Critical Themes in the Writings of Hemingway: Life & Death, Fishing, Wa

hypercritical Themes in the Writings of Hemingway life history & Death, Fishing, War, Sex, Bull involvementing, and the Mediterranean RegionHemingway brought a tremendous deal of what is middle class Americanism into literature, without actually m some(prenominal) people recognizing what he has done. He had nothing abruptly of a writers mind a mind like a vacuum cleaner that swept his animation experiences clean, picking up any little thing, technique, or possible subject that might be of white plague (Astro 3). From the beginning, Hemingway had made a careful and conscientious tenorula for the art of the fable (Hoffman 142).This preconceived formula contained certain themes that recur with great frequency and index number throughout Hemingways writings. Such themes include an obsessive fascination with life and cobblers last, an interest in fishing, war, bullfighting, a strange perception of sex and an erratic fixation on the Mediterranean region. In Hemingways writin gs, the symbols are covert they follow the laws of reality to such a degree that in themselves they form a whole story (Wilson 2).Hemingways heros battles make up of conquering dread, a dread which is connected with earlier experiences, and which appears as a fear of life or dying. These two elements, life and death, seem to chance on two opposite forms, but in reality they are the same. Life ends with death, because death is a constituent part of life, therefore life includes death (Scott 24). If you follow the main lines through Hemingways writings, you will very slow discover that everything deals with a sick, mortally wounded mans fight to overcome the dread arising from his meeting with life (Young 21).In Hemingways world, death begins in childhood, as described with unsurpassed mastery in the short story Indian Camp. This story tells of young boy, Nick, who is present while his father, the doctor, performs a cesarean section on an Indian woman, without anesthesia, equip ped with only a jackknife and fishing leaders to sew the wound up with. The Indian womans husband lies in the upper bunk during the operation, with the fleece blanket drawn up over his head. When they lift up the blanket, he has cut his throat. It is here that Hemingways long autobiography begins this is how it feels to be human. Nick, the hero, has sure his wound. He is scared to death, and all of his later experiences are more or less repetitions... .... Detroit Gale, 1973. 142.Geismar, Maxwell. Ernest Hemingway At the Crossroads. American Moderns From Rebellion to Conformity. (1958) 54-8. Rpt. in Contemporary literary Criticism. Ed. Carolyn Riley. Vol. 1. Detroit Gale, 1973. 142.Fiedler, Leslie A. Hemingway. Love and Death in the American Novel. (1966) 316-17. Rpt. in Contemporary literary Criticism. Ed. Carolyn Riley. Vol. 1. Detroit Gale, 1973. 143.Frohock, W.M. Ernest Hemingway-The River and the Hawk. The Novel of Violence in America. (1957) 166-98. Rpt. in Contempora ry Literary Criticism. Ed. Carolyn Riley. Vol.1. Detroit Gale, 1973. 141.Oliver, Charles M. Ernest Hemingway A to Z. New York Facts on File, 1999.Reynolds, Michael S. Hemingways First War The Making of A Farewell to Arms. New Jersey Princeton University Press, 1976.Rovit, Earl. Ernest Hemingway. Boston Twayne, 1963.Scott, Nathan A. Jr. Ernest Hemingway A Critical Essay. Michigan William B. Eerdman, 1966.Wilson, M. Ernest Hemingway. Lost Generation (1993). 16 Feb. 2001 http//www.lostgeneration.com/hembio.html.Young, Philip. Ernest Hemingway. Great Britain The Oxford University Press, 1964.