Much modern prose is praised for its terseness, its scrupulous avoidance of curlicue, etcetera. But I don't feel the deeper rhythm there. I don't think these writers are being terse out of choice. I think they are being terse because it's the only way they can write.
From the time I read my first Hemingway work, The Sun Also Rises, as a student at Soldan High School in St. Louis, I was struck with an affliction common to my generation: Hemingway Awe.
I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.
I really, honest to God, didn't know what to read until I was out of college and living in Boston, and someone said, 'Well, why don't you read Hemingway?' And I thought, 'OK. I guess I'll try this Hemingway fellow.'
Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.
Hemingway was a big influence - 'A Farewell to Arms,' though I disapproved of the later Hemingway.
I spent an awful lot of time with Hemingway. And Hemingway had a remarkable ability to reach very noble goals through sometimes ignoble means.
Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary
I was writing novels in high school and apprenticed myself in a way both to Faulkner and to Hemingway.
Hemingway and Saroyan had the line, the magic of it. The problem was that Hemingway didn't know how to laugh and Saroyan was filled with sugar.
The thing that was important to me about Hemingway at the time was that Hemingway taught me that you could be a writer and get away with it.
And that's when he finally tells me his name is Ernest. I'm thinking of giving it away, though. Ernest is so dull, and Hemingway? Who wants a Hemingway?
In middle school I wrote a paper on Hemingway and none of the sentences had more than five words.
Hemingway himself and Hemingway's writing were both brilliant, brilliant cocktails.
She's not the one I want." His words came out terse. "It's you. It's been you since...since the minute I first saw you.
In the advanced practice, the relationship between the Zen master and the student becomes very terse. The Zen master will expect things of the student because the student is in graduate school.