《美國現代七大小說家》Seven Modern American Novelists, e香港：今日世界，1967；海明威部份，189~228 張愛玲譯
《美國現代七大小說家》Seven Modern American Novelists, e香港：今日世界，1967；海明威部份，189~228 張愛玲譯
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《海明威》 (Ernest Hemingway)，Thames and Hudson 作家圖文系列之一，台北：貓頭鷹，1999
《海明威傳》 台北: 志文 1981/1990 《爸爸海明威》，南京：譯林，1999
http://en.wikipedia.org/wiki/Ernest_Hemingway
Baker, Carlos. (1969). Ernest Hemingway: A Life Story. New York: Charles Scribner's Sons. ISBN 978-0-02-001690-8
Nobel Prize
103 years ago #OnThisDay in 1918, an 18-year-old Ernest Hemingway was one of the first Americans to be wounded in Italy during World War I.Hemingway's wounds were severe and he nearly died - an experience which heavily influenced his writing and shaped his 1929 novel, 'A Farewell to Arms'. He received the 1954 Nobel Prize in Literature.Learn more about Hemingway: https://bit.ly/2XFfXyd
103 years ago #OnThisDay in 1918, an 18-year-old Ernest Hemingway was one of the first Americans to be wounded in Italy during World War I.
Hemingway's wounds were severe and he nearly died - an experience which heavily influenced his writing and shaped his 1929 novel, 'A Farewell to Arms'. He received the 1954 Nobel Prize in Literature.
Learn more about Hemingway: https://bit.ly/2XFfXyd
By-Line Ernest Hemingway: Selected Articles and Dispatches of Four Decades
目次
他の版 - すべて表示
多く使われている語句
ahead aircraft Andy army asked bait beach beautiful boat bottle bull fightChiang Kai-shek China Chinese coming Communists correspondent crowddead elephant Ernest Hemingway Esquire face fire fish flying Fox Green French front Generalissimo German girl guerrilla Gulf StreamHavana head Hemingway hill hook horse hundred hunting ItalianJapan Japanese jump Key West killed knew Letter Esquire lion lookedMadrid Maera Mice miles military Miss Mary morning move Mussolininever night o’clock Pamplona Paris planes pounds pulled Rambouilletremember reporter river road Roy Marsh Russian shoot shot shoutedsoldiers Soviet started story Strasbourg stream street striped marlintalking tanks There’s things Toronto Daily Star Toronto StarToronto Star Weekly Tortosa town trees troops trout walk watch wounded write
ahead aircraft Andy army asked bait beach beautiful boat bottle bull fightChiang Kai-shek China Chinese coming Communists correspondent crowddead elephant Ernest Hemingway Esquire face fire fish flying Fox Green French front Generalissimo German girl guerrilla Gulf StreamHavana head Hemingway hill hook horse hundred hunting ItalianJapan Japanese jump Key West killed knew Letter Esquire lion lookedMadrid Maera Mice miles military Miss Mary morning move Mussolininever night o’clock Pamplona Paris planes pounds pulled Rambouilletremember reporter river road Roy Marsh Russian shoot shot shoutedsoldiers Soviet started story Strasbourg stream street striped marlintalking tanks There’s things Toronto Daily Star Toronto StarToronto Star Weekly Tortosa town trees troops trout walk watch wounded write
著者について (2002)
By-Line Ernest Hemingway: Selected Articles and Dispatches of Four Decades
Spanning the years 1920 to 1956, this priceless collection shows Hemingway's work as a reporter, from correspondent for the Toronto Star to contributor to Esquire, Colliers, and Look. As fledgling reporter, war correspondent, and seasoned journalist, Hemingway provides access to a range of experiences, including vivid eyewitness accounts of the Spanish Civil War and World War II. By-Line: Ernest Hemingway offers a glimpse into the world behind the popular fiction of one of America's greatest writers.
Spanning the years 1920 to 1956, this priceless collection shows Hemingway's work as a reporter, from correspondent for the Toronto Star to contributor to Esquire, Colliers, and Look. As fledgling reporter, war correspondent, and seasoned journalist, Hemingway provides access to a range of experiences, including vivid eyewitness accounts of the Spanish Civil War and World War II. By-Line: Ernest Hemingway offers a glimpse into the world behind the popular fiction of one of America's greatest writers.
****
Ernest Hemingway was seriously wounded during an Austrian assault on the Italian Front, in World War I on this day in 1918.
“If people bring so much courage to this world the world has to kill them to break them, so of course it kills them”
―from ERNEST HEMINGWAY: A Biography (2017) by Mary V. Dearborn
The first full biography of Ernest Hemingway in more than fifteen years is the first to draw on a wide array of never-before-used material, resulting in the most nuanced portrait to date of this complex, enigmatic artist. Considered in his time the greatest living American writer, Hemingway was a winner of the Pulitzer Prize and the Nobel Prize whose personal demons undid him in the end, and whose novels and stories have influenced the writing of fiction for generations after his death. Mary V. Dearborn’s revelatory investigation of his life and work substantially deepens our understanding of the artist and the man. READ more here: https://www.penguinrandomhouse.com/…/ernest-hemingway-by-m…/
アーネストヘミングウェイ
Ibcパブリッシング, May 30, 2007 - 179 pages
3 Reviews
老人はたった1人で漁に出た。このところ、何も釣れない日がずっと続いていた。それでも彼はくじけず、大物に狙いを定めて、誰よりも遠くまで小舟を漕いでいく。執念の末、ようやく餌に食いついてきた獲物は、彼がこれまで見たこともないほど巨大な魚だった...。老人と大魚との死闘を通じて、老いの孤独、自然の厳しさを簡潔な文体で描いたヘミングウェイの代表作。
****
Ernest Hemingway was seriously wounded during an Austrian assault on the Italian Front, in World War I on this day in 1918.
“If people bring so much courage to this world the world has to kill them to break them, so of course it kills them”
―from ERNEST HEMINGWAY: A Biography (2017) by Mary V. Dearborn
―from ERNEST HEMINGWAY: A Biography (2017) by Mary V. Dearborn
The first full biography of Ernest Hemingway in more than fifteen years is the first to draw on a wide array of never-before-used material, resulting in the most nuanced portrait to date of this complex, enigmatic artist. Considered in his time the greatest living American writer, Hemingway was a winner of the Pulitzer Prize and the Nobel Prize whose personal demons undid him in the end, and whose novels and stories have influenced the writing of fiction for generations after his death. Mary V. Dearborn’s revelatory investigation of his life and work substantially deepens our understanding of the artist and the man. READ more here: https://www.penguinrandomhouse.com/…/ernest-hemingway-by-m…/
アーネストヘミングウェイ
Ibcパブリッシング, May 30, 2007 - 179 pages
3 Reviews
老人はたった1人で漁に出た。このところ、何も釣れない日がずっと続いていた。それでも彼はくじけず、大物に狙いを定めて、誰よりも遠くまで小舟を漕いでいく。執念の末、ようやく餌に食いついてきた獲物は、彼がこれまで見たこともないほど巨大な魚だった...。老人と大魚との死闘を通じて、老いの孤独、自然の厳しさを簡潔な文体で描いたヘミングウェイの代表作。
The Old Man and the Sea : Om Illustrated Classics
Om Books International - 240 pages
The Old Man and the Sea : Om Illustrated Classics
Ernest Hemingway
The old man and the Sea (노인과 바다)
폴
Om Books International - 240 pages
The Old Man and the Sea : Om Illustrated Classics
Ernest Hemingway
The old man and the Sea (노인과 바다)
폴
"Time did not seem to be pressing Hemingway the day he flew in from Havana."
董橋︰饗宴 海明威愛住威尼斯一家宮殿旅館，金門綉戶，老氣橫秋，他的套房古典極了，大窗戶對着大運河，派頭不小。那年仲秋古城煙水悠忽，街巷闃寂，大橋小橋人影稀 疏，橋下遊船都靠在一邊午休。倫敦相熟的意大利同學帶路，繞完弄堂繞進大街繞到山腰上找到那家老舊的宮殿。掌櫃客氣，各處瀏覽了一遍還請喫下午茶，說旅館 裏老一輩伙計都不在了，他們記得海明威，粗獷一條漢子，毛茸茸像拳師，言談倒和氣，話不多，輕描淡寫，不嚕囌，像他筆下的英文句子。喝酒也斯文，房間裏煙 味濃得很，天熱赤膊寫作，用打字機打字，用鉛筆改稿。一住好幾天，衣着樸素，亞麻布衣褲皺兮兮，很瀟灑。掌櫃的說好多年前《紐約客》雜誌上一幅漫畫畫海明 威，畫一隻筋絡虬結的手臂和一隻多毛的手，手裏緊緊抓着一朵玫瑰花，題目是《海明威的靈魂》。我早歲愛讀海明威，英文報刊上寫他的文章都剪存，厚厚兩冊卷 宗塞得滿滿的，年久散佚，舊夢縹緲。都說他的短篇小說比長篇好。其實短的長的都講究。迷惘，虛無，陽剛，簡練，每一本都像照常昇起的太陽，那麼耀眼，那麼 闌珊。《戰地春夢》裏凱瑟琳臨終前說：「我一點兒都不怕。這祗是個卑鄙的騙局。」海明威從來不否定努力，不否定紀律。紀律，幫規，堅忍，他從來守着：「勇 敢的人不會出岔子」。凱瑟琳死了，弗烈德里哥熄了燈彷彿在向一具石像告別，然後走出醫院，然後在雨裏走回旅館。海明威整套作品離不開傳遞一個信息：告別虛 幻的榮耀，挑戰傲慢的騙局，承受磨難的救贖。他是《老人與海》裏的老人，為天生的信仰潛進字海裏跟典章制度的巨鯊搏鬥，求存。《老人與海》一九五二年初 版。一九五四年，諾貝爾文學獎頒給海明威。明年是二○一四年，得獎剛好六十年，一甲子。台灣老朋友老張很想籌錢出版一本追憶海明威的文集，翻譯歷來英美文 評家評論海明威的文章，選錄海明威同代人記述海明威的軼事，刊登海明威所有作品初版的封面。那些評論文章老張譯了不少。中文報刊上寫海明威的零散文章他也 剪存了，選一批收進文集裏不難，逐一釐清版權要花點時間。今日世界出版社出版的《戰地春夢》和《老人與海》中文譯本的導論和序文也應該收進集子裏。海明威 寫的報刊特稿美國結集出版過，書信集也有，都可以選一批譯成中文收成一輯。老張要我寫一篇搜藏海明威初版的隨筆，穿插一些閱讀海明威的散記。搜藏初版和讀 書散記我資歷不足，不敢亂寫，寫淺了怠慢他，寫深了冤枉他。海明威初版都很貴，我無力多買，只藏了幾部：一九二四年的《我們的時代》，一九二六年的《太陽 照常昇起》，一九二七年的《沒有女人的男人》，一九二九年的《戰地春夢》，一九三二年的《死在午後》，一九三五年的《非洲青山》，一九四○年的《鐘為誰鳴》，一九五二年的《老人與海》。海明威一九六一年自殺死了，一九六四年蒐集出版的花都憶往之作《流動的饗宴》我最喜歡。他第四任妻子瑪麗說海明威一九五 七年秋天在古巴着手寫這本書，一九五八到五九年帶回美國愛達荷州故居接着寫，一九五九年四月又帶到西班牙寫。一九六○年春天他在古巴寫完這本書，秋天在美 國又修飾過一遍。書裏寫的是一九二一年到一九二六年的巴黎。海明威說那時候沒錢買書，常到西爾薇婭的莎士比亞書店借書。冬天街上風大，很冷，書店裏又暖和 又閑散，桌子上書架上都是書，新書擺在櫥窗裏，牆上掛滿著名作家的照片，故世的在世的都有。西爾薇婭一張臉像雕塑，輪廓深刻，言談生動。他說她的腿很漂 亮，人又和善，愛開玩笑，愛聊天。海明威說他第一次走進書店很不好意思，沒帶夠錢交保證金申請借書證。西爾薇婭說保證金什麼時候方便什麼時候交，她先給他 做了一張借書證，說隨便借走多少本書都可以。海明威說她沒理由這樣相信他，他在申請表上填的地址又是巴黎的窮苦區。她不在乎，照樣那麼高興那麼歡迎他。他 借了屠格湼夫和兩本體育雜誌和勞倫斯的《兒子與情人》。西爾薇婭說還可以多借些。他於是又借了《戰爭與和平》和一本陀思妥耶夫斯基的短篇小說。「看那麼多 書你不會那麼快再來了，」她說。「我得回來還錢，」海明威說，「我公寓裏還有些錢。」她說她不是那個意思：「等你方便才還錢不遲。」海明威問她喬伊斯什麼 時候會來。她說通常過了午後晚些才來：「你沒見過他嗎？」海明威說餐館裏見過，他和家人在用膳，沒好意思多看，不禮貌，況且那家館子貴極了。那是八十多年 前的巴黎。四十多年前我第一次去巴黎好餐館還是貴。便宜的其實也不少，碰運氣碰得到好吃的。我住的小旅館靜得很，房間小陽台雕花欄杆前俯看小巷很詩意。午 後四點多鐘了，大街小餐館的後門就在巷子裏，相熟的伙計捲起衣袖點算剛送到的海鮮：「好大的魚，」他仰着頭跟我打招呼，「來吃晚飯吧！」小旅館隔壁是一家 麵包店，麵包剛出爐，好香。海明威說，在巴黎吃不飽的時候覺得特別餓，該死的糕餅舖子櫥窗裏那麼多糕餅，餐館外面路邊餐桌坐滿了食客，饞死人了。那幾天我 不斷想起海明威講究形容詞的用法，用得恰當不容易，盡量少用是出路：乾乾淨淨的屠格湼夫；乾乾淨淨的海明威，多好。有一天，海明威在咖啡館裏寫稿，一個麗 人走進來坐在角落裏等人。她太漂亮了。他一見動心，文思斷了：「你在等誰我不管，」他想。「從此再也見不到你了我也不管。這一刻，你是我的。全巴黎都是我 的。我卻屬於這本筆記簿和這枝鉛筆。」早年還有一個人喜歡《流動的饗宴》：倫敦一家律師樓的見習律師奈吉爾。二十來歲，又高又瘦，一頭鬈髮像鳥窩，一臉書 卷氣，金絲眼鏡兩塊圓圓的鏡片護着一雙湖水藍眼睛。鼻樑高得出奇，嘴唇薄得出奇，人中長得出奇。話不多，一口牛津英語跟他的相貌很般配。是個書蟲，經常蹲 在老威爾遜舊書店裏挑書。老威爾遜說是個世家子弟，爺爺第一次世界大戰時期當財政大臣的機要秘書，父親是郵政局出納部主管，母親是舞台設計師，他們家珍藏 歷代飛禽書籍出名，爺爺是這門學科的專家，寫過專書。奈吉爾不一樣，只收老小說，當代小說只愛喬伊斯和海明威。老威爾遜介紹我們認識。他上班的律師樓跟我 上班的英國廣播電台很近，他來參觀過，我請他在電台餐廳吃午飯，他說比外頭好吃，又便宜，從此得空常來找我吃飯，飯後到電台酒吧喝咖啡。海明威小說奈吉爾 熟透了，說寫得極好的是《雪山盟》和《老人與海》：「寫得最好的倒是《流動的饗宴》了。」《雪山盟》我讀外文系啃過，考過，苦死了。「你細細再讀一遍，不 難看出斯泰因為什麼這樣評定海明威的小說，」奈吉爾說。斯泰因是美國女作家，比海明威老，長住巴黎，提倡先鋒派藝術，運用重複和瑣碎和簡化的手法寫作，她 的小說《三個女人的一生》我喜歡。她說海明威是她讀到的「最羞澀最驕傲最芳香的說故事的人」。《流動的饗宴》裏寫斯泰因寫了不少，幾乎當她是寫作班的老 師，教訓海明威必須讀哪些作家不要讀哪些作家。奈吉爾說寫巴黎寫人物寫成《流動的饗宴》簡直了不起。翻譯家湯新楣先生也這樣說。威尼斯一家書籍裝幀作坊有 一本《流動的饗宴》，皮面裝潢很漂亮，說是一位藏書家訂做的，皮畫貼出畢加索一幅靜物，有酒杯，有水果，有盤子，有刀叉，有調羹。我跟奈吉爾說了，他心 動，也想找桑科斯基裝幀店做一本，後來做了沒有我不知道。這本書美國初版書衣其實也好看，油畫畫巴黎納夫橋的秋冬景色。書名摘自海明威一九五○年寫給朋友 信上的一句話：「年輕的時候運氣好住過巴黎，這輩子不論去到什麼地方，巴黎都和你在一起，因為巴黎是一席流動的饗宴」。我在巴黎找過海明威住過的房子，照 書上寫的地址找，路人都說拆掉了，門牌也重編，找不到。那天天陰，細雨迷濛。  董橋 |
A. E. Hotchner - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/A._E._Hotchner -
Hotchner is best known for Papa Hemingway, his 1966 biography of Ernest Hemingway, whose work he had adapted for plays and television. His play Sweet ...*****
To Use and Use Not
2012年07月10日
In an interview in The Paris Review in
1958 Ernest Hemingway made an admission that has inspired frustrated
novelists ever since: The final words of “A Farewell to Arms,” his
wartime masterpiece, were rewritten “39 times before I was satisfied.”
Those endings have become part of literary lore, but they have never been published together in their entirety, according to his longtime publisher, Scribner.
Those endings have become part of literary lore, but they have never been published together in their entirety, according to his longtime publisher, Scribner.
John F. Kennedy Library and Museum
A new edition of “A Farewell to Arms,” which was originally published
in 1929, will be released next week, including all the alternate
endings, along with early drafts of other passages in the book.
The new edition is the result of an agreement between Hemingway’s estate and Scribner, now an imprint of Simon & Schuster.
It is also an attempt to redirect some of the attention paid in recent years to Hemingway’s swashbuckling, hard-drinking image — through fictional depictions in the best-selling novel “The Paris Wife” and the Woody Allen film “Midnight in Paris,” for instance — back to his sizable body of work.
“I think people who are interested in writing and trying to write themselves will find it interesting to look at a great work and have some insight to how it was done,” Seán Hemingway, a grandson of Ernest Hemingway who is also a curator of Greek and Roman art at the Metropolitan Museum of Art, said in an interview. “But he is a writer who has captured the imagination of the American public, and these editions are interesting because they really focus on his work. Ultimately that’s his lasting contribution.”
The new edition concludes that the 39 endings that Hemingway referred to are really more like 47. They have been preserved in the Ernest Hemingway Collection at the John F. Kennedy Presidential Library and Museum in Boston since 1979, where Seán Hemingway studied them carefully. (Bernard S. Oldsey, a Hemingway scholar, listed 41 endings in his book “Hemingway’s Hidden Craft,” but Seán Hemingway found 47 variations in manuscripts preserved at the Kennedy Library.)
The alternate endings are labeled and gathered in an appendix in the new edition, a 330-page book whose cover bears the novel’s original artwork, an illustration of a reclining man and woman, both topless.
For close readers of Hemingway the endings are a fascinating glimpse into how the novel could have concluded on a different note, sometimes more blunt and sometimes more optimistic. And since modern authors tend to produce their work on computers, the new edition also serves as an artifact of a bygone craft, with handwritten notes and long passages crossed out, giving readers a sense of an author’s process. (When asked in the 1958 Paris Review interview with George Plimpton what had stumped him, Hemingway said, “Getting the words right.”)
The endings range from a short sentence or two to several paragraphs.
In No. 1, “The Nada Ending,” Hemingway wrote, “That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.”
The “Live-Baby Ending,” listed as No. 7, concludes, “There is no end except death and birth is the only beginning.”
And in No. 34, the “Fitzgerald ending,” suggested by Hemingway’s friend F. Scott Fitzgerald, Hemingway wrote that the world “breaks everyone,” and those “it does not break it kills.”
“It kills the very good and very gentle and the very brave impartially,” he wrote. “If you are none of these you can be sure it will kill you too but there will be no special hurry.”
Hemingway also left behind a list of alternate titles, which are reprinted in the new edition. They include “Love in War,” “World Enough and Time,” “Every Night and All” and “Of Wounds and Other Causes.” One title, “The Enchantment,” was crossed out by Hemingway.
Patrick Hemingway, Ernest Hemingway’s only surviving son, said in an interview from his home in Montana that when Scribner suggested the raw material be published, he agreed.
“They do give insight to how Hemingway was thinking,” said Patrick Hemingway, who is 84. “But it is absolutely true that no matter how much you analyze a classic bit of writing, you can never really figure out what makes talent work.”
Susan Moldow, the publisher of Scribner, said that while Hemingway is a perennial strong seller, especially for schools and libraries, “the estate is constantly wanting to present the work afresh.”
“This is one of the most important authors in American history,” she said. “And fortunately or unfortunately you need to keep refreshing or people lose interest.”
After reading the various endings, Ms. Moldow added, she didn’t question the author’s decision; the actual ending — cool and passionless after an epic tale of war and love, with the protagonist leaving a hospital in the rain — has stood the test of time.
“Ultimately,” she said, “I think we have to be glad that he went with the ending that he went with.”
Ernest Hemingway in 1947.
John F. Kennedy Presidential Library and Museum
Ernest Hemingway's first-page draft for “A Farewell to Arms.”
The new edition, with the original cover art.
John F. Kennedy Presidential Library and Museum
Ernest Hemingway's first-page draft for “A Farewell to Arms.”
The new edition, with the original cover art.
The new edition is the result of an agreement between Hemingway’s estate and Scribner, now an imprint of Simon & Schuster.
It is also an attempt to redirect some of the attention paid in recent years to Hemingway’s swashbuckling, hard-drinking image — through fictional depictions in the best-selling novel “The Paris Wife” and the Woody Allen film “Midnight in Paris,” for instance — back to his sizable body of work.
“I think people who are interested in writing and trying to write themselves will find it interesting to look at a great work and have some insight to how it was done,” Seán Hemingway, a grandson of Ernest Hemingway who is also a curator of Greek and Roman art at the Metropolitan Museum of Art, said in an interview. “But he is a writer who has captured the imagination of the American public, and these editions are interesting because they really focus on his work. Ultimately that’s his lasting contribution.”
The new edition concludes that the 39 endings that Hemingway referred to are really more like 47. They have been preserved in the Ernest Hemingway Collection at the John F. Kennedy Presidential Library and Museum in Boston since 1979, where Seán Hemingway studied them carefully. (Bernard S. Oldsey, a Hemingway scholar, listed 41 endings in his book “Hemingway’s Hidden Craft,” but Seán Hemingway found 47 variations in manuscripts preserved at the Kennedy Library.)
The alternate endings are labeled and gathered in an appendix in the new edition, a 330-page book whose cover bears the novel’s original artwork, an illustration of a reclining man and woman, both topless.
For close readers of Hemingway the endings are a fascinating glimpse into how the novel could have concluded on a different note, sometimes more blunt and sometimes more optimistic. And since modern authors tend to produce their work on computers, the new edition also serves as an artifact of a bygone craft, with handwritten notes and long passages crossed out, giving readers a sense of an author’s process. (When asked in the 1958 Paris Review interview with George Plimpton what had stumped him, Hemingway said, “Getting the words right.”)
The endings range from a short sentence or two to several paragraphs.
In No. 1, “The Nada Ending,” Hemingway wrote, “That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.”
The “Live-Baby Ending,” listed as No. 7, concludes, “There is no end except death and birth is the only beginning.”
And in No. 34, the “Fitzgerald ending,” suggested by Hemingway’s friend F. Scott Fitzgerald, Hemingway wrote that the world “breaks everyone,” and those “it does not break it kills.”
“It kills the very good and very gentle and the very brave impartially,” he wrote. “If you are none of these you can be sure it will kill you too but there will be no special hurry.”
Hemingway also left behind a list of alternate titles, which are reprinted in the new edition. They include “Love in War,” “World Enough and Time,” “Every Night and All” and “Of Wounds and Other Causes.” One title, “The Enchantment,” was crossed out by Hemingway.
Patrick Hemingway, Ernest Hemingway’s only surviving son, said in an interview from his home in Montana that when Scribner suggested the raw material be published, he agreed.
“They do give insight to how Hemingway was thinking,” said Patrick Hemingway, who is 84. “But it is absolutely true that no matter how much you analyze a classic bit of writing, you can never really figure out what makes talent work.”
Susan Moldow, the publisher of Scribner, said that while Hemingway is a perennial strong seller, especially for schools and libraries, “the estate is constantly wanting to present the work afresh.”
“This is one of the most important authors in American history,” she said. “And fortunately or unfortunately you need to keep refreshing or people lose interest.”
After reading the various endings, Ms. Moldow added, she didn’t question the author’s decision; the actual ending — cool and passionless after an epic tale of war and love, with the protagonist leaving a hospital in the rain — has stood the test of time.
“Ultimately,” she said, “I think we have to be glad that he went with the ending that he went with.”
書業
海明威的47個結尾
報道 2012年07月10日
1958年，歐內斯特·海明威(Ernest
Hemingway)在《巴黎評論》(Paris Review)訪談中坦言，他那部講述戰爭年代的傑作《永別了，武器》（A Farewell to
Arms）的結尾，他重寫了39遍才算滿意。對於寫作中受挫的小說家來說，這句話至今仍是一種啟迪。
那些結尾已成文壇佳話，但按照長期出版海明威作品的斯克瑞伯納出版社（Scribner）的說法，它們從未被放在一起完整地出版。
John F. Kennedy Library and Museum
1947年的歐內斯特·海明威。
John F. Kennedy Presidential Library and Museum
海明威作品《永別了，武器》的第一頁手稿。
《永別了，武器》新版書延用了初版的封面畫作。
斯克瑞伯納出版社將於下周推出初版於1929年的《永別了，武器》的新版，其中會收錄這些不同的結尾，以及書中其他一些段落定稿前的修改稿。
這一新版是海明威遺產基金會和斯克瑞伯納雙方協議的結果。斯克瑞伯納目前隸屬於西蒙與舒斯特出版集團（Simon & Schuster）。
此舉也是力圖扭轉近年來暢銷小說《巴黎妻子》（The Paris Wife）、伍迪·艾倫（Woody Allen）的電影《午夜巴黎》（Midnight in Paris）等虛構作品將海明威塑造成的那種虛張聲勢、酗酒莽漢的形象，讓人們對海明威的注意力放回到他數量可觀的作品上。
歐內斯特·海明威的孫子、紐約大都會博物館希臘與羅馬藝術部負責人肖恩·海明威（Seán Hemingway）在採訪中說：“我想，對寫作有興趣、剛開始寫作的人都會興緻勃勃地看一部傑作，看看它是怎樣寫成的。他也是一位俘獲了美國公眾想像力 的作家，這些不同版本令人感興趣，因為它們集中展現的是他的工作。這終究是他永恆的貢獻。”
這個收入海明威所說的那39種結尾的新版，實際上收了47種結尾。自1979年以來，這些資料被保存於波士頓的約翰·F.肯尼迪總統圖書館 （John F. Kennedy Presidential Library and Museum）中的歐內斯特·海明威藏區，肖恩·海明威在那裡做過仔細研究。（海明威研究專家伯納德·S.歐德塞[Bernard S.Oldsey]在他的著作《海明威的秘技》[Hemingway’s Hidden Carft]一書中曾列舉41種結尾，但肖恩·海明威在肯尼迪圖書館收藏的書稿中發現了47種。）
這些不同的結尾被編上名稱，作為附錄收入這個330頁的新版中。該書封面沿用了初版封面上的畫作——一對赤裸着上身、相互倚靠的男女。
對於熱愛海明威作品的讀者來說，這些結尾就像驚鴻一瞥，讓人陶醉地看到這部小說也可能以另一種基調結束，有的更直率，有的更樂觀。由於當代作家大都 使用電腦寫作，這個新版《永別了，武器》也像是一種手工製品，展現了一種業已失傳的手藝，上面有手寫的注釋、筆記和劃掉的長段落，讓讀者感覺像在看作家寫 作的過程。（1958年《巴黎評論》那次訪談中，採訪者喬治·普林頓[George Plimton]問海明威什麼是他的挑戰，他說，“用對詞。”）
這些結尾，短則一兩個短句，長則好幾個段落。
在一號“虛無結尾”中，海明威寫道：“那就是這個故事的全部。凱瑟琳死了，你會死，我也會死，那就是我能向你保證的一切。”
在七號“活嬰結尾”中，他最後寫道：“除了死亡，沒有終結。誕生只是開始。”
而34號結尾叫“菲茨傑拉德結尾”，是因為靈感來自海明威的朋友F.司各特·菲茨傑拉德(F. Scott Fitzgerald)提的建議。海明威寫道：這個世界“擊倒了每個人”，有些人“即使沒有被擊倒，也會死”。
“它不偏不倚地殺死善良的人，溫和的人，勇敢的人，即使你一概不是，請相信它也會殺死你，只是沒那麼匆忙而已。”
海明威還留下了一系列可供選擇的書名。新版中也收了這些書名，其中有《戰爭中的愛情》（Love in War），《世界夠了，時間也夠了》（World Enough and Time），《創傷與其他事業》（Of Wounds and Other Causes），還有一個被海明威自己劃掉的標題《魅力》（The Enchantment）。
海明威唯一還在世的兒子帕特里克·海明威(Patrick Hemingway)在蒙大拿州的家裡接受採訪時說，聽說斯克瑞伯納出版社提議出版這些原始材料，他就同意了。
84歲的帕特里克說：“它們確實讓人可以看到海明威是怎麼思考的。但無論你怎樣分析一部經典作品的寫作，有一點是絕對無疑的：你始終弄不明白他是如何施展才華的。”
斯克瑞伯納出版人蘇珊·莫爾多（Susan Moldow）說，雖然海明威作品的銷量經久不衰，尤其受學校和圖書館歡迎，“遺產基金會仍然想讓他的作品保持新鮮感”。
她說：“這是美國歷史上最重要的作家之一，無論幸或不幸，你都要保持出新，不然人們就失去了興趣。”
莫爾多還說，她讀了不同的結尾，認為作者最終的決定，也就是實際的那個結尾無可挑剔：一場戰爭與愛的史詩故事之後，主人公在雨中離開醫院。這個結尾冷靜而不動聲色，經受住了時間的考驗。
她說：“總而言之，我們還是得為他選擇了這個符合他風格的結尾而感到高興。”
那些結尾已成文壇佳話，但按照長期出版海明威作品的斯克瑞伯納出版社（Scribner）的說法，它們從未被放在一起完整地出版。
John F. Kennedy Library and Museum
1947年的歐內斯特·海明威。
John F. Kennedy Presidential Library and Museum
海明威作品《永別了，武器》的第一頁手稿。
《永別了，武器》新版書延用了初版的封面畫作。
這一新版是海明威遺產基金會和斯克瑞伯納雙方協議的結果。斯克瑞伯納目前隸屬於西蒙與舒斯特出版集團（Simon & Schuster）。
此舉也是力圖扭轉近年來暢銷小說《巴黎妻子》（The Paris Wife）、伍迪·艾倫（Woody Allen）的電影《午夜巴黎》（Midnight in Paris）等虛構作品將海明威塑造成的那種虛張聲勢、酗酒莽漢的形象，讓人們對海明威的注意力放回到他數量可觀的作品上。
歐內斯特·海明威的孫子、紐約大都會博物館希臘與羅馬藝術部負責人肖恩·海明威（Seán Hemingway）在採訪中說：“我想，對寫作有興趣、剛開始寫作的人都會興緻勃勃地看一部傑作，看看它是怎樣寫成的。他也是一位俘獲了美國公眾想像力 的作家，這些不同版本令人感興趣，因為它們集中展現的是他的工作。這終究是他永恆的貢獻。”
這個收入海明威所說的那39種結尾的新版，實際上收了47種結尾。自1979年以來，這些資料被保存於波士頓的約翰·F.肯尼迪總統圖書館 （John F. Kennedy Presidential Library and Museum）中的歐內斯特·海明威藏區，肖恩·海明威在那裡做過仔細研究。（海明威研究專家伯納德·S.歐德塞[Bernard S.Oldsey]在他的著作《海明威的秘技》[Hemingway’s Hidden Carft]一書中曾列舉41種結尾，但肖恩·海明威在肯尼迪圖書館收藏的書稿中發現了47種。）
這些不同的結尾被編上名稱，作為附錄收入這個330頁的新版中。該書封面沿用了初版封面上的畫作——一對赤裸着上身、相互倚靠的男女。
對於熱愛海明威作品的讀者來說，這些結尾就像驚鴻一瞥，讓人陶醉地看到這部小說也可能以另一種基調結束，有的更直率，有的更樂觀。由於當代作家大都 使用電腦寫作，這個新版《永別了，武器》也像是一種手工製品，展現了一種業已失傳的手藝，上面有手寫的注釋、筆記和劃掉的長段落，讓讀者感覺像在看作家寫 作的過程。（1958年《巴黎評論》那次訪談中，採訪者喬治·普林頓[George Plimton]問海明威什麼是他的挑戰，他說，“用對詞。”）
這些結尾，短則一兩個短句，長則好幾個段落。
在一號“虛無結尾”中，海明威寫道：“那就是這個故事的全部。凱瑟琳死了，你會死，我也會死，那就是我能向你保證的一切。”
在七號“活嬰結尾”中，他最後寫道：“除了死亡，沒有終結。誕生只是開始。”
而34號結尾叫“菲茨傑拉德結尾”，是因為靈感來自海明威的朋友F.司各特·菲茨傑拉德(F. Scott Fitzgerald)提的建議。海明威寫道：這個世界“擊倒了每個人”，有些人“即使沒有被擊倒，也會死”。
“它不偏不倚地殺死善良的人，溫和的人，勇敢的人，即使你一概不是，請相信它也會殺死你，只是沒那麼匆忙而已。”
海明威還留下了一系列可供選擇的書名。新版中也收了這些書名，其中有《戰爭中的愛情》（Love in War），《世界夠了，時間也夠了》（World Enough and Time），《創傷與其他事業》（Of Wounds and Other Causes），還有一個被海明威自己劃掉的標題《魅力》（The Enchantment）。
海明威唯一還在世的兒子帕特里克·海明威(Patrick Hemingway)在蒙大拿州的家裡接受採訪時說，聽說斯克瑞伯納出版社提議出版這些原始材料，他就同意了。
84歲的帕特里克說：“它們確實讓人可以看到海明威是怎麼思考的。但無論你怎樣分析一部經典作品的寫作，有一點是絕對無疑的：你始終弄不明白他是如何施展才華的。”
斯克瑞伯納出版人蘇珊·莫爾多（Susan Moldow）說，雖然海明威作品的銷量經久不衰，尤其受學校和圖書館歡迎，“遺產基金會仍然想讓他的作品保持新鮮感”。
她說：“這是美國歷史上最重要的作家之一，無論幸或不幸，你都要保持出新，不然人們就失去了興趣。”
莫爾多還說，她讀了不同的結尾，認為作者最終的決定，也就是實際的那個結尾無可挑剔：一場戰爭與愛的史詩故事之後，主人公在雨中離開醫院。這個結尾冷靜而不動聲色，經受住了時間的考驗。
她說：“總而言之，我們還是得為他選擇了這個符合他風格的結尾而感到高興。”
----
Hemingway and Ourselves 1954 ： 223(8) 海明威與我們*
「詮釋 伊塔羅．卡爾維諾（ Italo Calvino）著《為什麼讀經典》
*翻譯可能不正確
Maudlin Yeh
"He is so very incorrect, except in this: he gave the century a way of making literary art that dealt with the remarkable violence of our time. He listened andwatched and INVENTED the language--using the power, the terror, of silences--with which we could name ourselves." (Frederick Busch, Reading Hemingway without Guilt)
1992年，紐約時報在海明威逝世30周年刊了一篇文章，標題是：沒有罪惡感地讀海明威。"政治不正確"--這是紅極一時的海明威，後來最受批評之處。他對女性對猶太人對同志甚至對各種暴烈運動的觀點都在60年代以後備受奚落。然而毫不意外，真正懂創作的人都繼續推崇他，即使對他也有過意見的卡爾維諾。他在1954年剖析自己從年輕到後來對海明威的愛恨交織的那篇文章<海明威與我們這一代>中，像個叛逆後再度理解並感激父輩的學徒說道：
卡爾維諾知道，現代文學如果有本帳，那海明威給的絕對比他拿走的多。沒有海明威，現代文學裡就沒有那些冷峻直接、不加裝飾又幹練的語言，那些20世紀人們得以說出自己不同於前世代的語言。
"He is so very incorrect, except in this: he gave the century a way of making literary art that dealt with the remarkable violence of our time. He listened andwatched and INVENTED the language--using the power, the terror, of silences--with which we could name ourselves." (Frederick Busch, Reading Hemingway without Guilt)
1992年，紐約時報在海明威逝世30周年刊了一篇文章，標題是：沒有罪惡感地讀海明威。"政治不正確"--這是紅極一時的海明威，後來最受批評之處。他對女性對猶太人對同志甚至對各種暴烈運動的觀點都在60年代以後備受奚落。然而毫不意外，真正懂創作的人都繼續推崇他，即使對他也有過意見的卡爾維諾。他在1954年剖析自己從年輕到後來對海明威的愛恨交織的那篇文章<海明威與我們這一代>中，像個叛逆後再度理解並感激父輩的學徒說道：
"你唬不了我的，老頭。你沒有誤人子弟，你不是那種冒牌大師。"
卡爾維諾知道，現代文學如果有本帳，那海明威給的絕對比他拿走的多。沒有海明威，現代文學裡就沒有那些冷峻直接、不加裝飾又幹練的語言，那些20世紀人們得以說出自己不同於前世代的語言。
ourselves[our・selves]
- [代](複)
2 ((強意))私たち自身［みずから］.
(1) ((weとともに用いて))
(2) ((usの代わりに用いて))
(3) ((weまたはwe ourselvesの代わりに用いて))
between ourselvesここだけの話だが.
牌子上刻著海明威在《流動的饗宴???》中的一句話：「這就是我們年輕時的巴黎；雖然窮，卻很快樂。」......晚年的海明威曾說：「要是我那時候死了就好了。」唉！
命運是不能比的，紀弦詩中說：「君非海明威此一起碼認識之必要」。
我說了：MOMENT OF TRUTH
其實是海明威翻譯西班牙鬥牛的"決戰之剎那間"…..
十幾年前（可能近
20年），台灣翻譯一本談北歐航空公司生意和服務品質的書：
『關鍵時刻』（
Moments of truth by J Carlzon - 1989 - New York: Perennial Library）
這書名有典故，是
1932年海明威（Ernest Hemingway
）寫 Death in the Afternoon
時，從西班牙文的el momento de la verdad 翻譯過來的，原先的
the moment of truth 是指闘牛時最後鬥牛士瞄準、給牛致命一刺的瞬間。後來引伸為「
管理學上，想讓服務過程的互動更為人性化，所以有這方面的說法：
The humanization of service: respect at the moment of truth by GR Bitran, J Hoech - Sloan Management Review, 1990
； 或醫療上When
this initial moment of truth goes well, a positive cycle begins be-
tween the customer and the organization; when it goes poorly, it may be
difficult to ...
《從荷馬到海明威/》蔡義忠撰., 臺中市/普天/1971 民60.
《一個乾淨明亮的地方》海明威著，陳夏民編譯，逗點文創出版
用字簡潔，大量對話，降低對事物的判斷或描述， 使讀者自行體會未被說出的部分——美國小說家海明威（Ernest Miller Hemingway，1899-1961）堅信「冰山理論」，作品也服膺此一美學，因此，由譯者陳夏民所編的這本短篇小說傑作選，故事核心總在情節之外， 看似呼之欲出，卻終究如生活局部般被時間截斷，留下想像的泛音。全書有洋溢童年啟蒙氣味如〈印第安人的營地〉或〈三聲槍響〉，挫敗愛情如〈一則很短的故 事〉或〈白象似的群山〉；有時敘事柔軟體貼，如〈雨中的貓〉或〈等了一整天〉，有時則強悍俐落不改記者本色，如〈法蘭西斯．麥坎伯幸福而短暫的一生〉。被 喬伊思力讚的〈一個乾淨明亮的地方〉，速寫一間午夜咖啡館，一老一少店員對話，折映出一個時代的疲軟與空無，而始知：「世物皆空，人也不例外。需要的，不 過是光，還有某些程度的乾淨與秩序罷了。」 （Herbie Hancock）
完全沒作者介紹
一票名家名著的簡介 不過多說"評價"
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