I’ve never much wanted to read Hemingway, having always been
put off by the macho image and the bullfighting and hunting, etc. Didn’t think
someone like that would have anything to say to someone like me. Then on one of
my regular charity shop browses for bundles of books to keep me going, I came
across ‘A Farewell to Arms’ and thought at 75p I might as well give it a go. It
was entirely opposite to my expectations. I warmed to the central character, I
found much of it tender and touching and the violence was never glorified in
any way – quite the reverse. I had a few weeks of wishing I’d discovered him
earlier, wishing he turned up in charity shops more frequently (I have
difficulty affording new books at the moment) but then I had a brainwave –
birthday coming up: ask Mother for some Hemingway. So I did, and she duly
obliged with three more novels. I’ve just finished ‘Fiesta’ and absolutely loved
it, even though a good proportion of the book is in Pamplona,
there are bulls, they die – though one manages to gore a man to death in
passing. And you know what? I get it. I get what Hemingway was saying about
bullfighting, why it’s there, what it means. I get it in the spirit of the
literature. I am not someone who would ever go to a bullfight, and I would
happily sign petitions and demonstrate against the vile ‘sport’ – but in terms
of the book, I absolutely get it.
A similar thing happened to me in my teens when I was going
through a John Masters phase. I’d read a lot of the Indian novels, but then
came across the Spanish one: ‘Fandango Rock’ which is very much a bullfighting
novel. I hated the idea of bullfighting, but Masters really understood what it
was all about and took it to the heart of his novel and made it work. It’s years
and years since I read that book, and I possibly won’t read it again ever
because I think one outgrows Masters at some point. He is very much an author
to be read in one’s teens; fabulous storytelling, great characters, authentic
settings, and sex scenes that are erotic rather than cringe-making, so he’s
perfect when you’re fifteen or sixteen. He is also very full on with his prose –
it’s rich and gorgeous. Very different to Hemingway, with his iceberg style –
and that doesn’t mean he’s cold. Far from it. It’s referring to the fact that
most of what is really happening is under the surface. Hemingway was a
journalist first, so he reports what happens in a clipped and clear way. It’s
left to the reader to work out what the real story is, and there will be much,
much more beneath the surface than above, hence the iceberg analogy. He’s
supposed to have pretty much invented this, apparently. I disagree. I reckon if
anyone invented it, it was Jane Austen, because she does exactly the same
thing. She tells you what people said and what happened. She doesn’t do a
Bronte and delve deep into their emotions and pour them out gushingly in purple
prose. Now, I love Charlotte Bronte in particular, but I sometimes find her
completely unreadable because she will explain every last feeling in as much
detail as she possibly can. Austen and Hemingway don’t do that, and the result
is you are more likely to choking back the tears at the end of ‘Persuasion’ or ‘Fiesta’
than you are at the end of the infuriating ‘Villette’, and that’s because there
is SO much going on underneath, you are left exhausted, whereas you feel with
Charlotte Bronte, she’s the one who’s left exhausted at the end of the novel
rather than the reader.
I have a thing I do with authors I love – unless they are
hideously ugly, and I can’t bear to look at photos of them, I like to draw
their portraits. It’s partly a sort of ‘thank you’ letter to them for the
books, and partly self-indulgence, and that irresistible strange alchemy that
happens when you study someone’s face and draw them. By happy coincidence, we
were doing portraits in my art class this morning. (By ‘my’ I mean the one I
attend. I don’t teach it. Wouldn’t know where to begin.) So I thought, yes!
Hemingway! Today’s the day. Ideally when I draw someone who I haven’t met, I
watch film of them on YouTube and make a composite drawing from various images
I find online, but I was short of time so thought I would simply pick a photo I
liked and work from that. There’s a great one of him actually engaged in
writing. I thought I’d get the basic outline in before I went to my class so
that I wouldn’t waste time there trying to get it right. Glad I did, because
the method we were being taught this morning would have been incredibly
difficult to get right for me – it involved careful measurement and ratios and
all that stuff. Now, for me, there are three ways to get a likeness. Best – you
trace it. Next best – grid it. Third best – entirely freehand. I wouldn’t even
consider doing the careful measurement of, say, an eye, and then seeing how
many eyes fit into the distance between the right nostril and the Adam’s apple.
So I listened to the teacher giving the explanation and demonstration of this
method, and her encouragement to follow it, and as usual, I went my own way,
and was thoroughly relieved I’d thought to trace the outline first so I knew my
proportions were broadly correct. Then it was simply a question of sitting down
with my favourite Conté pencil and getting on with it. This sort of thing takes
far longer than you expect, and men with hairy arms – well, you can get locked
into those hairs. I have a thing about men with hairy arms. I am very fond of
such things. I spent far too long enjoying his arms – but I did also get his
eyes, glasses, head, nose, mouth, bit of beard, etc, broadly shaded. Still a
long, long way to go. The question is, will I be able to resist finishing this
one off until next Thursday? We have another portrait session then to carry on
with what we started this week. If I succumb to temptation, which is highly
likely, I’ll finish him on Sunday if not before, and then I will have to think
of someone else to draw. Actually, that’s probably not too much of a hardship.
I could always do him again.
I have become ridiculously fond of Ernest Hemingway.
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