There were no bullfights in 1937 Madrid, just bombs, freedom fighters, journalists, and plenty of corpses. Ernest Hemingway, covering the Spanish Civil War for the American press, came looking for stories and danger, and found something else: a friend murdered amid the ruins. With a new novel stirring in his head and his veins pumping with booze, Hemingway sets out to find who killed José Robles Pazos, a bureaucrat in the Popular Front, and who's covering it up. There is, after all, nothing like risking death in a war zone if it means living fast, nailing the bastards, and avoiding a deadline. With the writer John Dos Passos at his side, Hemingway wades into the darkness, discovering that his old WWI buddy is no mere casualty of war---but victim of something far more terrible. Boisterous, bare knuckled, and stewed to the gills, Hemingway Cutthroat captures the writer at the height of his career and in a Europe teetering on untold cataclysm, struggling to find out not just for whom, but why the bell tolled.

In more than 30 novels, several short stories, graphic novels, movies, plays and poems, Ernest Hemingway has been introduced or "appropriated" as an important fictional character. This book is an inquiry into that phenomenon from various perspectives--including that of fan fiction--and deals with such questions as what, if anything, this biographical fiction adds to the dialogue about America's best known and most talked about writer.

A witty, literate, and action-filled debut, Hemingway Deadlights catches the famed author in his later years, battling to solve the injustices in a flawed world. It is 1956 and Hemingway has spent much of the year at his home in Key West, hiding from tourists and autograph hunters. But a friend's sudden death rouses Papa from his idyll. To say that the cause of death is suspicious is to put it lightly. It's not every day that a part-time smuggler is impaled on a harpoon. "Neatly captures the personality and uproarious lifestyle of an American literary icon. ... A mystery sure to please Hemingway aficionados." - Publishers Weekly

The annual Robert Traver Fly-Fishing Award features a distinguished original work of short fiction or nonfiction that embodies an implicit love of fly-fishing, respect for the sport and the natural world in which it takes place, and high literary values. Now, for the first time, the winners of this prestigious award are collected in one volume, which promises to satisfy not only fly-fishing aficionados but general readers who appreciate the outdoors experience.

"In Hemingway's Art of Revision: The Making of the Short Fiction, John Beall examines in close detail two of the author's vignettes from the first version of In Our Time and ten of his short stories, with an extensive focus on manuscripts and typescripts, as part of a broader examination of how Ernest Hemingway crafted his distinctive prose through a rigorous process of revision. The first three chapters discuss the influence of Hemingway's three most important modernist mentors: Ezra Pound, James Joyce, and Gertrude Stein. The first chapter focuses on Pound's influence as the editor of the Inquest Series, of which Hemingway's in our time was the final publication. The second chapter examines the affinities between Joyce's "The Sisters" and Hemingway's "Indian Camp." In particular, Beall develops the case for Joyce's influence on Hemingway's decision to revise the story to maintain the reader's focus on young Nick Adams's point of view in his first encounter with death. Chapter three explores Hemingway's revisions of "Cat in the Rain" as reflecting the influence of Stein's novellas and sketches, as well as that of Joyce's stories and novels. The remaining chapters delve into the artistry of Hemingway's extensive revisions in later masterpieces from "Big Two-Hearted River" to "Fathers and Sons." Beall's discussion of "Big Two-Hearted River" shows that Hemingway's revisions were not simply cuts and omissions, but included several paragraphs that he added to slow down the narrative and represent Nick Adams's careful observations of a kingfisher and trout as he watched their shadows on the river. The chapter on "The Battler" and "The Killers" explores the extent to which Hemingway's revisions brought racial conflicts to the forefront of each story and portrayed Bugs and Sam as guides for Nick Adams. A subsequent reading of the story "Now I Lay Me" shows that, in rewriting the story, Hemingway developed his portrait of Nick Adams as a writer making up imaginary rivers to cope with the traumas of childhood and war. A chapter on "A Way You'll Never Be" focuses on how Hemingway's revisions developed crucial story elements-including Nick's interior monologues, manic lecture about grasshoppers, and wacky sense of humor-that showed the character restoring a sense of emotional balance despite his memories of being wounded in World War I. Subsequent chapters on "Fathers and Sons," "Indian Camp," "Hills Like White Elephants," "The Gambler, the Nun, and the Radio," and the concluding chapter, in part focused on drafts of "The Snows of Kilimanjaro," offer new discussions of the author's process of revision based on his manuscripts and typescripts published in the Hemingway Library Edition. In the end, by drawing attention to the meticulous edits, additions, and deletions that helped shape these texts, Beall reveals how extensively and richly Hemingway revised his drafts while composing some of his most powerful short fiction. Hemingway's Art of Revision gives a detailed view of a great prose stylist at work"--

Offers a selection of twenty-six short stories that includes famous classics as well as rare and previously unpublished works and an essay on the art of the short story.

Ernest Hemingway is nearly as famous for his drinking as he is for his writing. Throughout his collected works, Papa's sensuous explorations of the delights of imbibing engaged both his characters and his readers. In To Have and Have Another: A Hemingway Cocktail Companion, Philip Greene, cocktail historian, spirits consultant, and cofounder of the Museum of the American Cocktail, offers us a view of Papa through the lens Papa himself preferred—the bottom of a glass. A bartender’s manual for Hemingway enthusiasts, this revised and expanded volume offers a unique take on Hemingway’s oeuvre that privileges the tastes, smells, and colors of the cocktails he enjoyed and the drinks he placed so prominently in his stories they were nearly characters themselves. To Have and Have Another delivers fascinating and lively background on the various drinks, their ingredients, their histories, and the characters—real and fictional—associated with them.