I am not Shakespeare or Hemingway, but I have written stories on tennis that were brilliant.
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 would say just start writing. You've got to write every day. Copy someone that you like if you think that perhaps could become your sound, too. I did that with Hemingway, and I thought I was writing just like Hemingway. Then all of a sudden it occurred to me - he didn't have a sense of humor. I don't know anything he's written that's funny.
I like the hip writers: Fitzgerald, the guy who committed suicide, Hemingway, all those guys. Some of them were alcoholics and drug addicts but they had fun. They were real people. They formed the culture of American literature. Hemingway admired Tolstoy, Tolstoy admired Pushkin, and Mailer admired Hemingway. It all flows down. The greats are all connected. One day I'm gonna write a book myself. The first chapter will be about what a rough deal my momma got. She believed in you guys and your society.
I said Revolver is my favorite The Beatles album, but only because it came to my head and it's a brilliant one. But they're all pretty brilliant. There's variations, but they're all brilliant, and it just depends on if they're very brilliant, or just a bit brilliant. It changes.
I spent an awful lot of time with Hemingway. And Hemingway had a remarkable ability to reach very noble goals through sometimes ignoble means.
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 was writing novels in high school and apprenticed myself in a way both to Faulkner and to Hemingway.
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
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.
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?
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's short story 'Hills Like White Elephants' is a classic of its kind. It illustrates Hemingway's 'iceberg theory,' which requires that a story find its effectiveness by hiding more than it reveals.