSEXUALITY, 
INFIDELITY, AND DIVORCE.

1676
01:34:12,666 --> 01:34:15,366
AS ALWAYS, HEMINGWAY TRIED TO 
MAKE HIS CHARACTERS

1677
01:34:15,366 --> 01:34:19,000
SPEAK PRECISELY 
AS HIS CONTEMPORARIES SPOKE,

1678
01:34:19,000 --> 01:34:22,366
INCLUDING THEIR USE OF RACIAL 
EPITHETS.

1679
01:34:24,633 --> 01:34:27,266
DUDLEY: WHY USE 
THE N-WORD MULTIPLE TIMES?

1680
01:34:30,000 --> 01:34:32,000
HEMINGWAY KNOWS THAT 
IT'S PROBABLY ONE

1681
01:34:32,000 --> 01:34:33,933
OF THE MOST OFFENSIVE WORDS 
HE COULD HAVE USED,

1682
01:34:33,933 --> 01:34:36,200
EVEN AT THIS TIME.

1683
01:34:36,200 --> 01:34:37,933
COULD YOU MAKE A CASE 
FOR HEMINGWAY

1684
01:34:37,933 --> 01:34:41,600
BEING PREJUDICIAL IN HIS LIFE, 
IN HIS WRITING?

1685
01:34:41,600 --> 01:34:44,400
ABSOLUTELY, YOU COULD, 
BUT, AT THE SAME TIME,

1686
01:34:44,400 --> 01:34:46,600
YOU COULD PEEL BACK THE LAYERS, 
AND YOU CAN GET A SENSE

1687
01:34:46,600 --> 01:34:51,766
OF A MAN TRYING TO CONVEY 
A SENSE OF HIS TIME.

1688
01:34:51,766 --> 01:34:54,533
CUSHMAN: THAT'S NOT 
AN EXCUSE FOR HIM.

1689
01:34:54,533 --> 01:34:58,433
I DON'T THINK YOU CAN 
DRY CLEAN HEMINGWAY

1690
01:34:58,433 --> 01:35:03,333
INTO SOMEBODY WHO FITS 
INTO WHAT WE NOW CONSIDER

1691
01:35:03,333 --> 01:35:07,300
SOCIALLY AND POLITICALLY 
ACCEPTABLE MUCH OF THE TIME.

1692
01:35:07,300 --> 01:35:10,233
NARRATOR: "MEN WITHOUT WOMEN" 
ALSO INCLUDED A STORY

1693
01:35:10,233 --> 01:35:16,433
THAT IS AMONG HIS MASTERPIECES 
"HILLS LIKE WHITE ELEPHANTS."

1694
01:35:16,433 --> 01:35:20,466
IN IT, A COUPLE WAITING IN 
A SMALL SPANISH TRAIN STATION

1695
01:35:20,466 --> 01:35:24,433
DISCUSS WHETHER OR NOT THE WOMAN 
WILL HAVE AN ABORTION

1696
01:35:24,433 --> 01:35:27,833
WITHOUT EVER MENTIONING 
THE WORD.

1697
01:35:27,833 --> 01:35:30,733
EDNA O'BRIEN: WHAT'S NOT SAID 
IS SO WONDERFUL.

1698
01:35:30,733 --> 01:35:35,900
SOMEHOW, THE WHOLE RELATIONSHIP, 
WHICH WILL BE FOREVER SHADOWED,

1699
01:35:35,900 --> 01:35:38,733
IF NOT TO SAY DESTROYED, 
BY THIS,

1700
01:35:38,733 --> 01:35:42,300
YOU GET A PICTURE OF IT

1701
01:35:42,300 --> 01:35:46,033
WITHOUT HIM SPELLING OUT 
THE WORDS.

1702
01:35:46,033 --> 01:35:47,900
YOU SEE, THAT'S WHAT HE DID.

1703
01:35:47,900 --> 01:35:50,933
THAT EVASION THAT HE MASTERED

1704
01:35:50,933 --> 01:35:54,766
AND THAT CONTROL THAT HE 
MASTERED

1705
01:35:54,766 --> 01:36:00,266
IS ONE OF HIS 
SIGNATURE STROKES OF GENIUS.

1706
01:36:00,266 --> 01:36:01,933
MAN, AS HEMINGWAY: 
"IT'S REALLY AN AWFULLY

1707
01:36:01,933 --> 01:36:04,866
SIMPLE OPERATION, JIG," 
THE MAN SAID.

1708
01:36:04,866 --> 01:36:07,700
"IT'S NOT REALLY 
AN OPERATION AT ALL."

1709
01:36:07,700 --> 01:36:11,933
THE GIRL LOOKED AT THE GROUND 
THE TABLE LEGS RESTED ON.

1710
01:36:11,933 --> 01:36:14,266
"I KNOW YOU WOULDN'T 
MIND IT, JIG.

1711
01:36:14,266 --> 01:36:16,100
"IT'S REALLY NOT ANYTHING.

1712
01:36:16,100 --> 01:36:19,333
IT'S JUST TO LET THE AIR IN."

1713
01:36:19,333 --> 01:36:21,466
THE GIRL DID NOT SAY ANYTHING.

1714
01:36:21,466 --> 01:36:23,500
"I'LL GO WITH YOU, 
AND I'LL STAY WITH YOU

1715
01:36:23,500 --> 01:36:25,000
"ALL THE TIME.

1716
01:36:25,000 --> 01:36:26,533
"THEY JUST LET THE AIR IN,

1717
01:36:26,533 --> 01:36:28,833
AND THEN IT'S ALL 
PERFECTLY NATURAL."

1718
01:36:28,833 --> 01:36:31,633
"THEN WHAT WILL WE DO 
AFTERWARD?"

1719
01:36:31,633 --> 01:36:33,133
"WE'LL BE FINE AFTERWARD.

1720
01:36:33,133 --> 01:36:35,300
JUST LIKE WE WERE BEFORE."

1721
01:36:35,300 --> 01:36:37,833
"WHAT MAKES YOU THINK SO?"

1722
01:36:37,833 --> 01:36:40,900
"THAT'S THE ONLY THING 
THAT BOTHERS US.

1723
01:36:40,900 --> 01:36:44,166
IT'S THE ONLY THING THAT'S 
MADE US UNHAPPY."

1724
01:36:46,366 --> 01:36:49,333
MANDEL: HE KNOWS WHAT HE WANTS.

1725
01:36:49,333 --> 01:36:52,000
HE WANTS ONE THING, 
IT'S "GET RID OF THIS THING,"

1726
01:36:52,000 --> 01:36:53,733
BUT HE CAN'T TELL HER THAT.

1727
01:36:53,733 --> 01:36:57,866
SO HE SAYS, "I ONLY WANT 
WHAT YOU WANT."

1728
01:36:57,866 --> 01:37:00,366
HE SAYS, "I'LL DO 
WHATEVER YOU SAY.

1729
01:37:00,366 --> 01:37:02,633
DON'T DO ANYTHING THAT 
YOU DON'T WANT TO DO,"

1730
01:37:02,633 --> 01:37:06,800
BUT HE'S PUSHING AND PUSHING 
AND PUSHING AND PUSHING.

1731
01:37:06,800 --> 01:37:10,133
IT IS PAINFUL TO WATCH 
THIS GOING ON.

1732
01:37:10,133 --> 01:37:13,700
IT IS RECOGNIZABLE 
FOR MOST WOMEN

1733
01:37:13,700 --> 01:37:16,200
TO--EVEN IF IT'S NOT 
THE SITUATION--

1734
01:37:16,200 --> 01:37:22,133
THE PUSHING, THE INSISTENCE, 
THE MASCULINE ASSERTION,

1735
01:37:22,133 --> 01:37:26,566
AND THEN, SHE FINALLY SAYS-- 
AND THIS IS, I THINK,

1736
01:37:26,566 --> 01:37:30,433
ONE OF GREAT 
UNDERSTATED SENTENCES--

1737
01:37:30,433 --> 01:37:39,433
SHE SAYS TO HIM, "WOULD YOU 
PLEASE PLEASE PLEASE PLEASE

1738
01:37:39,433 --> 01:37:45,900
PLEASE PLEASE PLEASE 
STOP TALKING?"

1739
01:37:47,566 --> 01:37:50,700
WE DON'T KNOW WHAT 
SHE'S GOING TO DECIDE.

1740
01:37:50,700 --> 01:37:53,900
SHE'S--MAYBE TO KEEP 
THE RELATIONSHIP,

1741
01:37:53,900 --> 01:37:55,900
SHE WILL DO WHAT HE SAYS,

1742
01:37:55,900 --> 01:37:59,100
BUT IF SHE DOES THAT, 
THE RELATIONSHIP IS OVER.

1743
01:37:59,100 --> 01:38:04,466
MAYBE SHE WILL KEEP IT AND JUST 
BE WITH HERSELF AND THE BABY.

1744
01:38:04,466 --> 01:38:06,766
MAYBE SHE WILL GET RID 
OF THE BABY

1745
01:38:06,766 --> 01:38:08,500
AND CARRY ON HER LIFE.

1746
01:38:08,500 --> 01:38:12,166
WHATEVER SHE DOES, 
HER LIFE WILL BE DIFFERENT.

1747
01:38:12,166 --> 01:38:14,066
MAN, AS HEMINGWAY: 
HE DRANK AN ANIS AT THE BAR

1748
01:38:14,066 --> 01:38:16,466
AND LOOKED AT THE PEOPLE.

1749
01:38:16,466 --> 01:38:19,633
THEY WERE ALL WAITING 
REASONABLY FOR THE TRAIN.

1750
01:38:22,233 --> 01:38:25,433
HE WENT OUT 
THROUGH THE BEAD CURTAIN.

1751
01:38:25,433 --> 01:38:29,300
SHE WAS SITTING AT THE TABLE 
AND SMILED AT HIM.

1752
01:38:29,300 --> 01:38:32,433
"DO YOU FEEL BETTER?" HE ASKED.

1753
01:38:32,433 --> 01:38:34,466
"I FEEL FINE," SHE SAID.

1754
01:38:34,466 --> 01:38:36,633
"THERE'S NOTHING WRONG WITH ME.

1755
01:38:36,633 --> 01:38:38,700
I FEEL FINE."

1756
01:38:45,433 --> 01:38:47,200
NARRATOR: IN MARCH OF 1928,

1757
01:38:47,200 --> 01:38:50,933
HEMINGWAY AND PAULINE 
LEFT FRANCE.

1758
01:38:50,933 --> 01:38:53,300
SHE WAS PREGNANT NOW, 
AND THEY WANTED TO HAVE

1759
01:38:53,300 --> 01:38:55,933
THEIR BABY IN THE UNITED STATES.

1760
01:38:55,933 --> 01:38:57,500
HEMINGWAY WAS RECOVERING

1761
01:38:57,500 --> 01:39:00,500
FROM A SECOND SERIOUS 
HEAD INJURY CAUSED

1762
01:39:00,500 --> 01:39:04,100
WHEN HE ACCIDENTALLY PULLED 
A SKYLIGHT DOWN ON HIS HEAD,

1763
01:39:04,100 --> 01:39:06,933
LEAVING A PERMANENT SCAR,

1764
01:39:06,933 --> 01:39:08,933
BUT HE HAD BEGUN A NEW NOVEL,

1765
01:39:08,933 --> 01:39:12,333
A STORY ABOUT A WOUNDED SOLDIER 
WHO FALLS IN LOVE

1766
01:39:12,333 --> 01:39:15,500
WITH THE NURSE 
WHO CARES FOR HIM.

1767
01:39:15,500 --> 01:39:19,000
THE HEMINGWAYS RENTED A HOUSE 
IN KEY WEST, FLORIDA,

1768
01:39:19,000 --> 01:39:21,166
WHERE ERNEST ENJOYED 
OCEAN FISHING

1769
01:39:21,166 --> 01:39:23,033
FOR THE FIRST TIME.

1770
01:39:25,433 --> 01:39:27,600
THEY THEN MOVED 
TO PAULINE'S PARENTS' HOME

1771
01:39:27,600 --> 01:39:31,333
IN PIGGOTT, ARKANSAS, 
AS THE BABY'S ARRIVAL NEARED,

1772
01:39:31,333 --> 01:39:37,000
AND SPENT A MONTH IN KANSAS CITY 
WHERE, ON JUNE 28, 1928,

1773
01:39:37,000 --> 01:39:40,466
PATRICK HEMINGWAY WAS BORN 
BY CAESARIAN SECTION

1774
01:39:40,466 --> 01:39:43,233
AFTER A DIFFICULT LABOR.

1775
01:39:43,233 --> 01:39:48,133
THEY RETURNED 
TO ARKANSAS TOGETHER,

1776
01:39:48,133 --> 01:39:51,466
BUT THEN HEMINGWAY 
HEADED WEST ALONE,

1777
01:39:51,466 --> 01:39:54,866
WRITING AS HE WENT, 
WORKING AND REWORKING

1778
01:39:54,866 --> 01:39:57,833
THE BOOK THAT NOW CONSUMED HIM.

1779
01:39:57,833 --> 01:40:01,766
IT WOULD BE CALLED 
"A FAREWELL TO ARMS."

1780
01:40:03,900 --> 01:40:06,066
MAN, AS HEMINGWAY: 
I REMEMBER LIVING IN THE BOOK

1781
01:40:06,066 --> 01:40:09,666
AND MAKING UP WHAT HAPPENED 
IN IT EVERY DAY.

1782
01:40:09,666 --> 01:40:11,400
MAKING THE COUNTRY 
AND THE PEOPLE

1783
01:40:11,400 --> 01:40:13,866
AND THE THINGS THAT HAPPENED,

1784
01:40:13,866 --> 01:40:17,566
I WAS HAPPIER 
THAN I HAD EVER BEEN.

1785
01:40:17,566 --> 01:40:20,466
EACH DAY I READ THE BOOK THROUGH 
FROM THE BEGINNING

1786
01:40:20,466 --> 01:40:23,300
TO THE POINT 
WHERE I WENT ON WRITING,

1787
01:40:23,300 --> 01:40:26,833
AND EACH DAY I STOPPED 
WHEN I WAS STILL GOING GOOD

1788
01:40:26,833 --> 01:40:29,166
AND WHEN I KNEW 
WHAT WOULD HAPPEN NEXT.

1789
01:40:33,700 --> 01:40:36,733
IN THE LATE SUMMER OF THAT YEAR, 
WE LIVED IN A HOUSE

1790
01:40:36,733 --> 01:40:39,133
IN A VILLAGE THAT LOOKED 
ACROSS THE RIVER

1791
01:40:39,133 --> 01:40:42,466
AND THE PLAIN TO THE MOUNTAINS.

1792
01:40:42,466 --> 01:40:45,866
IN THE BED OF THE RIVER, 
THERE WERE PEBBLES AND BOULDERS,

1793
01:40:45,866 --> 01:40:48,233
DRY AND WHITE IN THE SUN,

1794
01:40:48,233 --> 01:40:50,733
AND THE WATER WAS CLEAR 
AND SWIFTLY MOVING

1795
01:40:50,733 --> 01:40:53,600
AND BLUE IN THE CHANNELS.

1796
01:40:53,600 --> 01:40:56,766
TROOPS WENT BY THE HOUSE 
AND DOWN THE ROAD...

1797
01:40:56,766 --> 01:40:58,433
MAN AND EDNA O'BRIEN: 
AND THE DUST THEY RAISED

1798
01:40:58,433 --> 01:41:00,933
POWDERED THE LEAVES 
OF THE TREES.

1799
01:41:00,933 --> 01:41:02,666
THE TRUNKS OF THE TREES, TOO...

1800
01:41:02,666 --> 01:41:04,433
EDNA O'BRIEN: "WERE DUSTY,

1801
01:41:04,433 --> 01:41:07,066
"AND THE LEAVES FELL EARLY 
THAT YEAR,

1802
01:41:07,066 --> 01:41:10,133
"AND WE SAW THE TROOPS MARCHING 
ALONG THE ROAD

1803
01:41:10,133 --> 01:41:13,166
"AND THE DUST RISING 
AND LEAVES,

1804
01:41:13,166 --> 01:41:15,566
"STIRRED BY THE BREEZE, FALLING

1805
01:41:15,566 --> 01:41:16,966
"AND THE SOLDIERS MARCHING

1806
01:41:16,966 --> 01:41:21,233
"AND AFTERWARDS THE ROAD BARE

1807
01:41:21,233 --> 01:41:27,433
AND WHITE EXCEPT 
FOR THE LEAVES."

1808
01:41:27,433 --> 01:41:30,133
CUSHMAN: I READ THAT PARAGRAPH, 
AND I WANT TO CRY.

1809
01:41:30,133 --> 01:41:33,000
IT'S INCREDIBLY BEAUTIFUL.

1810
01:41:33,000 --> 01:41:37,766
HE BROKE EVERY RULE, 
ALL THE REPETITION.

1811
01:41:37,766 --> 01:41:43,166
IN 4 SENTENCES, 
THE WORD "AND" 15 TIMES.

1812
01:41:43,166 --> 01:41:48,366
WHAT'S GOING ON IS JUST 
AN UNFORGETTABLE DISPLAY

1813
01:41:48,366 --> 01:41:51,533
OF RHYTHMIC MASTERY.

1814
01:41:51,533 --> 01:41:56,533
THERE'S A KIND--ALMOST A KIND 
OF HYPNOSIS, AN INCANTATION

1815
01:41:56,533 --> 01:41:59,733
THAT I THINK IS 
ABOUT THE FRAME OF MIND

1816
01:41:59,733 --> 01:42:02,366
THAT YOU'RE GOING 
INTO THE WAR WITH.

1817
01:42:02,366 --> 01:42:06,300
[BACH'S "CELLO SUITE NO. 4, 
PRELUDE" PLAYING]

1818
01:42:09,433 --> 01:42:12,266
EDNA O'BRIEN: 
BY RELISTENING TO BACH

1819
01:42:12,266 --> 01:42:14,766
AND BY RECOGNIZING 
THE REPETITION

1820
01:42:14,766 --> 01:42:18,600
OF PARTICULAR NOTES IN BACH,

1821
01:42:18,600 --> 01:42:23,633
THAT THAT WAS INSPIRATION FOR 
WRITING "A FAREWELL TO ARMS."

1822
01:42:25,700 --> 01:42:29,333
NARRATOR: UNLIKE 
"THE SUN ALSO RISES,"

1823
01:42:29,333 --> 01:42:33,100
"A FAREWELL TO ARMS" WAS 
EXPLICITLY ABOUT THE GREAT WAR.

1824
01:42:33,100 --> 01:42:36,100
ITS PROTAGONIST 
LIEUTENANT FREDERIC HENRY

1825
01:42:36,100 --> 01:42:40,633
IS AN AMERICAN AMBULANCE DRIVER 
ATTACHED TO THE ITALIAN ARMY,

1826
01:42:40,633 --> 01:42:43,666
WHO IS WOUNDED AND FALLS 
IN LOVE WITH A NURSE

1827
01:42:43,666 --> 01:42:46,966
NAMED CATHERINE BARKLEY, 
WHO IS MOURNING A LOVER

1828
01:42:46,966 --> 01:42:50,333
KILLED IN THE WAR.

1829
01:42:50,333 --> 01:42:53,900
DRAWN FROM HIS OWN EXPERIENCES, 
THE STORIES HE HEARD,

1830
01:42:53,900 --> 01:42:57,366
AND HIS OWN DOGGED RESEARCH, 
THE BOOK'S DISILLUSIONMENT

1831
01:42:57,366 --> 01:43:00,933
WITH THE WAR WOULD SPEAK TO-- 
AND FOR--

1832
01:43:00,933 --> 01:43:03,100
THOSE WHO HAD LIVED THROUGH IT.

1833
01:43:07,866 --> 01:43:09,566
MAN, AS HEMINGWAY: 
I WAS ALWAYS EMBARRASSED

1834
01:43:09,566 --> 01:43:14,266
BY THE WORDS SACRED, GLORIOUS, 
AND SACRIFICE

1835
01:43:14,266 --> 01:43:17,000
AND THE EXPRESSION IN VAIN.

1836
01:43:19,366 --> 01:43:21,700
WE HAD HEARD THEM, 
SOMETIMES STANDING

1837
01:43:21,700 --> 01:43:23,866
IN THE RAIN ALMOST 
OUT OF EARSHOT,

1838
01:43:23,866 --> 01:43:26,866
SO THAT ONLY THE SHOUTED WORDS 
CAME THROUGH,

1839
01:43:26,866 --> 01:43:29,200
AND HAD READ THEM 
ON PROCLAMATIONS

1840
01:43:29,200 --> 01:43:31,066
THAT WERE SLAPPED UP 
BY BILLPOSTERS

1841
01:43:31,066 --> 01:43:35,133
OVER OTHER PROCLAMATIONS, 
NOW FOR A LONG TIME...

1842
01:43:37,266 --> 01:43:39,533
AND I HAD SEEN NOTHING SACRED,

1843
01:43:39,533 --> 01:43:42,933
AND THE THINGS THAT WERE 
GLORIOUS HAD NO GLORY,

1844
01:43:42,933 --> 01:43:45,533
AND THE SACRIFICES 
WERE LIKE THE STOCKYARDS

1845
01:43:45,533 --> 01:43:47,933
AT CHICAGO 
IF NOTHING WAS DONE

1846
01:43:47,933 --> 01:43:50,900
WITH THE MEAT 
EXCEPT TO BURY IT.

1847
01:43:50,900 --> 01:43:54,566
THERE WERE MANY WORDS THAT 
YOU COULD NOT STAND TO HEAR,

1848
01:43:54,566 --> 01:43:58,466
AND FINALLY ONLY THE NAMES 
OF PLACES HAD DIGNITY.

1849
01:44:00,266 --> 01:44:04,233
CERTAIN NUMBERS WERE 
THE SAME WAY AND CERTAIN DATES,

1850
01:44:04,233 --> 01:44:07,133
AND THESE WITH THE NAMES 
OF THE PLACES WERE

1851
01:44:07,133 --> 01:44:11,100
ALL YOU COULD SAY 
AND HAVE THEM MEAN ANYTHING.

1852
01:44:13,433 --> 01:44:16,833
WOLFF: I DON'T KNOW OF ANYONE 
UP TO THAT POINT

1853
01:44:16,833 --> 01:44:20,833
WHO HAD SAID THAT THAT WELL

1854
01:44:20,833 --> 01:44:25,966
BECAUSE WE CAN'T SEEM TO STOP 
USING THAT KIND OF LANGUAGE

1855
01:44:25,966 --> 01:44:27,933
ABOUT WAR,

1856
01:44:27,933 --> 01:44:32,966
AND IT IS OUR DUTY 
ALWAYS TO PUNCTURE IT,

1857
01:44:32,966 --> 01:44:37,766
BUT NO ONE HAS EVER DONE IT 
THIS ELOQUENTLY.

1858
01:44:37,766 --> 01:44:42,000
THE ACCUMULATING WEIGHT 
OF THOSE SENTENCES

1859
01:44:42,000 --> 01:44:45,633
AND THE EMOTION, THE DISGUST,

1860
01:44:45,633 --> 01:44:50,333
AND ALSO THE REVERENCE FOR 
WHAT HAS BEEN, IN FACT, DONE,

1861
01:44:50,333 --> 01:44:52,300
THE DIGNITY OF THOSE PLACES

1862
01:44:52,300 --> 01:44:55,166
THAT GATHER IN THOSE SENTENCES 
AS THEY GO ON,

1863
01:44:55,166 --> 01:44:59,000
IT'S JUST BEAUTIFUL.

1864
01:44:59,000 --> 01:45:01,933
NARRATOR: IN THE NOVEL, 
LIEUTENANT HENRY DESERTS

1865
01:45:01,933 --> 01:45:06,100
AND FLEES TO NEUTRAL SWITZERLAND 
WITH CATHERINE BARKLEY.

1866
01:45:06,100 --> 01:45:08,366
THEY HOPE TO MARRY AND BUILD 
A LIFE TOGETHER

1867
01:45:08,366 --> 01:45:10,900
ONCE THE WAR IS OVER.

1868
01:45:10,900 --> 01:45:14,366
SHE IS PREGNANT, 
BUT SOMETHING GOES

1869
01:45:14,366 --> 01:45:17,500
TERRIBLY WRONG 
IN THE DELIVERY ROOM.

1870
01:45:17,500 --> 01:45:20,166
DOCTORS PERFORM A CAESARIAN.

1871
01:45:20,166 --> 01:45:22,866
THE BABY IS STILLBORN.

1872
01:45:22,866 --> 01:45:26,133
CATHERINE'S LIFE EBBS AWAY.

1873
01:45:28,500 --> 01:45:31,200
HEMINGWAY AGONIZED 
OVER THE ENDING,

1874
01:45:31,200 --> 01:45:34,600
WRITING 47 VERSIONS 
OF THE FINAL PAGES

1875
01:45:34,600 --> 01:45:37,366
BEFORE HE WAS SATISFIED.

1876
01:45:37,366 --> 01:45:57,966
♪

1877
01:45:57,966 --> 01:46:00,900
MAN, AS HEMINGWAY: 
I WENT TO THE DOOR OF THE ROOM.

1878
01:46:00,900 --> 01:46:04,366
"YOU CAN'T COME IN NOW," ONE 
OF THE NURSES SAID.

1879
01:46:04,366 --> 01:46:07,300
"YES I CAN," I SAID.

1880
01:46:07,300 --> 01:46:10,033
"YOU CAN'T COME IN YET."

1881
01:46:10,033 --> 01:46:11,566
"YOU GET OUT," I SAID.

1882
01:46:11,566 --> 01:46:15,600
"THE OTHER ONE TOO."

1883
01:46:15,600 --> 01:46:18,400
BUT AFTER I HAD GOT THEM OUT 
AND SHUT THE DOOR

1884
01:46:18,400 --> 01:46:23,100
AND TURNED OFF THE LIGHT, 
IT WASN'T ANY GOOD.

1885
01:46:23,100 --> 01:46:26,133
IT WAS LIKE SAYING GOODBYE 
TO A STATUE.

1886
01:46:26,133 --> 01:46:28,900
[RAIN FALLING, THUNDER]

1887
01:46:28,900 --> 01:46:33,200
AFTER A WHILE, I WENT OUT 
AND LEFT THE HOSPITAL

1888
01:46:33,200 --> 01:46:36,800
AND WALKED BACK 
TO THE HOTEL IN THE RAIN.

1889
01:46:40,700 --> 01:46:42,933
EDNA O'BRIEN: PARTS 
OF "A FAREWELL TO ARMS"

1890
01:46:42,933 --> 01:46:45,733
COULD HAVE BEEN WRITTEN 
BY A WOMAN.

1891
01:46:45,733 --> 01:46:48,600
NOW, I REGARD THAT 
AS A COMPLIMENT.

1892
01:46:48,600 --> 01:46:51,233
HEMINGWAY MIGHT REGARD IT 
AS AN INSULT,

1893
01:46:51,233 --> 01:46:56,800
BUT I DON'T BECAUSE IT IS 
THE ANDROGYNY

1894
01:46:56,800 --> 01:47:01,800
IN A MAN OR A WOMAN THAT ALLOWS 
THEM, EVEN IF BRIEFLY,

1895
01:47:01,800 --> 01:47:04,533
NOT UTTERLY, TO BE ABLE 
TO PUT THEMSELVES

1896
01:47:04,533 --> 01:47:08,400
INSIDE THE SKIN 
OF THE OPPOSITE THING.

1897
01:47:08,400 --> 01:47:11,666
IN MANY WAYS, I THINK IT'S 
HIS GREATEST NOVEL.

1898
01:47:11,666 --> 01:47:15,033
I DO. 
IT'S THE TRUEST.

1899
01:47:15,033 --> 01:47:17,866
IT'S ALSO HEARTBREAKING.

1900
01:47:17,866 --> 01:47:22,333
I REMEMBER CRYING 
AND CRYING AND CRYING.

1901
01:47:22,333 --> 01:47:26,466
HE GETS THE--ALL 
THE--THE "BOY" STUFF,

1902
01:47:26,466 --> 01:47:27,833
THE "MAN" STUFF.

1903
01:47:27,833 --> 01:47:29,900
HE GETS THE HORROR OF THE WAR,

1904
01:47:29,900 --> 01:47:33,000
BUT WHEN PEOPLE 
PUT THAT BOOK DOWN,

1905
01:47:33,000 --> 01:47:35,166
WHAT DO THEY REMEMBER?

1906
01:47:35,166 --> 01:47:38,500
THEY REMEMBER A WOMAN DYING 
IN CHILDBIRTH.

1907
01:47:40,400 --> 01:47:42,366
MAN, AS HEMINGWAY: 
IF PEOPLE BRING SO MUCH COURAGE

1908
01:47:42,366 --> 01:47:45,333
TO THIS WORLD, 
THE WORLD HAS TO KILL THEM

1909
01:47:45,333 --> 01:47:47,066
TO BREAK THEM,

1910
01:47:47,066 --> 01:47:51,333
SO OF COURSE IT KILLS THEM.

1911
01:47:51,333 --> 01:47:54,200
THE WORLD BREAKS EVERYONE, 
AND AFTERWARD,

1912
01:47:54,200 --> 01:47:58,533
MANY ARE STRONG 
AT THE BROKEN PLACES,

1913
01:47:58,533 --> 01:48:02,833
BUT THOSE THAT WILL NOT BREAK 
IT KILLS.

1914
01:48:02,833 --> 01:48:05,600
IT KILLS THE VERY GOOD 
AND THE VERY GENTLE

1915
01:48:05,600 --> 01:48:09,666
AND THE VERY BRAVE IMPARTIALLY.

1916
01:48:09,666 --> 01:48:12,066
IF YOU ARE NONE OF THESE, 
YOU CAN BE SURE

1917
01:48:12,066 --> 01:48:14,266
IT WILL KILL YOU, TOO,

1918
01:48:14,266 --> 01:48:16,800
BUT THERE WILL BE 
NO SPECIAL HURRY.

1919
01:48:23,333 --> 01:48:25,833
NARRATOR: IN THE LATE FALL 
OF 1928,

1920
01:48:25,833 --> 01:48:30,400
HEMINGWAY'S FATHER'S LIFE WAS 
SPIRALING SLOWLY DOWNWARD.

1921
01:48:30,400 --> 01:48:34,866
THE ANXIETY THAT HAD ALWAYS 
HAUNTED HIM INTENSIFIED.

1922
01:48:34,866 --> 01:48:37,766
HIS PERIODS 
OF DEPRESSION LENGTHENED.

1923
01:48:37,766 --> 01:48:40,733
HE SEEMED SUSPICIOUS 
OF EVERYONE AROUND HIM

1924
01:48:40,733 --> 01:48:43,900
AND UNABLE TO SHAKE 
A SENSE OF DREAD.

1925
01:48:46,366 --> 01:48:50,166
ON DECEMBER 6, ED HEMINGWAY 
CAME HOME AT NOON,

1926
01:48:50,166 --> 01:48:53,000
BURNED SOME PERSONAL PAPERS 
IN THE BASEMENT,

1927
01:48:53,000 --> 01:48:56,400
TOLD HIS WIFE HE THOUGHT HE'D 
LIE DOWN BEFORE LUNCH,

1928
01:48:56,400 --> 01:49:00,500
AND CLIMBED THE STAIRS 
TO HIS BEDROOM.

1929
01:49:00,500 --> 01:49:06,533
THEN HE SHOT HIMSELF WITH HIS 
FATHER'S CIVIL WAR REVOLVER.

1930
01:49:08,466 --> 01:49:10,666
MAN, AS HEMINGWAY: 
MY FATHER WAS A COWARD.

1931
01:49:10,666 --> 01:49:13,700
HE SHOT HIMSELF 
WITHOUT NECESSITY.

1932
01:49:13,700 --> 01:49:16,000
AT LEAST I THOUGHT SO.

1933
01:49:16,000 --> 01:49:20,366
I HAD GONE THROUGH IT MYSELF 
UNTIL I FIGURED IT IN MY HEAD.

1934
01:49:20,366 --> 01:49:22,766
I KNEW WHAT IT WAS TO BE 
A COWARD

1935
01:49:22,766 --> 01:49:26,200
AND WHAT IT WAS TO CEASE 
BEING A COWARD.

1936
01:49:28,300 --> 01:49:31,766
NARRATOR: ERNEST PROMISED TO PAY 
HIS MOTHER A MONTHLY STIPEND,

1937
01:49:31,766 --> 01:49:33,666
BUT HE WOULD PRIVATELY BLAME HER

1938
01:49:33,666 --> 01:49:37,866
FOR DRIVING HIS FATHER 
TO SUICIDE.

1939
01:49:37,866 --> 01:49:39,266
MAN, AS HEMINGWAY: 
I HATED MY MOTHER

1940
01:49:39,266 --> 01:49:41,133
AS SOON AS I KNEW THE SCORE

1941
01:49:41,133 --> 01:49:43,200
AND LOVED MY FATHER 
UNTIL HE EMBARRASSED ME

1942
01:49:43,200 --> 01:49:45,366
WITH HIS COWARDICE.

1943
01:49:45,366 --> 01:49:49,166
MY MOTHER IS AN ALL-TIME, 
ALL-AMERICAN BITCH,

1944
01:49:49,166 --> 01:49:51,700
AND SHE WOULD MAKE 
A PACK MULE SHOOT HIMSELF,

1945
01:49:51,700 --> 01:49:55,300
LET ALONE POOR BLOODY FATHER.

1946
01:49:55,300 --> 01:49:58,500
HENDRICKSON: I THINK HEMINGWAY, 
AMONG HIS MANY, MANY FEARS,

1947
01:49:58,500 --> 01:50:02,033
WAS TERRIFIED 
"WILL THAT HAPPEN TO ME?

1948
01:50:02,033 --> 01:50:05,066
WILL I BECOME MY FATHER?"

1949
01:50:05,066 --> 01:50:11,633
IN THIS CHRISTIAN, MIDWESTERN, 
SUBURBAN ILLINOIS FAMILY

1950
01:50:11,633 --> 01:50:16,133
OF A UNIT OF 8, 
OF 2 PARENTS

1951
01:50:16,133 --> 01:50:18,633
AND 6 CHILDREN--

1952
01:50:18,633 --> 01:50:24,233
4, AT LEAST 4 DESTROYED 
THEMSELVES BY THEIR OWN HAND,

1953
01:50:24,233 --> 01:50:26,366
4 OUT OF THE 8.

1954
01:50:31,233 --> 01:50:35,100
NARRATOR: IN SEPTEMBER OF 1929, 
"A FAREWELL TO ARMS"

1955
01:50:35,100 --> 01:50:37,433
WAS PUBLISHED.

1956
01:50:37,433 --> 01:50:42,233
THE REACTION WAS EVERYTHING 
HEMINGWAY HAD HOPED FOR.

1957
01:50:42,233 --> 01:50:47,000
"SCRIBNER'S" MAGAZINE HAD PAID 
$16,000 TO SERIALIZE IT--

1958
01:50:47,000 --> 01:50:51,100
MORE THAN IT HAD EVER PAID 
ANYONE BEFORE--

1959
01:50:51,100 --> 01:50:53,966
AND WHEN THE JUNE ISSUE WAS 
BANNED IN BOSTON

1960
01:50:53,966 --> 01:50:57,800
BECAUSE SOME PASSAGES WERE 
THOUGHT TOO "SALACIOUS,"

1961
01:50:57,800 --> 01:51:00,933
IT ONLY BOOSTED SALES.

1962
01:51:00,933 --> 01:51:04,966
"A FAREWELL TO ARMS" CLIMBED 
ONTO THE BEST-SELLER LISTS

1963
01:51:04,966 --> 01:51:08,733
AND STAYED THERE 
WEEK AFTER WEEK.

1964
01:51:08,733 --> 01:51:15,100
PARAMOUNT PICTURES PAID ANOTHER 
$24,000 FOR THE MOVIE RIGHTS.

1965
01:51:15,100 --> 01:51:17,833
BY THE AGE OF 30, 
ERNEST HEMINGWAY

1966
01:51:17,833 --> 01:51:21,533
HAD SURVIVED HIS WAR WOUNDS, 
HAD MARRIED TWO WOMEN,

1967
01:51:21,533 --> 01:51:23,900
AND FATHERED TWO SONS,

1968
01:51:23,900 --> 01:51:27,533
HAD BURIED HIS FATHER, 
PUBLISHED 5 BOOKS

1969
01:51:27,533 --> 01:51:33,233
AND WAS NOW THE MOST FAMOUS 
WRITER IN THE UNITED STATES.

1970
01:51:33,233 --> 01:51:36,200
HIS FRIEND, THE NOVELIST 
JOHN DOS PASSOS,

1971
01:51:36,200 --> 01:51:38,333
WROTE TO CONGRATULATE HIM.

1972
01:51:38,333 --> 01:51:41,066
"DEAR HEM," HE SAID, 
"DO YOU REALIZE THAT

1973
01:51:41,066 --> 01:51:44,966
YOU'RE NOW THE KING 
OF THE FICTION RACKET?"

1974
01:51:48,900 --> 01:51:51,666
MAN, AS HEMINGWAY: I AM VERY 
PREJUDICED AGAINST SUICIDE

1975
01:51:51,666 --> 01:51:54,900
BECAUSE SOMEHOW I WOULD NOT LIKE 
TO EVEN RUN A CHANCE

1976
01:51:54,900 --> 01:51:56,933
OF HAVING TO SPEND THE REST 
OF THE TIME

1977
01:51:56,933 --> 01:52:00,433
WITH A LOT OF THE SORT 
OF PEOPLE WHO COMMIT SUICIDE.

1978
01:52:00,433 --> 01:52:02,600
ALTHOUGH OF COURSE 
THAT DOESN'T HOLD TRUE

1979
01:52:02,600 --> 01:52:05,000
BECAUSE THERE ARE 
SOME SWELL ONES.

1980
01:52:06,833 --> 01:52:09,266
THE REAL REASON FOR NOT 
COMMITTING SUICIDE

1981
01:52:09,266 --> 01:52:12,100
IS BECAUSE YOU ALWAYS KNOW 
HOW SWELL LIFE GETS AGAIN

1982
01:52:12,100 --> 01:52:14,200
AFTER THE HELL IS OVER.

1983
01:52:14,200 --> 01:52:18,400
SO YOU HAVE TO RESOLVE 
IN ADVANCE TO LAST OUT THE TIME

1984
01:52:18,400 --> 01:52:20,900
WHEN YOU DON'T BELIEVE THAT.

1985
01:52:20,900 --> 01:52:24,300
♪

1986
01:52:27,566 --> 01:52:32,966
♪

1987
01:52:55,700 --> 01:53:04,133
♪

1988
01:53:24,566 --> 01:53:29,666
♪

1989
01:53:33,500 --> 01:53:35,900
ANNOUNCER: 
NEXT TIME ON "HEMINGWAY"...

1990
01:53:35,900 --> 01:53:37,666
AMANDA VAILL: IN ORDER TO HAVE 
SOMETHING NEW TO WRITE,

1991
01:53:37,666 --> 01:53:39,500
HE HAD TO HAVE SOMETHING 
NEW TO LIVE.

1992
01:53:39,500 --> 01:53:41,100
ANNOUNCER: ATOP 
THE LITERARY WORLD,

1993
01:53:41,100 --> 01:53:43,433
HEMINGWAY SEEKS 
NEW CHALLENGES...

1994
01:53:43,433 --> 01:53:45,533
EDNA O'BRIEN: I THINK 
ORDINARY LIFE

1995
01:53:45,533 --> 01:53:47,466
WAS ANATHEMA TO HIM.

1996
01:53:47,466 --> 01:53:49,766
ANNOUNCER: REPORTS FROM 
THE FRONT LINES IN SPAIN...

1997
01:53:49,766 --> 01:53:51,500
MAN, AS HEMINGWAY: IN 
THE MORNING, THE ROARING BURST

1998
01:53:51,500 --> 01:53:53,933
OF A HIGH EXPLOSIVE 
SHELL WAKES YOU.

1999
01:53:53,933 --> 01:53:56,566
ANNOUNCER: AND FALLS IN LOVE 
WITH MARTHA GELLHORN.

2000
01:53:56,566 --> 01:53:59,700
SUSAN BEEGEL: MARTHA WAS A WOMAN 
WHO WOULD NOT BACK DOWN.

2001
01:53:59,700 --> 01:54:03,000
ANNOUNCER: WHEN "HEMINGWAY" 
CONTINUES NEXT TIME.

2002
01:54:03,800 --> 01:54:05,666
ANNOUNCER: DIVE DEEPER 
INTO THIS FILM

2003
01:54:05,666 --> 01:54:07,800
BY VISITING PBS.ORG/HEMINGWAY

2004
01:54:07,800 --> 01:54:09,933
AND THE PBS VIDEO APP.

2005
01:54:09,933 --> 01:54:14,066
JOIN THE CONVERSATION WITH 
HASHTAG #HEMINGWAYPBS.

2006
01:54:14,066 --> 01:54:17,066
TO ORDER "HEMINGWAY" ON DVD 
OR BLU-RAY

2007
01:54:17,066 --> 01:54:19,100
OR THE BOOK 
"THE HEMINGWAY STORIES,"

2008
01:54:19,100 --> 01:54:23,500
VISIT SHOP PBS OR CALL 
1-800-PLAY-PBS.

2009
01:54:23,500 --> 01:54:25,733
THE CD IS ALSO AVAILABLE.

2010
01:54:25,733 --> 01:54:29,233
"HEMINGWAY" IS ALSO AVAILABLE 
WITH PBS PASSPORT

2011
01:54:29,233 --> 01:54:32,633
AND ON AMAZON PRIME VIDEO.

2012
01:54:45,900 --> 01:54:51,866
♪

2013
01:55:09,766 --> 01:55:12,266
♪

2014
01:55:13,666 --> 01:55:15,333
ANNOUNCER: MAJOR FUNDING 
FOR "HEMINGWAY"

2015
01:55:15,333 --> 01:55:18,033
WAS PROVIDED BY 
THE BETTER ANGELS SOCIETY

2016
01:55:18,033 --> 01:55:19,800
AND BY ITS MEMBERS:

2017
01:55:19,800 --> 01:55:22,266
THE ELIZABETH RUTH WALLACE 
LIVING TRUST,

2018
01:55:22,266 --> 01:55:24,200
JOHN AND LESLIE McQUOWN,

2019
01:55:24,200 --> 01:55:25,900
JOHN AND CATHERINE DEBS,

2020
01:55:25,900 --> 01:55:28,633
THE FULLERTON FAMILY 
CHARITABLE TRUST,

2021
01:55:28,633 --> 01:55:31,633
KISSICK FAMILY FOUNDATION, 
GAIL ELDEN,

2022
01:55:31,633 --> 01:55:33,233
GILCHRIST AND AMY BERG,

2023
01:55:33,233 --> 01:55:34,833
ROBERT AND BEVERLY GRAPPONE,

2024
01:55:34,833 --> 01:55:37,300
AND MAUREE JANE AND MARK PERRY.

2025
01:55:37,300 --> 01:55:41,700
ADDITIONAL FUNDING WAS PROVIDED 
BY THE ANNENBERG FOUNDATION,

2026
01:55:41,700 --> 01:55:44,266
THE ARTHUR VINING DAVIS 
FOUNDATIONS,

2027
01:55:44,266 --> 01:55:46,800
THE CORPORATION 
FOR PUBLIC BROADCASTING,

2028
01:55:46,800 --> 01:55:50,066
AND BY CONTRIBUTIONS TO YOUR 
PBS STATION

2029
01:55:50,066 --> 01:55:52,133
FROM VIEWERS LIKE YOU.

2030
01:55:52,133 --> 01:55:54,666
THANK YOU.