1 00:00:15,601 --> 00:00:40,011 ♪ 2 00:00:40,178 --> 00:00:44,598 MAN: HEMINGWAY WAS A WRITER WHO HAPPENED TO BE AMERICAN, 3 00:00:44,734 --> 00:00:48,014 BUT HIS PALETTE WAS INCREDIBLY WIDE 4 00:00:48,151 --> 00:00:54,811 AND DELICIOUS AND VIOLENT AND BRUTAL AND UGLY, 5 00:00:54,916 --> 00:00:57,156 ALL OF THOSE THINGS. 6 00:00:57,333 --> 00:01:01,443 IT'S SOMETHING EVERY CULTURE CAN BASICALLY UNDERSTAND. 7 00:01:01,578 --> 00:01:07,518 EVERY CULTURE CAN UNDERSTAND FALLING IN LOVE WITH SOMEONE, 8 00:01:07,653 --> 00:01:10,003 THE LOSS OF THAT PERSON, 9 00:01:10,104 --> 00:01:12,664 OF HOW GREAT A MEAL TASTES, 10 00:01:12,831 --> 00:01:16,011 HOW EXTRAORDINARY THIS JOURNEY IS. 11 00:01:16,110 --> 00:01:19,220 THAT IS NOT NATIONALISTIC. 12 00:01:19,355 --> 00:01:21,045 IT'S HUMAN, 13 00:01:21,184 --> 00:01:23,464 AND I THINK WITH ALL OF HIS FLAWS, 14 00:01:23,600 --> 00:01:27,710 WITH ALL THE DIFFICULTIES, HIS PERSONAL LIFE, WHATEVER, 15 00:01:27,880 --> 00:01:33,230 HE SEEMED TO UNDERSTAND HUMAN BEINGS. 16 00:01:33,369 --> 00:01:35,539 MAN, AS HEMINGWAY: YOU SEE, I'M TRYING IN ALL MY STORIES 17 00:01:35,647 --> 00:01:39,787 TO GET THE FEELING OF THE ACTUAL LIFE ACROSS-- 18 00:01:39,927 --> 00:01:44,547 NOT JUST TO DEPICT LIFE OR CRITICIZE IT-- 19 00:01:44,656 --> 00:01:47,036 BUT TO ACTUALLY MAKE IT ALIVE 20 00:01:47,210 --> 00:01:49,390 SO THAT WHEN YOU'VE READ SOMETHING BY ME 21 00:01:49,488 --> 00:01:52,598 YOU ACTUALLY EXPERIENCE THE THING. 22 00:01:52,733 --> 00:01:54,293 YOU CAN'T DO THIS WITHOUT PUTTING IN 23 00:01:54,424 --> 00:01:57,984 THE BAD AND THE UGLY, AS WELL AS WHAT IS BEAUTIFUL, 24 00:01:58,118 --> 00:02:01,778 BECAUSE IF IT IS ALL BEAUTIFUL YOU CAN'T BELIEVE IN IT. 25 00:02:01,914 --> 00:02:03,924 THINGS AREN'T THAT WAY. 26 00:02:04,054 --> 00:02:06,614 IT IS ONLY BY SHOWING BOTH SIDES-- 27 00:02:06,747 --> 00:02:09,777 3 DIMENSIONS AND IF POSSIBLE 4-- 28 00:02:09,922 --> 00:02:12,892 THAT YOU CAN WRITE THE WAY I WANT TO. 29 00:02:19,311 --> 00:02:22,661 [THE BENNY GOODMAN SEXTET'S "A SMO-O-O-OTH ONE" PLAYING] 30 00:02:22,797 --> 00:02:26,457 NARRATOR: ERNEST HEMINGWAY REMADE AMERICAN LITERATURE. 31 00:02:26,594 --> 00:02:29,804 HE PARED STORY-TELLING TO ITS ESSENTIALS, 32 00:02:29,942 --> 00:02:32,222 CHANGED THE WAY CHARACTERS SPEAK, 33 00:02:32,359 --> 00:02:36,189 EXPANDED THE WORLDS A WRITER COULD LEGITIMATELY EXPLORE, 34 00:02:36,328 --> 00:02:40,508 AND LEFT AN INDELIBLE RECORD OF HOW MEN AND WOMEN LIVED 35 00:02:40,643 --> 00:02:43,133 DURING HIS LIFETIME. 36 00:02:43,266 --> 00:02:45,986 GENERATIONS OF WRITERS WOULD FIND THEIR WORK 37 00:02:46,131 --> 00:02:48,001 MEASURED AGAINST HIS. 38 00:02:48,133 --> 00:02:50,793 SOME FOLLOWED THE PATH HE'D BLAZED. 39 00:02:50,929 --> 00:02:52,929 OTHERS REBELLED AGAINST IT. 40 00:02:53,103 --> 00:02:56,143 NONE COULD ESCAPE IT. 41 00:02:56,245 --> 00:02:59,275 HE MADE HIMSELF THE MOST CELEBRATED AMERICAN WRITER 42 00:02:59,386 --> 00:03:00,896 SINCE MARK TWAIN, 43 00:03:01,042 --> 00:03:05,052 READ--AND REVERED-- AROUND THE WORLD. 44 00:03:05,185 --> 00:03:07,635 MAN: IT'S HARD TO IMAGINE A WRITER TODAY 45 00:03:07,808 --> 00:03:12,048 WHO HASN'T BEEN IN SOME WAY INFLUENCED BY HIM. 46 00:03:12,192 --> 00:03:13,682 IT'S LIKE HE CHANGED ALL THE FURNITURE 47 00:03:13,814 --> 00:03:16,964 IN THE ROOM, RIGHT, AND WE ALL HAVE TO SIT IN IT 48 00:03:17,127 --> 00:03:18,717 TO SOME--YOU KNOW, WE CAN KIND OF SIT 49 00:03:18,853 --> 00:03:22,313 ON THE EDGE OF THE ARMCHAIR, ON THE ARM OR DO THIS, 50 00:03:22,409 --> 00:03:27,069 BUT, YOU KNOW HE CHANGED THE FURNITURE IN THE ROOM. 51 00:03:27,207 --> 00:03:32,107 THE VALUE OF THE AMERICAN DECLARATIVE SENTENCE, RIGHT, 52 00:03:32,246 --> 00:03:36,076 THE WAY YOU BUILD A HOUSE BRICK BY BRICK OUT OF THOSE. 53 00:03:36,216 --> 00:03:39,316 WITHIN A FEW SENTENCES OF READING A HEMINGWAY STORY, 54 00:03:39,426 --> 00:03:44,016 YOU WERE NOT IN ANY CONFUSION AS TO WHO HAD WRITTEN IT. 55 00:03:44,120 --> 00:03:47,400 WOMAN: I CAN'T IMAGINE HOW IT'S POSSIBLE 56 00:03:47,537 --> 00:03:52,607 THAT ANY ONE WRITER COULD HAVE SO CHANGED THE LANGUAGE. 57 00:03:52,749 --> 00:03:57,339 PEOPLE HAVE BEEN COPYING HIM FOR NEARLY A HUNDRED YEARS, 58 00:03:57,513 --> 00:04:02,733 AND THEY HAVEN'T SUCCEEDED IN EQUALING WHAT HE DID. 59 00:04:02,863 --> 00:04:06,633 MAN: IF YOU'RE A WRITER, YOU CAN'T ESCAPE HEMINGWAY. 60 00:04:06,763 --> 00:04:10,013 HE'S SO DAMN POPULAR THAT YOU CAN'T BEGIN TO WRITE 61 00:04:10,180 --> 00:04:12,740 TILL YOU TRY AND KILL HIS GHOST IN YOU 62 00:04:12,873 --> 00:04:14,463 OR EMBRACE IT, 63 00:04:14,599 --> 00:04:18,019 AND I THINK I IDENTIFY THAT MOST ABOUT HEMINGWAY 64 00:04:18,119 --> 00:04:20,119 IS THAT HE WAS ALWAYS QUESTING. 65 00:04:20,260 --> 00:04:22,370 THE PERFECT LINE HAD NOT HAPPENED YET. 66 00:04:22,538 --> 00:04:25,088 IT IS ALWAYS A STRUGGLE TRYING TO GET IT RIGHT, 67 00:04:25,230 --> 00:04:28,060 AND YOU NEVER WILL. 68 00:04:28,164 --> 00:04:30,934 NARRATOR: FOR 3 DECADES, PEOPLE WHO HAD NOT READ 69 00:04:31,063 --> 00:04:34,173 A WORD HE'D WRITTEN THOUGHT THEY KNEW HIM-- 70 00:04:34,308 --> 00:04:37,418 WOUNDED VETERAN AND BATTLEFIELD CORRESPONDENT, 71 00:04:37,553 --> 00:04:41,113 BIG-GAME HUNTER AND DEEP-SEA FISHERMAN, 72 00:04:41,246 --> 00:04:45,486 BULL-FIGHT AFICIONADO, BRAWLER, AND LOVER 73 00:04:45,630 --> 00:04:47,870 AND MAN ABOUT TOWN... 74 00:04:52,637 --> 00:04:57,187 BUT BEHIND THE PUBLIC FIGURE WAS A TROUBLED AND CONFLICTED MAN, 75 00:04:57,331 --> 00:05:00,371 WHO BELONGED TO A TROUBLED AND CONFLICTED FAMILY 76 00:05:00,507 --> 00:05:05,747 WITH ITS OWN DRAMA AND DARKNESS AND CLOSELY-HELD SECRETS. 77 00:05:05,857 --> 00:05:08,577 THE WORLD SAW HIM AS A MAN'S MAN, 78 00:05:08,756 --> 00:05:11,926 BUT ALL HIS LIFE, HE WOULD PRIVATELY BE INTRIGUED 79 00:05:12,035 --> 00:05:14,995 BY THE BLURRED LINES BETWEEN MALE AND FEMALE, 80 00:05:15,142 --> 00:05:18,422 MEN AND WOMEN. 81 00:05:18,594 --> 00:05:20,424 THERE WERE SO MANY SIDES TO HIM, 82 00:05:20,527 --> 00:05:22,907 THE FIRST OF HIS 4 WIVES REMEMBERED, 83 00:05:23,012 --> 00:05:26,082 THAT HE DEFIED GEOMETRY. 84 00:05:26,187 --> 00:05:27,737 WOMAN: HE WAS OPEN TO LIFE. 85 00:05:27,913 --> 00:05:30,263 HE WAS OPEN TO TRAGEDY. 86 00:05:30,364 --> 00:05:32,884 HE WAS OPEN TO FEELING. 87 00:05:33,022 --> 00:05:35,652 I LIKED THAT HE FELL IN LOVE, 88 00:05:35,783 --> 00:05:39,273 AND HE FELL IN LOVE QUITE A FEW TIMES. 89 00:05:39,442 --> 00:05:43,342 HE ALWAYS HAD THE NEXT WOMAN 90 00:05:43,481 --> 00:05:48,141 BEFORE HE LEFT THE EXISTING WOMAN. 91 00:05:48,244 --> 00:05:50,564 NARRATOR: HE WAS OFTEN KIND AND GENEROUS TO THOSE 92 00:05:50,695 --> 00:05:54,005 IN NEED OF HELP AND SOMETIMES JUST AS CRUEL 93 00:05:54,146 --> 00:05:58,666 AND VENGEFUL TO THOSE WHO HAD HELPED HIM. 94 00:05:58,806 --> 00:06:00,636 MAN, AS HEMINGWAY: I HAVE ALWAYS HAD THE ILLUSION 95 00:06:00,739 --> 00:06:03,499 IT WAS MORE IMPORTANT, OR AS IMPORTANT, 96 00:06:03,639 --> 00:06:07,129 TO BE A GOOD MAN AS TO BE A GREAT WRITER. 97 00:06:07,297 --> 00:06:09,647 I MAY TURN OUT TO BE NEITHER 98 00:06:09,817 --> 00:06:12,367 BUT WOULD LIKE TO BE BOTH. 99 00:06:14,926 --> 00:06:18,476 NARRATOR: HEMINGWAY'S STORY IS A TALE OLDER EVEN 100 00:06:18,654 --> 00:06:21,764 THAN THE WRITTEN WORD OF A YOUNG MAN 101 00:06:21,898 --> 00:06:23,758 WHOSE AMBITION AND IMAGINATION, 102 00:06:23,900 --> 00:06:28,010 ENERGY AND ENORMOUS GIFTS BRING HIM WEALTH AND FAME 103 00:06:28,146 --> 00:06:32,046 BEYOND IMAGINING, 104 00:06:32,184 --> 00:06:35,844 WHO DESTROYS HIMSELF TRYING TO REMAIN TRUE 105 00:06:35,947 --> 00:06:40,017 TO THE CHARACTER HE HAS INVENTED. 106 00:06:40,123 --> 00:06:42,513 O'BRIEN: ONE OF HIS WEAKNESSES-- 107 00:06:42,609 --> 00:06:47,029 I WAS GOING TO SAY, "FAILINGS," AND IT WAS A GREAT PITY-- 108 00:06:47,130 --> 00:06:49,690 IT'S A GREAT PITY FOR ANY WRITER-- 109 00:06:49,788 --> 00:06:52,718 HE LOVED AN AUDIENCE. 110 00:06:52,860 --> 00:06:57,000 HE LOVED AN AUDIENCE, AND IN FRONT OF AN AUDIENCE, 111 00:06:57,175 --> 00:07:00,345 HE LOST THE BEST PART OF HIMSELF 112 00:07:00,523 --> 00:07:04,223 BY TRYING TO IMPRESS THE AUDIENCE. 113 00:07:04,354 --> 00:07:06,434 KATAKIS: I HATE THE MYTH OF HEMINGWAY, 114 00:07:06,564 --> 00:07:09,534 AND THE REASON I HATE THE MYTH OF HEMINGWAY, 115 00:07:09,705 --> 00:07:12,255 IT OBSCURES THE MAN, 116 00:07:12,397 --> 00:07:17,817 AND THE MAN IS MUCH MORE INTERESTING THAN THE MYTH. 117 00:07:17,954 --> 00:07:21,414 I THINK HE WAS A TERRIFIC FATHER SOMETIMES. 118 00:07:21,510 --> 00:07:25,580 I THINK THAT HE WAS A LOVING HUSBAND SOMETIMES. 119 00:07:25,721 --> 00:07:29,031 I THINK HE WAS LIKE SO MANY PEOPLE 120 00:07:29,207 --> 00:07:31,897 EXCEPT THIS ENORMOUS TALENT. 121 00:07:32,003 --> 00:07:36,253 HEMINGWAY IS COMPLICATED. HE'S VERY COMPLICATED. 122 00:07:37,457 --> 00:07:39,667 MAN, AS HEMINGWAY: THE GREAT THING IS TO LAST 123 00:07:39,804 --> 00:07:42,254 AND GET YOUR WORK DONE 124 00:07:42,427 --> 00:07:47,117 AND SEE AND HEAR AND LEARN AND UNDERSTAND; 125 00:07:47,259 --> 00:07:50,059 AND WRITE WHEN THERE IS SOMETHING THAT YOU KNOW; 126 00:07:50,228 --> 00:07:52,228 AND NOT BEFORE; 127 00:07:52,402 --> 00:07:55,512 AND NOT TOO DAMNED MUCH AFTER. 128 00:07:55,647 --> 00:08:11,247 ♪ 129 00:08:11,352 --> 00:08:13,562 [SCOTT JOPLIN'S "PARAGON RAG" PLAYING] 130 00:08:13,734 --> 00:08:26,614 ♪ 131 00:08:26,782 --> 00:08:28,542 WOMAN, AS GRACE HEMINGWAY: MY BOY DELIGHTS IN SHOOTING 132 00:08:28,680 --> 00:08:32,130 IMAGINARY WOLVES, BEARS, LIONS. 133 00:08:32,235 --> 00:08:35,545 ALSO LIKES TO PRETEND HE IS A SOLDIER. 134 00:08:35,687 --> 00:08:40,867 HE STORMS AND KICKS AND DANCES WITH RAGE WHEN THWARTED. 135 00:08:41,003 --> 00:08:42,803 WHEN ASKED WHAT HE IS AFRAID OF, 136 00:08:42,901 --> 00:08:48,041 HE SHOUTS OUT "'FRAID OF NOTHING!" 137 00:08:48,182 --> 00:08:50,532 NARRATOR: ERNEST MILLER HEMINGWAY WAS BORN 138 00:08:50,668 --> 00:08:55,908 JULY 21, 1899, THE SECOND OF 6 CHILDREN 139 00:08:56,052 --> 00:09:00,302 AND ENJOYED WHAT SEEMED TO BE AN IDYLLIC BOYHOOD. 140 00:09:00,401 --> 00:09:02,401 HE HAD 4 ADORING SISTERS 141 00:09:02,542 --> 00:09:04,752 AND A WORSHIPFUL YOUNGER BROTHER. 142 00:09:04,889 --> 00:09:06,859 THEY ALL LIVED IN A BIG, COMFORTABLE HOME 143 00:09:06,994 --> 00:09:10,834 IN THE PROSPEROUS CHICAGO SUBURB OF OAK PARK, 144 00:09:10,998 --> 00:09:13,408 A COMPLACENT, WELL-MANNERED COMMUNITY 145 00:09:13,553 --> 00:09:15,873 WITH NO SALOONS AND SO MANY CHURCHES 146 00:09:16,003 --> 00:09:20,393 IT LIKED TO CALL ITSELF "SAINT'S REST." 147 00:09:20,525 --> 00:09:23,835 THE HEMINGWAYS SPENT LONG SUMMERS AT WINDEMERE, 148 00:09:24,011 --> 00:09:27,531 THEIR COTTAGE ON WALLOON LAKE IN MICHIGAN. 149 00:09:27,670 --> 00:09:30,570 [FIRE CRACKLING] 150 00:09:30,708 --> 00:09:33,498 ERNEST'S FATHER CLARENCE HEMINGWAY-- 151 00:09:33,607 --> 00:09:37,847 KNOWN TO EVERYONE AS ED-- WAS A FAMILY DOCTOR. 152 00:09:37,956 --> 00:09:40,676 HE KEPT OFFICE HOURS EVERY DAY OF THE WEEK 153 00:09:40,787 --> 00:09:43,097 BUT WAS OFTEN FORCED TO MAKE HOUSE CALLS 154 00:09:43,237 --> 00:09:44,857 IN THE MIDDLE OF THE NIGHT, 155 00:09:44,963 --> 00:09:47,903 PERFORMING EMERGENCY CESAREAN SECTIONS 156 00:09:48,035 --> 00:09:50,065 BY LANTERN LIGHT. 157 00:09:50,210 --> 00:09:56,870 SOMETIMES, HE FAILED TO SAVE THE MOTHER OR THE BABY OR BOTH. 158 00:09:56,975 --> 00:09:59,525 "MY FATHER WAS VERY DEVOTED TO MY MOTHER," 159 00:09:59,633 --> 00:10:01,813 ERNEST'S YOUNGEST SISTER REMEMBERED, 160 00:10:01,946 --> 00:10:05,466 "BUT SHE WAS DEVOTED TO HERSELF." 161 00:10:06,709 --> 00:10:09,129 HIS MOTHER GRACE HALL HEMINGWAY 162 00:10:09,263 --> 00:10:11,333 HAD MARRIED AFTER ABANDONING HER DREAM 163 00:10:11,472 --> 00:10:14,372 OF BEING AN OPERA SINGER, BUT SHE GAVE 164 00:10:14,475 --> 00:10:17,195 VOICE AND VIOLIN AND PIANO LESSONS, 165 00:10:17,375 --> 00:10:18,645 DIRECTED A CHOIR, 166 00:10:18,790 --> 00:10:22,410 AND EARNED MORE THAN HER HUSBAND. 167 00:10:22,518 --> 00:10:25,658 GRACE EXPOSED ALL OF HER CHILDREN TO THE ARTS, 168 00:10:25,797 --> 00:10:28,967 BUT SHE NEVER LET THEM FORGET THAT SHE HAD SACRIFICED 169 00:10:29,111 --> 00:10:32,011 A CONCERT CAREER TO RAISE THEM. 170 00:10:32,148 --> 00:10:34,938 IF THEY LOVED HER, SHE SAID, THEY WOULD DO 171 00:10:35,082 --> 00:10:37,712 WHATEVER SHE TOLD THEM TO DO. 172 00:10:39,086 --> 00:10:41,776 IT AMUSED HER FOR A TIME TO PRETEND THAT ERNEST 173 00:10:41,917 --> 00:10:45,957 AND HIS OLDER SISTER MARCELLINE WERE SOMEHOW TWINS, 174 00:10:46,093 --> 00:10:52,823 SOMETIMES TWO BOYS, SOMETIMES TWO GIRLS. 175 00:10:52,962 --> 00:10:56,482 WOMAN: SHE DID THIS THING OF TWINNING HIM WITH HIS SISTER. 176 00:10:56,621 --> 00:10:58,281 SHE DRESSED THEM ALIKE. 177 00:10:58,381 --> 00:11:01,421 SHE DRESSED THEM IN DRESSES OFTEN, 178 00:11:01,591 --> 00:11:04,281 BUT THEN SHE'D PUT THEM IN OVERALLS. 179 00:11:04,387 --> 00:11:06,457 SHE DIDN'T ONLY DRESS HIM UP AS A GIRL. 180 00:11:06,631 --> 00:11:08,771 SOMETIMES, SHE'D DRESS THE GIRLS UP AS BOYS, 181 00:11:08,944 --> 00:11:12,674 AND THERE'S THIS--THERE IS THIS ANDROGYNY GOING ON. 182 00:11:12,810 --> 00:11:15,330 WOMAN, AS MARCELLINE: WE WORE OUR HAIR EXACTLY THE SAME 183 00:11:15,467 --> 00:11:18,227 IN A SQUARE-CUT DUTCH BOB. 184 00:11:18,367 --> 00:11:21,507 WE PLAYED WITH SMALL CHINA TEA SETS. 185 00:11:21,646 --> 00:11:24,606 WE HAD DOLLS ALIKE, AND WHEN ERNEST WAS GIVEN 186 00:11:24,787 --> 00:11:29,137 A LITTLE AIR RIFLE, I HAD ONE, TOO. 187 00:11:29,240 --> 00:11:31,450 NARRATOR: ONE OF HIS TEACHERS THOUGHT GRACE TOO CLOSE 188 00:11:31,552 --> 00:11:33,872 TO HER SON, TOO CONTROLLING. 189 00:11:34,003 --> 00:11:37,253 SHE REMEMBERED WONDERING IF, "GIVEN THE LUSH MOTHERHOOD 190 00:11:37,386 --> 00:11:41,526 HE KNEW, HE WOULD FIND WIFE." 191 00:11:44,255 --> 00:11:47,565 [BIRDS CHIRPING, DUCKS QUACKING] 192 00:11:47,707 --> 00:11:49,537 MAN, AS HEMINGWAY: HIS FATHER CAME BACK TO HIM 193 00:11:49,674 --> 00:11:51,714 IN THE FALL OF THE YEAR, 194 00:11:51,849 --> 00:11:54,889 OR IN THE EARLY SPRING WHEN THERE HAD BEEN JACKSNIPE 195 00:11:55,024 --> 00:11:57,374 ON THE PRAIRIE, 196 00:11:57,509 --> 00:11:59,509 OR WHEN HE SAW SHOCKS OF CORN, 197 00:11:59,649 --> 00:12:02,829 OR WHEN HE SAW A LAKE, 198 00:12:02,998 --> 00:12:05,928 OR IF HE EVER SAW A HORSE AND BUGGY, 199 00:12:06,070 --> 00:12:09,250 OR WHEN HE SAW, OR HEARD, WILD GEESE, 200 00:12:09,383 --> 00:12:11,423 OR IN A DUCK BLIND. 201 00:12:11,558 --> 00:12:15,768 HIS FATHER WAS WITH HIM, SUDDENLY, 202 00:12:15,907 --> 00:12:19,217 IN DESERTED ORCHARDS AND IN NEW-PLOWED FIELDS, 203 00:12:19,359 --> 00:12:22,499 IN THICKETS, ON SMALL HILLS, 204 00:12:22,603 --> 00:12:25,303 OR WHEN GOING THROUGH DEAD GRASS, 205 00:12:25,434 --> 00:12:28,304 WHENEVER SPLITTING WOOD OR HAULING WATER, 206 00:12:28,437 --> 00:12:31,717 BY GRIST MILLS, CIDER MILLS, AND DAMS 207 00:12:31,854 --> 00:12:36,624 AND ALWAYS WITH OPEN FIRES. 208 00:12:36,756 --> 00:12:38,786 NARRATOR: ERNEST WORSHIPPED HIS FATHER, 209 00:12:38,930 --> 00:12:43,970 WHO SPENT HOURS TEACHING HIM HOW TO HUNT AND FISH AND CANOE, 210 00:12:44,108 --> 00:12:46,628 INCULCATING A LIFE-LONG FASCINATION 211 00:12:46,766 --> 00:12:50,216 WITH THE OUTDOORS AND WITH LEARNING PRECISELY 212 00:12:50,390 --> 00:12:53,630 HOW THINGS SHOULD BE DONE. 213 00:12:53,773 --> 00:12:57,503 MAN: HE INSTILLED IN THIS BOY BEFORE THE BOY 214 00:12:57,638 --> 00:13:02,128 ALMOST COULD WALK THIS PRIMAL FEELING 215 00:13:02,264 --> 00:13:03,964 FOR THE BEAUTY OF NATURE, 216 00:13:04,093 --> 00:13:08,063 JUST THE ORGANIC LOVE FOR THE WOODS, FOR WATER. 217 00:13:08,235 --> 00:13:11,885 NARRATOR: BUT ED HEMINGWAY WAS ALSO SEVERE, PIOUS, 218 00:13:12,067 --> 00:13:15,617 OPPOSED TO DRINKING, CARD-PLAYING, AND DANCING 219 00:13:15,760 --> 00:13:17,690 AND, AS ERNEST GREW OLDER, 220 00:13:17,831 --> 00:13:21,901 INCREASINGLY ANXIOUS, MOODY, AND UNPREDICTABLE. 221 00:13:22,008 --> 00:13:24,288 ONE MINUTE HE WAS LAUGHING WITH HIS CHILDREN, 222 00:13:24,424 --> 00:13:29,714 THE NEXT HE WAS PUNISHING THEM WITH A LEATHER STRAP. 223 00:13:29,843 --> 00:13:33,433 TWICE, HEMINGWAY'S FATHER WAS SO CRIPPLED BY DEPRESSION 224 00:13:33,536 --> 00:13:36,296 THAT HE HAD TO LEAVE TOWN FOR SEVERAL WEEKS 225 00:13:36,436 --> 00:13:38,776 IN ORDER TO REST WHAT HIS WIFE CALLED 226 00:13:38,921 --> 00:13:43,101 "THE WORRYING PLACE IN YOUR BRAIN." 227 00:13:43,201 --> 00:13:46,381 BY THE TIME ERNEST WAS A TEENAGER, HE REMEMBERED, 228 00:13:46,515 --> 00:13:50,685 HIS ADMIRATION FOR HIS FATHER HAD BEGUN TO TURN TO PITY. 229 00:13:50,830 --> 00:13:53,730 HE CAME TO SEE HIM AS WEAK AND SUBMISSIVE 230 00:13:53,867 --> 00:13:57,767 AND BLAMED HIS MOTHER FOR HIS FATHER'S UNHAPPINESS. 231 00:13:59,321 --> 00:14:02,671 ERNEST DREAMED OF ONE DAY BECOMING A NATURALIST 232 00:14:02,807 --> 00:14:07,947 OR AN EXPLORER LIKE HIS HERO THEODORE ROOSEVELT. 233 00:14:08,123 --> 00:14:11,303 HE WAS ALSO A GOOD STUDENT AND A FERVENT READER, 234 00:14:11,402 --> 00:14:16,342 WHO LOVED O. HENRY, JACK LONDON, AND RUDYARD KIPLING. 235 00:14:16,476 --> 00:14:17,856 AT HIS MOTHER'S URGING, 236 00:14:17,995 --> 00:14:20,475 HE SANG IN HER CONGREGATIONAL CHURCH CHOIR 237 00:14:20,618 --> 00:14:22,308 AND PLAYED THE CELLO. 238 00:14:22,482 --> 00:14:25,492 HE REMEMBERED THAT HE ESPECIALLY ENJOYED THE REPETITION 239 00:14:25,657 --> 00:14:28,897 AND COUNTERPOINT, COUNTERPOINT AND REPETITION 240 00:14:29,040 --> 00:14:32,390 THAT RAN THROUGH THE WORKS OF BACH. 241 00:14:32,526 --> 00:14:35,496 WOMAN: SHE ALSO TAUGHT HER KIDS WHAT EVERY MUSICIAN 242 00:14:35,598 --> 00:14:38,568 TEACHES THEIR KIDS, TO PRACTICE. 243 00:14:38,705 --> 00:14:42,875 "DON'T COME TO ME AND SAY THAT YOU LOVE ART 244 00:14:43,020 --> 00:14:46,470 "IF YOU DON'T PRACTICE YOUR ART BECAUSE PRACTICE IS LOVE. 245 00:14:46,575 --> 00:14:48,365 WORK IS LOVE." 246 00:14:48,508 --> 00:14:49,888 AND THROUGHOUT HIS LIFE, 247 00:14:50,027 --> 00:14:53,097 HE WAS A TREMENDOUSLY DISCIPLINED WRITER. 248 00:14:53,237 --> 00:14:56,067 NARRATOR: IN HIS JUNIOR YEAR, HE BEGAN TO WRITE, 249 00:14:56,205 --> 00:14:59,755 CONTRIBUTING SPORTS STORIES AND TALES OF ADVENTURE 250 00:14:59,899 --> 00:15:03,699 TO THE HIGH SCHOOL PAPER AND ITS LITERARY MAGAZINE, 251 00:15:03,868 --> 00:15:06,558 BUT HE WAS REMEMBERED MOST BY HIS CLASSMATES 252 00:15:06,698 --> 00:15:10,188 AS A BIG, HANDSOME, SLIGHTLY AWKWARD BOY 253 00:15:10,357 --> 00:15:14,217 FOND OF BOXING BUT TOO NEARSIGHTED AND TOO CLUMSY 254 00:15:14,361 --> 00:15:16,711 TO EXCEL AT TEAM SPORTS, 255 00:15:16,812 --> 00:15:19,882 WHO WAS SHY WITH GIRLS AND PREFERRED TO HUNT 256 00:15:20,022 --> 00:15:22,062 AND HIKE AND FISH IN THE WOODS 257 00:15:22,197 --> 00:15:26,237 OF NORTHERN MICHIGAN WHENEVER HE GOT THE CHANCE. 258 00:15:26,373 --> 00:15:29,863 HIS SHYNESS WITH WOMEN WOULD EVENTUALLY EVAPORATE, 259 00:15:29,963 --> 00:15:32,593 BUT HE WOULD REMAIN EAGER ALL HIS LIFE 260 00:15:32,724 --> 00:15:35,144 FOR THE COMPANY OF MEN WHO SHARED HIS LOVE 261 00:15:35,279 --> 00:15:39,009 OF GOOD TIMES AND THE GREAT OUTDOORS. 262 00:15:42,596 --> 00:15:46,186 [EXPLOSIONS] 263 00:15:46,359 --> 00:16:10,999 ♪ 264 00:16:11,142 --> 00:16:14,902 NARRATOR: ON APRIL 6, 1917, THE UNITED STATES 265 00:16:15,077 --> 00:16:17,737 ENTERED THE GREAT WAR THAT HAD BEEN UNDERWAY 266 00:16:17,838 --> 00:16:21,428 IN EUROPE FOR NEARLY 3 YEARS. 267 00:16:21,532 --> 00:16:25,262 MILLIONS OF YOUNG MEN HAD ALREADY BEEN SLAUGHTERED. 268 00:16:25,363 --> 00:16:29,513 THE WORLD ERNEST HEMINGWAY'S PARENTS HAD PREPARED HIM FOR 269 00:16:29,643 --> 00:16:33,513 HAD DISAPPEARED. 270 00:16:33,647 --> 00:16:35,647 SEVERAL OF HIS HIGH SCHOOL CLASSMATES 271 00:16:35,787 --> 00:16:38,927 HAD ALREADY VOLUNTEERED TO GO TO WAR. 272 00:16:39,101 --> 00:16:43,731 HE HOPED TO GO, TOO, BUT HE WAS TOO YOUNG AT 17, 273 00:16:43,864 --> 00:16:45,974 AND HIS PARENTS WOULD NOT SIGN THE PAPERS 274 00:16:46,108 --> 00:16:48,488 THAT WOULD HAVE WAIVED THAT REQUIREMENT. 275 00:16:48,628 --> 00:16:51,288 THEY WANTED HIM TO GO TO COLLEGE. 276 00:16:51,389 --> 00:16:55,289 HE REFUSED. 277 00:16:55,462 --> 00:16:57,982 A COMPROMISE WAS EVENTUALLY REACHED. 278 00:16:58,155 --> 00:17:02,985 AN UNCLE GOT THE BOY A JOB AT A NEWSPAPER IN KANSAS CITY. 279 00:17:03,125 --> 00:17:06,155 KANSAS CITY WAS A TOUGH, WIDE-OPEN TOWN, 280 00:17:06,301 --> 00:17:09,241 AND THE "KANSAS CITY STAR" WAS ONE OF THE BEST PAPERS 281 00:17:09,373 --> 00:17:10,823 IN THE COUNTRY, 282 00:17:10,995 --> 00:17:15,965 A PIONEER IN CRISP, CLEAR, IMMEDIATE REPORTING. 283 00:17:16,069 --> 00:17:19,249 ITS STYLE-SHEET SET THE TONE. 284 00:17:19,383 --> 00:17:21,353 MAN: USE SHORT SENTENCES. 285 00:17:21,488 --> 00:17:23,798 USE SHORT FIRST PARAGRAPHS. 286 00:17:23,904 --> 00:17:26,014 USE VIGOROUS ENGLISH. 287 00:17:26,148 --> 00:17:28,738 BE POSITIVE, NOT NEGATIVE. 288 00:17:28,875 --> 00:17:31,875 AVOID THE USE OF ADJECTIVES. 289 00:17:32,016 --> 00:17:34,666 NARRATOR: HEMINGWAY COVERED SHOOTINGS, STABBINGS, 290 00:17:34,846 --> 00:17:37,676 LABOR TROUBLES, A SMALLPOX SCARE. 291 00:17:37,815 --> 00:17:40,335 HE WAS FASCINATED BY ALL OF IT, 292 00:17:40,438 --> 00:17:43,988 AND ECHOES OF WHAT HE HAD HEARD AND SEEN IN KANSAS CITY 293 00:17:44,166 --> 00:17:48,376 WOULD APPEAR AGAIN AND AGAIN IN HIS LATER WRITING. 294 00:17:48,515 --> 00:17:50,405 MAN, AS HEMINGWAY: DEAR DAD, WE ARE HAVING 295 00:17:50,552 --> 00:17:51,832 A LAUNDRY STRIKE HERE, 296 00:17:51,932 --> 00:17:53,832 AND I AM HANDLING THE POLICE END. 297 00:17:53,934 --> 00:17:55,634 THE VIOLENCE STORIES. 298 00:17:55,764 --> 00:17:58,084 WRECKING TRUCKS, RUNNING THEM OVER CLIFFS, 299 00:17:58,215 --> 00:18:01,525 AND YESTERDAY, THEY MURDERED A NON-UNION GUARD. 300 00:18:01,701 --> 00:18:03,291 FOR OVER A MONTH I HAVE AVERAGED 301 00:18:03,427 --> 00:18:06,327 OVER A COLUMN A DAY. 302 00:18:08,087 --> 00:18:10,047 NARRATOR: AFTER HEMINGWAY TURNED 18, 303 00:18:10,158 --> 00:18:14,368 HE NO LONGER NEEDED HIS PARENTS' PERMISSION TO JOIN THE ARMY, 304 00:18:14,541 --> 00:18:16,651 BUT HE WAS CONVINCED HE WOULD BE REJECTED 305 00:18:16,785 --> 00:18:18,925 BECAUSE HE WAS NEAR-SIGHTED AND JOINED 306 00:18:19,063 --> 00:18:22,553 THE RED CROSS AMBULANCE SERVICE INSTEAD. 307 00:18:22,722 --> 00:18:29,492 NOTHING COULD HAVE PREPARED HIM FOR WHAT HE WAS ABOUT TO SEE. 308 00:18:29,625 --> 00:18:31,385 HEMINGWAY WAS SENT TO ITALY, 309 00:18:31,558 --> 00:18:33,768 WHERE HE WAS IMMEDIATELY DISPATCHED TO THE SCENE 310 00:18:33,905 --> 00:18:36,245 OF A HORRIFIC DISASTER. 311 00:18:36,391 --> 00:18:39,221 A MUNITIONS FACTORY HAD EXPLODED. 312 00:18:39,325 --> 00:18:43,465 35 WORKERS WERE BLOWN TO PIECES. 313 00:18:43,605 --> 00:18:46,875 HE HELPED GATHER UP THE DEAD, INCLUDING THE CORPSE 314 00:18:47,056 --> 00:18:50,056 OF A HEADLESS, LEGLESS WOMAN. 315 00:18:50,163 --> 00:18:52,303 "HEMMIE AND I NEARLY PASSED OUT COLD," 316 00:18:52,441 --> 00:18:55,411 A FRIEND REMEMBERED, "BUT GRITTED OUR TEETH 317 00:18:55,582 --> 00:18:59,792 AND LAID THE THING ON THE STRETCHER." 318 00:18:59,931 --> 00:19:03,971 HEMINGWAY'S RED CROSS UNIT WAS ASSIGNED TO THE ITALIAN ARMY, 319 00:19:04,108 --> 00:19:05,798 FIGHTING THE AUSTRIANS IN THE FOOTHILLS 320 00:19:05,937 --> 00:19:09,007 OF THE ITALIAN ALPS. 321 00:19:09,148 --> 00:19:12,078 HE DROVE AN AMBULANCE FOR ALMOST TWO WEEKS, 322 00:19:12,185 --> 00:19:14,525 BRINGING WOUNDED ITALIAN SOLDIERS DOWN 323 00:19:14,670 --> 00:19:17,260 FROM THE MOUNTAINS. 324 00:19:17,363 --> 00:19:19,093 "THERE'S NOTHING HERE BUT SCENERY 325 00:19:19,261 --> 00:19:22,061 AND TOO DAMN MUCH OF THAT," HE TOLD A FRIEND. 326 00:19:22,195 --> 00:19:24,295 "I'M GOING TO GET OUT OF THIS AMBULANCE SECTION 327 00:19:24,439 --> 00:19:29,959 AND SEE IF I CAN'T FIND OUT WHERE THE WAR IS." 328 00:19:30,134 --> 00:19:33,454 ERNEST VOLUNTEERED TO BICYCLE UP TO THE FRONTLINE TRENCHES 329 00:19:33,620 --> 00:19:36,660 NEAR THE TOWN OF FOSSALTA AND DISTRIBUTE 330 00:19:36,796 --> 00:19:39,346 CANDY AND CIGARETTES TO THE MEN. 331 00:19:39,488 --> 00:19:44,008 LESS THAN A WEEK LATER, ON JULY 8, 1918, 332 00:19:44,148 --> 00:19:46,188 HE WAS PASSING OUT CHOCOLATE BARS 333 00:19:46,323 --> 00:19:48,983 IN A FORWARD LISTENING POST ON THE WEST BANK 334 00:19:49,118 --> 00:19:50,668 OF THE PIAVE RIVER 335 00:19:50,810 --> 00:19:57,470 WHEN AN ENEMY MORTAR SHELL EXPLODED JUST 3 FEET AWAY. 336 00:19:57,644 --> 00:19:59,724 ONE SOLDIER WAS KILLED. 337 00:19:59,853 --> 00:20:03,413 ANOTHER HAD HIS LEGS BLOWN OFF. 338 00:20:03,547 --> 00:20:08,477 MORE THAN 220 SHARDS OF SHRAPNEL RIPPED INTO HEMINGWAY'S LEGS 339 00:20:08,655 --> 00:20:12,035 AND LACERATED HIS SCALP, AND THE BLAST CAUSED 340 00:20:12,176 --> 00:20:14,866 THE FIRST OF MANY SERIOUS CONCUSSIONS 341 00:20:15,006 --> 00:20:19,316 HE WOULD ENDURE DURING HIS LIFETIME. 342 00:20:19,425 --> 00:20:21,565 MAN, AS HEMINGWAY: I DIED THEN. 343 00:20:21,703 --> 00:20:26,503 I FELT MY SOUL OR SOMETHING COMING RIGHT OUT OF MY BODY, 344 00:20:26,673 --> 00:20:28,613 LIKE YOU'D PULL A SILK HANDKERCHIEF 345 00:20:28,744 --> 00:20:32,404 OUT OF A POCKET BY ONE CORNER. 346 00:20:32,541 --> 00:20:34,611 IT FLEW AROUND AND THEN CAME BACK 347 00:20:34,750 --> 00:20:40,760 AND WENT IN AGAIN, AND I WASN'T DEAD ANYMORE. 348 00:20:40,894 --> 00:20:43,454 NARRATOR: AS STRETCHER-BEARERS STRUGGLED TO GET HEMINGWAY 349 00:20:43,587 --> 00:20:44,997 TO AN AID STATION, 350 00:20:45,105 --> 00:20:47,865 AN ENEMY MACHINE GUNNER OPENED UP. 351 00:20:48,039 --> 00:20:51,219 BULLETS LODGED IN HIS RIGHT KNEE AND FOOT. 352 00:20:51,319 --> 00:20:54,109 HE REFUSED TO BE TREATED FOR A TIME BECAUSE HE SAID 353 00:20:54,253 --> 00:20:58,773 THERE WERE OTHER MEN MORE SERIOUSLY WOUNDED THAN HE. 354 00:20:58,912 --> 00:21:01,712 HE THEN ENDURED THE REMOVAL OF THE LARGEST PIECES 355 00:21:01,812 --> 00:21:04,472 OF SHRAPNEL WITHOUT ANESTHETIC. 356 00:21:04,608 --> 00:21:07,128 BECAUSE HIS WOUNDS SEEMED SO SEVERE, 357 00:21:07,266 --> 00:21:11,546 A CATHOLIC PRIEST ADMINISTERED EXTREME UNCTION. 358 00:21:11,718 --> 00:21:14,928 ITALY WOULD EVENTUALLY AWARD HIM ITS SILVER MEDAL 359 00:21:15,066 --> 00:21:17,066 FOR WHAT THE CITATION CALLED 360 00:21:17,172 --> 00:21:21,252 HIS "ADMIRABLE SPIRIT OF FRATERNITY." 361 00:21:21,349 --> 00:21:24,389 HEMINGWAY FINALLY REACHED THE AMERICAN RED CROSS HOSPITAL 362 00:21:24,490 --> 00:21:28,560 IN MILAN AND UNDERWENT A FURTHER SERIES OF SURGERIES 363 00:21:28,735 --> 00:21:34,145 TO REMOVE THE REMAINING SHRAPNEL AND THE MACHINE GUN BULLETS. 364 00:21:35,777 --> 00:21:39,227 MAN, AS HEMINGWAY: DEAR FOLKS, THIS IS A PEACH OF A HOSPITAL. 365 00:21:39,332 --> 00:21:41,652 THERE ARE ABOUT 18 AMERICAN NURSES 366 00:21:41,783 --> 00:21:44,233 TO TAKE CARE OF 4 PATIENTS. 367 00:21:44,406 --> 00:21:46,856 I'M ENCLOSING A PICTURE OF ME IN BED. 368 00:21:46,995 --> 00:21:49,065 IT LOOKS LIKE MY LEFT LEG WAS A STUMP, 369 00:21:49,238 --> 00:21:50,688 BUT IT REALLY ISN'T, 370 00:21:50,826 --> 00:21:54,106 JUST BENT SO IT LOOKS THAT WAY. 371 00:21:54,243 --> 00:21:56,323 THERE IS NOTHING FOR YOU TO WORRY ABOUT 372 00:21:56,453 --> 00:21:59,083 BECAUSE IT HAS BEEN FAIRLY CONCLUSIVELY PROVED 373 00:21:59,179 --> 00:22:01,799 THAT I CAN'T BE BUMPED OFF, 374 00:22:01,941 --> 00:22:03,671 AND WOUNDS DON'T MATTER. 375 00:22:03,805 --> 00:22:06,145 I WOULDN'T MIND BEING WOUNDED AGAIN SO MUCH 376 00:22:06,290 --> 00:22:09,600 BECAUSE I KNOW JUST WHAT IT IS LIKE, 377 00:22:09,707 --> 00:22:12,677 AND YOU CAN ONLY SUFFER SO MUCH, YOU KNOW, 378 00:22:12,814 --> 00:22:15,754 AND IT DOES GIVE YOU AN AWFULLY SATISFACTORY FEELING 379 00:22:15,851 --> 00:22:17,161 TO BE WOUNDED. 380 00:22:17,301 --> 00:22:22,031 IT'S GETTING BEATEN UP IN A GOOD CAUSE. 381 00:22:22,168 --> 00:22:25,788 THERE ARE NO HEROES IN THIS WAR. 382 00:22:25,930 --> 00:22:27,970 ALL THE HEROES ARE DEAD, 383 00:22:28,070 --> 00:22:31,800 AND THE REAL HEROES ARE THE PARENTS. 384 00:22:31,971 --> 00:22:34,491 DYING IS A VERY SIMPLE THING. 385 00:22:34,629 --> 00:22:38,289 I'VE LOOKED AT DEATH, AND REALLY I KNOW. 386 00:22:38,391 --> 00:22:40,011 IF I SHOULD HAVE DIED, IT WOULD HAVE BEEN 387 00:22:40,151 --> 00:22:42,641 VERY EASY FOR ME, 388 00:22:42,809 --> 00:22:45,569 AND HOW MUCH BETTER TO DIE IN ALL THE HAPPY PERIOD 389 00:22:45,709 --> 00:22:48,299 OF UNDISILLUSIONED YOUTH, 390 00:22:48,401 --> 00:22:50,891 TO GO OUT IN A BLAZE OF LIGHT, 391 00:22:51,024 --> 00:22:53,654 THAN TO HAVE YOUR BODY WORN OUT AND OLD 392 00:22:53,820 --> 00:22:57,170 AND ILLUSIONS SHATTERED. 393 00:22:57,341 --> 00:23:01,761 SO, DEAR OLD FAMILY, DON'T EVER WORRY ABOUT ME! 394 00:23:01,897 --> 00:23:04,137 IT ISN'T BAD TO BE WOUNDED: 395 00:23:04,313 --> 00:23:07,663 I KNOW BECAUSE I'VE EXPERIENCED IT, 396 00:23:07,765 --> 00:23:11,665 AND IF I DIE, I'M LUCKY. 397 00:23:14,807 --> 00:23:16,947 WOMAN: AUGUST 26. 398 00:23:17,085 --> 00:23:20,045 ERNEST HEMINGWAY IS GETTING EARNEST. 399 00:23:20,191 --> 00:23:22,091 HE WAS TALKING LAST NIGHT OF WHAT MIGHT BE 400 00:23:22,228 --> 00:23:24,578 IF HE WAS 26 OR 28. 401 00:23:24,713 --> 00:23:29,273 IN SOME WAYS--AT SOME TIMES-- I WISH VERY MUCH THAT HE WAS. 402 00:23:29,408 --> 00:23:31,718 HE IS ADORABLE, AND WE ARE VERY CONGENIAL 403 00:23:31,858 --> 00:23:34,898 IN EVERY WAY. 404 00:23:35,034 --> 00:23:37,864 NARRATOR: AS HE WAS RECOVERING, HEMINGWAY FELL IN LOVE 405 00:23:37,968 --> 00:23:39,418 WITH HIS NIGHT NURSE, 406 00:23:39,556 --> 00:23:42,896 AN AMERICAN NAMED AGNES VON KUROWSKY. 407 00:23:43,042 --> 00:23:46,052 SHE WAS AUBURN-HAIRED AND 26, 408 00:23:46,148 --> 00:23:48,808 7 1/2 YEARS OLDER THAN HER PATIENT, 409 00:23:48,944 --> 00:23:53,404 ENGAGED TO A DOCTOR BACK HOME, AND FLIRTATIOUS. 410 00:23:53,535 --> 00:23:55,635 HE BEGAN CALLING HER "AG." 411 00:23:55,779 --> 00:23:58,819 SHE CALLED HIM "KID," AND OVER THE WEEKS 412 00:23:58,954 --> 00:24:01,994 THAT FOLLOWED, SHE GAVE HIM A RING TO WEAR, 413 00:24:02,130 --> 00:24:04,200 ENJOYED WITH HIM THE WINE AND COGNAC 414 00:24:04,304 --> 00:24:07,074 HE BRIBED THE PORTER TO SMUGGLE IN, 415 00:24:07,169 --> 00:24:09,379 TOOK WALKS AND CARRIAGE RIDES WITH HIM 416 00:24:09,482 --> 00:24:12,242 AS SOON AS HE WAS ABLE TO LEAVE HIS ROOM, 417 00:24:12,416 --> 00:24:15,446 AND SHE WAS ONCE REPRIMANDED BY HER SUPERIOR 418 00:24:15,592 --> 00:24:20,322 FOR HAVING LEFT A GOLD HAIR-PIN BENEATH HIS PILLOW. 419 00:24:20,459 --> 00:24:22,739 WHEN AGNES WAS TRANSFERRED TO AN ARMY HOSPITAL 420 00:24:22,909 --> 00:24:26,289 IN FLORENCE, ERNEST WROTE HER SO MANY LETTERS, 421 00:24:26,430 --> 00:24:29,740 SHE URGED HIM TO SLOW DOWN, 422 00:24:29,916 --> 00:24:33,196 BUT SHE ALSO TOLD HIM SHE WAS LOST WITHOUT HIM, 423 00:24:33,333 --> 00:24:35,753 WISHED SHE COULD PUT HER ARMS AROUND HIM, 424 00:24:35,853 --> 00:24:37,823 DREAMED OF HIM EVERY NIGHT. 425 00:24:37,959 --> 00:24:41,579 "I SOMETIMES WISH WE COULD MARRY OVER HERE," SHE WROTE, 426 00:24:41,756 --> 00:24:45,476 AND SHE SIGNED SOME OF HER LETTERS "MRS. KID," 427 00:24:45,622 --> 00:24:52,212 BUT SHE SIGNED OTHERS SIMPLY, "YOURS TILL THE WAR IS OVER." 428 00:24:52,352 --> 00:24:54,422 TO FILL THE HOURS WHILE SHE WAS AWAY, 429 00:24:54,527 --> 00:24:56,767 ERNEST BEGAN TO WRITE A SHORT STORY 430 00:24:56,943 --> 00:24:59,813 ABOUT A HIDEOUSLY WOUNDED AMERICAN SOLDIER, 431 00:24:59,946 --> 00:25:04,016 WHO MUSES OVER THE MEDALS HE'D BEEN GIVEN FOR HIS HEROISM 432 00:25:04,157 --> 00:25:07,607 AND THE MEANINGLESS CITATION THAT ACCOMPANIED THEM 433 00:25:07,713 --> 00:25:12,793 AND THEN DECIDES TO KILL HIMSELF. 434 00:25:12,890 --> 00:25:15,620 BY THE TIME HEMINGWAY WAS FINALLY WELL ENOUGH TO SAIL 435 00:25:15,790 --> 00:25:19,620 FOR HOME IN EARLY 1919, THE WAR HAD ENDED, 436 00:25:19,725 --> 00:25:23,375 AND HE WAS DETERMINED, HE SAID, TO "MAKE THE WORLD SAFE 437 00:25:23,522 --> 00:25:25,632 FOR ERNEST HEMINGWAY." 438 00:25:25,731 --> 00:25:28,461 AS SOON AS HIS WRITING PROVIDED HIM WITH A LIVING, 439 00:25:28,561 --> 00:25:31,251 HE AND AGNES WOULD MARRY. 440 00:25:31,391 --> 00:25:35,501 NARRATOR: AS HEMINGWAY LIMPED DOWN THE GANGPLANK IN NEW YORK, 441 00:25:35,637 --> 00:25:37,737 A REPORTER FROM THE "NEW YORK SUN" 442 00:25:37,881 --> 00:25:39,401 WAS THERE TO MEET HIM. 443 00:25:39,538 --> 00:25:41,088 HE MADE THE FIRST OF THE HUNDREDS 444 00:25:41,229 --> 00:25:45,469 OF NATIONAL HEADLINES HE WOULD MAKE DURING HIS LIFETIME. 445 00:25:47,856 --> 00:25:51,516 HE RETURNED TO OAK PARK TO A HERO'S WELCOME. 446 00:25:51,653 --> 00:25:54,553 HE LOVED THE ADULATION, WAS DELIGHTED 447 00:25:54,691 --> 00:25:57,561 WHEN AN ITALIAN-AMERICAN DELEGATION CAME OUT 448 00:25:57,694 --> 00:26:00,524 FROM CHICAGO TO HIS MOTHER'S MUSIC ROOM 449 00:26:00,628 --> 00:26:05,488 TO HONOR HIM FOR HIS COURAGE UNTIL HIS TEETOTALING PARENTS-- 450 00:26:05,667 --> 00:26:08,327 APPALLED BY THE FREE-FLOWING WINE-- 451 00:26:08,497 --> 00:26:11,327 PUT A STOP TO SUCH VISITS. 452 00:26:11,431 --> 00:26:13,191 WHENEVER HE LEFT HIS PARENTS' HOUSE, 453 00:26:13,330 --> 00:26:14,850 HE WORE HIS UNIFORM, 454 00:26:14,952 --> 00:26:18,202 COMPLETE WITH A BLACK VELVET ITALIAN CAPE, 455 00:26:18,369 --> 00:26:20,129 AND HE APPEARED BEFORE LOCAL GROUPS, 456 00:26:20,268 --> 00:26:25,198 RETELLING AND EMBELLISHING HIS WAR STORIES FOR A FEE, 457 00:26:25,376 --> 00:26:27,026 THOUGH HE SAID HE HAD NOTHING BUT CONTEMPT 458 00:26:27,206 --> 00:26:32,176 FOR THOSE WHO WANTED TO BE "VICARIOUSLY HORRIFIED." 459 00:26:34,972 --> 00:26:37,732 BUT NOW HE CLAIMED, DESPITE HIS WOUNDS, 460 00:26:37,872 --> 00:26:40,912 HE'D MANAGED TO CARRY AN INJURED MAN TO SAFETY 461 00:26:41,047 --> 00:26:44,217 BEFORE COLLAPSING, AND HE LET HIS AUDIENCES BELIEVE 462 00:26:44,326 --> 00:26:47,396 THAT, ALTHOUGH HE STILL COULD NOT WALK WITHOUT A CANE, 463 00:26:47,571 --> 00:26:50,331 HE'D SOMEHOW BEEN ABLE TO RETURN TO THE FRONT 464 00:26:50,470 --> 00:26:54,370 AND FIGHT ALONGSIDE AN ELITE UNIT OF THE ITALIAN ARMY 465 00:26:54,474 --> 00:26:57,444 BEFORE THE SHOOTING STOPPED. 466 00:27:00,135 --> 00:27:02,025 MAN, AS HEMINGWAY: TO BE LISTENED TO AT ALL HE 467 00:27:02,206 --> 00:27:03,656 HAD TO LIE, 468 00:27:03,794 --> 00:27:05,554 AND AFTER HE HAD DONE THIS TWICE, 469 00:27:05,727 --> 00:27:08,387 HE, TOO, HAD A REACTION AGAINST THE WAR 470 00:27:08,557 --> 00:27:10,487 AND AGAINST TALKING ABOUT IT. 471 00:27:10,629 --> 00:27:13,249 A DISTASTE FOR EVERYTHING THAT HAD HAPPENED TO HIM 472 00:27:13,390 --> 00:27:15,740 IN THE WAR SET IN 473 00:27:15,841 --> 00:27:19,911 BECAUSE OF THE LIES HE HAD TOLD. 474 00:27:20,017 --> 00:27:22,947 NARRATOR: WHEN ERNEST WAS NOT MAKING PUBLIC APPEARANCES, 475 00:27:23,089 --> 00:27:26,089 HE WAS IN HIS THIRD-FLOOR BEDROOM UNDER THE EAVES, 476 00:27:26,265 --> 00:27:29,855 HUNCHED OVER AN OLD TYPEWRITER, WRITING WAR STORIES 477 00:27:29,993 --> 00:27:32,693 AND SENDING THEM OFF TO THE "SATURDAY EVENING POST" 478 00:27:32,823 --> 00:27:36,833 AND "REDBOOK," TRYING TO SHOW AGNES AND HIS PARENTS 479 00:27:36,965 --> 00:27:39,995 THAT HE COULD MAKE IT AS A WRITER. 480 00:27:40,141 --> 00:27:43,421 ALL THE STORIES WERE REJECTED. 481 00:27:43,592 --> 00:27:45,152 DESPITE THE BRAVADO WITH WHICH 482 00:27:45,284 --> 00:27:48,534 HE FACED HIS NEIGHBORS, HE HAD BEEN DEEPLY AFFECTED 483 00:27:48,667 --> 00:27:51,457 BY THE WAR AND BY HIS WOUNDING. 484 00:27:51,635 --> 00:27:54,875 AN OLD FRIEND WHO VISITED HIM THAT WINTER REMEMBERED 485 00:27:55,018 --> 00:27:58,678 THAT "HE CAME BACK FIGURATIVELY AS WELL AS LITERALLY 486 00:27:58,815 --> 00:28:00,365 SHOT TO PIECES." 487 00:28:00,506 --> 00:28:02,366 HE COULD NOT SLEEP WITHOUT A LIGHT 488 00:28:02,508 --> 00:28:04,538 BECAUSE HE HAD BEEN WOUNDED AT NIGHT 489 00:28:04,683 --> 00:28:06,823 AND HAD COME TO BELIEVE, HE WOULD WRITE, 490 00:28:06,961 --> 00:28:11,281 "THAT IF I EVER SHUT MY EYES IN THE DARK AND LET MYSELF GO, 491 00:28:11,448 --> 00:28:15,618 MY SOUL WOULD GO OUT OF MY BODY." 492 00:28:15,728 --> 00:28:18,318 HIS SISTER URSULA SOMETIMES SLEPT IN HIS ROOM 493 00:28:18,455 --> 00:28:20,215 TO SOOTHE HIS FEARS. 494 00:28:20,353 --> 00:28:24,983 ALL HIS LIFE, HE WOULD BE FRIGHTENED OF SLEEPING ALONE. 495 00:28:25,151 --> 00:28:28,641 HIS GREAT CONSOLATION WAS THAT AGNES WOULD SOON 496 00:28:28,741 --> 00:28:33,161 BE COMING HOME TO MARRY HIM. 497 00:28:33,332 --> 00:28:37,162 WOMAN, AS AGNES: MARCH 7, 1919. 498 00:28:37,336 --> 00:28:39,986 ERNIE, DEAR BOY, I AM WRITING THIS 499 00:28:40,097 --> 00:28:43,377 LATE AT NIGHT AFTER A LONG THINK BY MYSELF, 500 00:28:43,514 --> 00:28:45,764 AND I AM AFRAID IT IS GOING TO HURT YOU, 501 00:28:45,896 --> 00:28:49,306 BUT I'M SURE IT WON'T HARM YOU PERMANENTLY. 502 00:28:49,486 --> 00:28:51,106 FOR QUITE A WHILE BEFORE YOU LEFT, 503 00:28:51,246 --> 00:28:56,556 I WAS TRYING TO CONVINCE MYSELF IT WAS A REAL LOVE-AFFAIR, 504 00:28:56,700 --> 00:29:00,600 BUT NOW, AFTER A COUPLE OF MONTHS AWAY FROM YOU, 505 00:29:00,739 --> 00:29:03,189 I KNOW THAT I AM STILL VERY FOND OF YOU, 506 00:29:03,293 --> 00:29:06,953 BUT IT IS MORE AS A MOTHER THAN AS A SWEETHEART, 507 00:29:07,090 --> 00:29:08,680 AND I CAN'T GET AWAY FROM THE FACT 508 00:29:08,850 --> 00:29:12,340 THAT YOU'RE JUST A BOY, A KID. 509 00:29:14,200 --> 00:29:16,790 I EXPECT TO BE MARRIED SOON. 510 00:29:16,927 --> 00:29:19,207 AND I HOPE AND PRAY THAT AFTER YOU HAVE THOUGHT 511 00:29:19,309 --> 00:29:21,859 THINGS OUT, YOU'LL BE ABLE TO FORGIVE ME AND START 512 00:29:22,036 --> 00:29:26,486 A WONDERFUL CAREER AND SHOW WHAT A MAN YOU REALLY ARE. 513 00:29:26,626 --> 00:29:32,866 EVER ADMIRINGLY AND FONDLY, YOUR FRIEND, AGGIE. 514 00:29:32,978 --> 00:29:35,638 NARRATOR: ERNEST IMMEDIATELY WROTE TO BILL HORNE, 515 00:29:35,774 --> 00:29:38,854 A FRIEND FROM THE AMBULANCE SERVICE. 516 00:29:42,056 --> 00:29:45,056 MAN, AS HEMINGWAY: IT HAS HIT ME SO SUDDEN. 517 00:29:45,231 --> 00:29:47,201 SHE DOESN'T LOVE ME, BILL. 518 00:29:47,371 --> 00:29:49,061 SHE TAKES IT ALL BACK. 519 00:29:49,235 --> 00:29:54,375 A "MISTAKE," ONE OF THOSE LITTLE MISTAKES, YOU KNOW. 520 00:29:54,551 --> 00:29:56,241 OH, BILL, I CAN'T KID ABOUT IT 521 00:29:56,415 --> 00:29:58,445 BECAUSE I'M JUST SMASHED BY IT, 522 00:29:58,589 --> 00:29:59,899 BUT SHE DOESN'T LOVE ME NOW, BILL, 523 00:30:00,074 --> 00:30:03,424 AND SHE IS GOING TO MARRY SOMEONE ELSE, 524 00:30:03,594 --> 00:30:05,804 AND SHE HOPES THAT AFTER I HAVE FORGIVEN HER 525 00:30:05,942 --> 00:30:09,772 I WILL HAVE A WONDERFUL CAREER AND EVERYTHING, 526 00:30:09,911 --> 00:30:13,781 BUT, BILL, I DON'T WANT A WONDERFUL CAREER. 527 00:30:13,915 --> 00:30:17,185 ALL I WANTED WAS AG AND HAPPINESS, 528 00:30:17,332 --> 00:30:22,032 AND NOW THE BOTTOM HAS DROPPED OUT OF THE WHOLE WORLD. 529 00:30:22,165 --> 00:30:25,265 NARRATOR: HE DEVELOPED A FEVER, REFUSED TO SEE ANYONE, 530 00:30:25,444 --> 00:30:28,274 BEGAN DRINKING SECRETLY FROM BOTTLES OF LIQUEUR 531 00:30:28,378 --> 00:30:32,658 HE HID IN HIS BOOKCASE, STOPPED WRITING FOR A TIME. 532 00:30:32,796 --> 00:30:36,796 THERE SEEMED TO BE NO POINT. 533 00:30:36,904 --> 00:30:40,364 I DON'T KNOW HOW MUCH HE TRUSTED WOMEN AFTER THAT. 534 00:30:40,493 --> 00:30:42,363 I JUST DON'T, 535 00:30:42,495 --> 00:30:45,665 BUT I DO KNOW HE LOVED BEING IN LOVE. 536 00:30:48,777 --> 00:30:51,017 NARRATOR: HE'D BEEN A BIG-CITY NEWSPAPERMAN, 537 00:30:51,159 --> 00:30:54,649 HAD EXPERIENCED WAR AND NEARLY BEEN KILLED, 538 00:30:54,783 --> 00:30:56,863 HAD BEEN DISAPPOINTED IN LOVE 539 00:30:56,993 --> 00:31:00,483 AND SOMEHOW NOW FOUND HIMSELF BACK HOME, 540 00:31:00,582 --> 00:31:03,312 STILL BEING TREATED AS IF HE WERE A BOY, 541 00:31:03,413 --> 00:31:06,973 AS IF NONE OF IT HAD HAPPENED. 542 00:31:07,072 --> 00:31:09,182 KATAKIS: THINGS WERE OUT THERE. 543 00:31:09,315 --> 00:31:13,835 HE SEEMS TO HAVE BEEN HUNGRY FROM AN EARLY AGE, 544 00:31:13,975 --> 00:31:17,495 AND HE COULD NEVER HAVE BEEN IN MY OPINION, 545 00:31:17,668 --> 00:31:20,018 ESPECIALLY AFTER THE FIRST WORLD WAR, 546 00:31:20,154 --> 00:31:27,404 CONTAINED BY OAK PARK'S QUIET SUNDAYS AND PERFECT LAWNS. 547 00:31:27,540 --> 00:31:29,750 I THINK THAT WAS IMPOSSIBLE THEN. 548 00:31:29,888 --> 00:31:34,408 SO THAT, OF COURSE, LED TO A CONFLICT WITH HIS FAMILY, 549 00:31:34,547 --> 00:31:37,337 WHO FELT AFTER WAR YOU SHOULD BE 550 00:31:37,447 --> 00:31:40,547 WHAT THEY PERCEIVED YOU TO BE BEFORE YOU LEFT, 551 00:31:40,691 --> 00:31:42,521 BUT YOU'RE NO LONGER THE SAME PERSON. 552 00:31:42,624 --> 00:31:46,014 HE WAS NO LONGER THE SAME PERSON. 553 00:31:46,111 --> 00:31:49,561 NARRATOR: THE PAIN OF LOSING AGNES EVENTUALLY EASED. 554 00:31:49,700 --> 00:31:51,810 THAT SUMMER, ERNEST TOLD A FRIEND, 555 00:31:51,944 --> 00:31:55,884 HE UNDERWENT WHAT HE CALLED A "PROCESS OF CAUTERIZATION 556 00:31:55,983 --> 00:31:59,713 "IN WHICH COGNAC AND 2 OR 3 GIRLS I CARED NOTHING ABOUT 557 00:31:59,814 --> 00:32:04,684 BUT VIOLENTLY RUSHED TOOK THE PLACE OF THE RED IRON." 558 00:32:07,718 --> 00:32:11,688 HEMINGWAY EVENTUALLY RETURNED TO HIS TYPEWRITER THAT FALL, 559 00:32:11,860 --> 00:32:14,550 FIRST WRITING MORE STORIES IN A RENTED ROOM 560 00:32:14,725 --> 00:32:18,035 IN PETOSKEY, MICHIGAN, THEN IN TORONTO, 561 00:32:18,212 --> 00:32:21,282 WRITING FREELANCE PIECES FOR THE "DAILY STAR" 562 00:32:21,422 --> 00:32:25,742 AND "STAR WEEKLY" ABOUT FISHING AND CHICAGO GANGSTERS 563 00:32:25,840 --> 00:32:28,530 AND THE DANGERS OF ACCEPTING A FREE SHAVE 564 00:32:28,705 --> 00:32:31,185 AT A BARBER'S COLLEGE. 565 00:32:34,124 --> 00:32:36,754 BUT WHEN HE RETURNED TO HIS FAMILY AT WALLOON LAKE 566 00:32:36,920 --> 00:32:41,960 IN THE SUMMER OF 1920, THINGS WENT FROM BAD TO WORSE. 567 00:32:42,098 --> 00:32:45,238 HE SEEMED UNINTERESTED IN LOOKING FOR A STEADY JOB, 568 00:32:45,411 --> 00:32:47,481 SPOKE VAGUELY OF BOARDING A FREIGHTER 569 00:32:47,620 --> 00:32:49,310 AND SAILING AROUND THE WORLD 570 00:32:49,450 --> 00:32:53,800 AS ONE OF HIS FAVORITE WRITERS JACK LONDON HAD DONE. 571 00:32:53,937 --> 00:32:57,007 WHEN HIS MOTHER OBJECTED, HE SNAPPED AT HER. 572 00:32:57,147 --> 00:33:00,627 HIS FATHER EXHORTED HIM TO "SOFTEN YOUR TEMPER 573 00:33:00,771 --> 00:33:04,951 AND FEAR GOD AND RESPECT WOMAN." 574 00:33:05,052 --> 00:33:10,092 THINGS CAME TO A HEAD 6 DAYS AFTER HIS 21st BIRTHDAY. 575 00:33:10,264 --> 00:33:13,304 HE AND TWO OF HIS YOUNGER SISTERS JOINED FRIENDS, 576 00:33:13,439 --> 00:33:16,129 INCLUDING THEIR NEIGHBOR'S TEENAGE DAUGHTERS, 577 00:33:16,270 --> 00:33:20,930 AT A SECRET MOONLIGHT PARTY ACROSS THE LAKE. 578 00:33:21,102 --> 00:33:24,112 WHEN HIS MOTHER FOUND OUT ABOUT IT, SHE WAS FURIOUS. 579 00:33:24,209 --> 00:33:27,039 HE WAS OLD ENOUGH TO KNOW BETTER, SHE TOLD HIM. 580 00:33:27,177 --> 00:33:29,867 HE WAS CORRUPTING THE MORALS OF MINORS, 581 00:33:30,008 --> 00:33:33,528 HE WAS A DISGRACE TO HIS FAMILY. 582 00:33:33,666 --> 00:33:35,386 SHE HANDED HIM A LETTER ADDRESSED 583 00:33:35,530 --> 00:33:38,710 TO "MY DEAR SON ERNEST." 584 00:33:38,844 --> 00:33:41,644 IT BEGAN WITH A CATALOGUE OF THE SACRIFICES 585 00:33:41,812 --> 00:33:46,372 SHE SAID SHE HAD MADE FOR HIS BENEFIT. 586 00:33:46,507 --> 00:33:49,857 "A MOTHER'S LOVE," SHE TOLD HIM, WAS "LIKE A BANK." 587 00:33:49,993 --> 00:33:52,723 SHE HAD MADE ALL THE EARLY DEPOSITS-- 588 00:33:52,858 --> 00:33:55,788 THE PAIN OF CHILDBIRTH, THE SLEEPLESS NIGHTS, 589 00:33:55,895 --> 00:33:58,305 THE YEARS OF PATIENT UNDERSTANDING 590 00:33:58,415 --> 00:34:00,725 AND ENCOURAGEMENT, 591 00:34:00,866 --> 00:34:03,136 BUT NOW THAT "FULL MANHOOD" WAS HERE, 592 00:34:03,317 --> 00:34:09,147 IT WAS HIS TURN TO MAKE "DEPOSITS" OF HIS OWN, SHE SAID. 593 00:34:09,254 --> 00:34:11,674 WOMAN, AS GRACE: UNLESS YOU, MY SON, ERNEST, 594 00:34:11,773 --> 00:34:14,983 COME TO YOURSELF, CEASE YOUR LAZY LOAFING 595 00:34:15,156 --> 00:34:18,156 AND PLEASURE SEEKING-- BORROWING WITH NO THOUGHT 596 00:34:18,332 --> 00:34:19,752 OF RETURNING-- 597 00:34:19,885 --> 00:34:22,265 STOP TRYING TO GRAFT A LIVING OFF ANYBODY, 598 00:34:22,405 --> 00:34:26,195 AND EVERYBODY, SPENDING ALL YOUR EARNINGS 599 00:34:26,340 --> 00:34:30,690 LAVISHLY AND WASTEFULLY ON LUXURIES FOR YOURSELF-- 600 00:34:30,792 --> 00:34:33,352 STOP TRADING ON YOUR HANDSOME FACE 601 00:34:33,519 --> 00:34:36,699 TO FOOL LITTLE GULLIBLE GIRLS, 602 00:34:36,867 --> 00:34:39,417 AND NEGLECTING YOUR DUTIES TO GOD 603 00:34:39,560 --> 00:34:41,910 AND YOUR SAVIOR JESUS CHRIST, 604 00:34:42,045 --> 00:34:46,355 UNLESS, IN OTHER WORDS, YOU COME INTO YOUR MANHOOD, 605 00:34:46,532 --> 00:34:50,922 THERE IS NOTHING BEFORE YOU, BUT BANKRUPTCY. 606 00:34:51,054 --> 00:34:54,374 YOU HAVE OVERDRAWN. 607 00:34:54,540 --> 00:34:57,060 NARRATOR: ERNEST WAS TO LEAVE HOME, SHE SAID, 608 00:34:57,198 --> 00:34:59,958 AND NOT "COME BACK UNTIL YOUR TONGUE HAS LEARNED 609 00:35:00,098 --> 00:35:03,718 NOT TO INSULT AND SHAME YOUR MOTHER." 610 00:35:03,825 --> 00:35:05,895 "MAKES A GUY FEEL KIND OF ROTTEN," 611 00:35:06,034 --> 00:35:07,974 ERNEST TOLD A FRIEND, "TO KNOW THAT 612 00:35:08,106 --> 00:35:12,556 HE HASN'T ANY HOME, EVEN IF HE DOESN'T USE IT." 613 00:35:12,731 --> 00:35:16,391 HE AND HIS MOTHER WOULD EVENTUALLY RECONCILE, 614 00:35:16,562 --> 00:35:17,872 BUT HEMINGWAY'S ANTIPATHY 615 00:35:17,977 --> 00:35:20,767 TOWARD HER WOULD NEVER DISSIPATE, 616 00:35:20,911 --> 00:35:23,291 YET OF ALL HER CHILDREN, HE WOULD BECOME 617 00:35:23,431 --> 00:35:27,571 THE MOST LIKE HER-- OPINIONATED, JUDGMENTAL, 618 00:35:27,746 --> 00:35:32,406 CONTROLLING, SELF-DRAMATIZING. 619 00:35:32,509 --> 00:35:36,169 ERNEST MOVED TO CHICAGO, ROOMED WITH OLD FRIENDS, 620 00:35:36,306 --> 00:35:39,686 AND GOT TO KNOW THE CELEBRATED WRITER SHERWOOD ANDERSON, 621 00:35:39,827 --> 00:35:42,107 WHO BECAME SOMETHING OF A MENTOR. 622 00:35:42,243 --> 00:35:45,493 HEMINGWAY SUPPORTED HIMSELF WRITING AD COPY 623 00:35:45,626 --> 00:35:49,006 AND WORKED AWAY AT SHORT STORIES AT NIGHT. 624 00:35:49,147 --> 00:35:52,077 NO ONE SEEMED INTERESTED IN THEM. 625 00:35:52,184 --> 00:35:55,084 WOMAN: ALL WRITERS ARE NARCISSISTIC. 626 00:35:55,256 --> 00:35:56,976 THAT'S NOT THE SAME AS BEING A NARCISSIST, 627 00:35:57,120 --> 00:35:58,500 AS BEING A SOCIOPATH, 628 00:35:58,639 --> 00:36:00,989 BUT NO ONE CAN SIT IN A ROOM BY THEMSELVES 629 00:36:01,124 --> 00:36:04,684 12 HOURS A DAY, THINKING ABOUT WHAT THEY'RE THINKING 630 00:36:04,817 --> 00:36:06,607 AND NOT BE A LITTLE MORE SELF-FOCUSED 631 00:36:06,716 --> 00:36:08,166 THAN THE NORMAL PERSON. 632 00:36:08,304 --> 00:36:11,794 YOU'RE DEFINITELY ON THE FAR END OF THE BELL CURVE. 633 00:36:15,138 --> 00:36:18,488 WOMAN: OH, MR. HEMINGWAY, HOW I LOVE YOU. 634 00:36:18,624 --> 00:36:20,214 HOW EXCITING YOU ARE. 635 00:36:20,350 --> 00:36:22,900 HOW A LOT OF THINGS HAPPEN AROUND YOU, 636 00:36:23,042 --> 00:36:27,742 AND BESIDES ALL THAT, I LOVE YOU ANYWAY. 637 00:36:27,875 --> 00:36:30,185 HOW I LOVE THE WAY YOU LOVE ME, 638 00:36:30,326 --> 00:36:34,706 AND YOUR FLANNEL SHIRT SEEMS A STRANGELY BEAUTIFUL THING, 639 00:36:34,847 --> 00:36:37,297 AND IT SMELLS SO GOOD BESIDES. 640 00:36:37,471 --> 00:36:40,751 SOME DAY, IF I DON'T WATCH OUT, THERE'LL BE A POEM 641 00:36:40,888 --> 00:36:42,748 ON THE SMELL OF A CLEAN WHITE SHIRT 642 00:36:42,890 --> 00:36:45,550 THAT'LL RAISE UP THE HAIR ON THE DEAD. 643 00:36:45,686 --> 00:36:48,066 HADLEY RICHARDSON. 644 00:36:52,210 --> 00:36:54,660 NARRATOR: ONE OCTOBER EVENING IN 1920, 645 00:36:54,764 --> 00:36:57,664 HEMINGWAY ATTENDED A PARTY AT A FRIEND'S APARTMENT 646 00:36:57,836 --> 00:37:02,076 AND WAS INTRODUCED TO A VISITOR FROM ST. LOUIS. 647 00:37:02,220 --> 00:37:03,910 "THE MOMENT SHE ENTERED THE ROOM, 648 00:37:04,049 --> 00:37:05,979 AN INTENSE FEELING CAME OVER ME," 649 00:37:06,085 --> 00:37:08,495 HEMINGWAY REMEMBERED MANY YEARS LATER. 650 00:37:08,605 --> 00:37:13,195 "I KNEW SHE WAS THE GIRL I WAS GOING TO MARRY." 651 00:37:13,334 --> 00:37:16,374 ELIZABETH HADLEY RICHARDSON WAS 28, 652 00:37:16,510 --> 00:37:19,200 THE SHY PRODUCT OF A WELL-TO-DO FAMILY 653 00:37:19,340 --> 00:37:23,280 FAR MORE TENSE AND TROUBLED EVEN THAN HIS. 654 00:37:23,413 --> 00:37:27,423 HER ALCOHOLIC FATHER HAD SHOT HIMSELF WHEN SHE WAS 13. 655 00:37:27,555 --> 00:37:30,075 A BELOVED SISTER HAD BURNED TO DEATH. 656 00:37:30,213 --> 00:37:32,533 SHE HERSELF HAD SUFFERED A NERVOUS BREAKDOWN 657 00:37:32,629 --> 00:37:35,769 AT BRYN MAWR AND BEEN FORCED TO SPEND THE LAST 8 YEARS 658 00:37:35,908 --> 00:37:40,598 AT HOME, CARING FOR HER ERRATIC AND DOMINEERING MOTHER, 659 00:37:40,741 --> 00:37:43,711 SOMETIMES DRIVEN TO SUCH DESPAIR 660 00:37:43,813 --> 00:37:47,273 THAT HADLEY CONSIDERED SUICIDE. 661 00:37:47,403 --> 00:37:51,483 HER MOTHER HAD DIED JUST WEEKS BEFORE SHE MET HEMINGWAY. 662 00:37:51,614 --> 00:37:54,624 SHE WAS EAGER, SHE RECALLED, TO FIND SOMEONE 663 00:37:54,755 --> 00:37:59,345 WITH WHOM SHE COULD BEGIN TO BUILD A LIFE OF HER OWN. 664 00:38:03,557 --> 00:38:06,627 WOMAN, AS RICHARDSON: I NEED YOU IN EVERY PART OF MY LIFE. 665 00:38:06,767 --> 00:38:08,387 I WANT TO BE KISSED. 666 00:38:08,493 --> 00:38:10,393 I WANT TO PULL YOUR HEAD DOWN ON MY HEART 667 00:38:10,495 --> 00:38:13,145 AND HOLD IT VERY CLOSE AND CRADLE YOU THERE 668 00:38:13,291 --> 00:38:16,951 FOR HOURS, YOU BLESSED THING. 669 00:38:17,087 --> 00:38:23,437 LOVE YOU, LOVE YOU, YOUR OWNEST IN THE WORLD. 670 00:38:23,577 --> 00:38:26,577 NARRATOR: FALLING IN LOVE WITH HEMINGWAY, HADLEY SAID, 671 00:38:26,683 --> 00:38:30,483 WAS A "GREAT EXPLOSION INTO LIFE." 672 00:38:30,618 --> 00:38:33,408 WITHIN 6 WEEKS, HE WAS CALLING HER "HASH," 673 00:38:33,587 --> 00:38:36,307 AND THEY WERE TALKING OF MARRIAGE. 674 00:38:36,452 --> 00:38:39,282 THEY WOULD NOT ACTUALLY WED FOR NEARLY A YEAR 675 00:38:39,420 --> 00:38:42,110 AND WERE APART MOST OF THAT TIME, 676 00:38:42,216 --> 00:38:47,456 BUT THEY WROTE ONE ANOTHER ALMOST DAILY. 677 00:38:47,601 --> 00:38:49,641 MAN, AS HEMINGWAY: 'COURSE I LOVE YOU. 678 00:38:49,775 --> 00:38:51,665 I LOVE YOU ALL THE TIME. 679 00:38:51,812 --> 00:38:54,472 WHEN I WAKE UP IN THE MORNING AND HAVE TO CLIMB OUT OF BED 680 00:38:54,608 --> 00:38:57,678 AND SPLASH AROUND AND SHAVE, I LOOK AT YOUR PICTURE 681 00:38:57,818 --> 00:39:00,128 AND THINK ABOUT YOU, 682 00:39:00,303 --> 00:39:04,723 AND IN THE EVENING, IT'S TOO MUCH TO STAND. 683 00:39:04,859 --> 00:39:07,479 'NIGHT, MY DEAREST HASH. 684 00:39:07,621 --> 00:39:10,351 I'D LIKE TO HOLD YOU SO AND KISS YOU SO 685 00:39:10,486 --> 00:39:14,386 THAT YOU WOULDN'T DOUBT WHETHER I WANTED TO OR NOT. 686 00:39:14,524 --> 00:39:18,394 LOVE YOU--ERNESTO 687 00:39:18,528 --> 00:39:21,318 NARRATOR: HIS LOVE RESTORED HER SELF-CONFIDENCE 688 00:39:21,462 --> 00:39:24,092 AFTER YEARS OF SELF-DOUBT. 689 00:39:24,223 --> 00:39:26,783 "WE'RE THE SAME FIRM," SHE TOLD HIM. 690 00:39:26,950 --> 00:39:28,190 "THE WORLD'S A JAIL, 691 00:39:28,331 --> 00:39:30,821 AND WE'RE GONNA BREAK IT TOGETHER." 692 00:39:30,920 --> 00:39:35,650 HER CONFIDENCE IN HIM WOULD HELP HIM REALIZE HIS TALENT. 693 00:39:35,821 --> 00:39:39,761 WHEN ERNEST TOLD HADLEY HE NOW FELT READY TO START A NOVEL 694 00:39:39,894 --> 00:39:43,074 BASED UPON HIS OWN BOYHOOD WITH "REAL PEOPLE, 695 00:39:43,208 --> 00:39:45,588 TALKING AND SAYING WHAT THEY THINK," 696 00:39:45,728 --> 00:39:49,418 SHE SENT HIM A NEW CORONA TYPEWRITER. 697 00:39:49,559 --> 00:39:51,909 FROM THE FIRST, SHE SEEMED TO UNDERSTAND 698 00:39:52,044 --> 00:39:53,844 WHAT HE WAS TRYING TO DO. 699 00:39:53,943 --> 00:39:57,333 SHE LOVED IT THAT HIS STYLE "ELIMINATED EVERYTHING 700 00:39:57,498 --> 00:40:01,638 EXCEPT WHAT IS NECESSARY AND STRENGTHENING"... 701 00:40:04,609 --> 00:40:06,709 BUT AS THEIR WEDDING DAY APPROACHED, 702 00:40:06,852 --> 00:40:11,372 ANXIETY AND DEPRESSION AGAIN ENVELOPED HIM. 703 00:40:11,512 --> 00:40:14,452 HE LOST WEIGHT, WORRIED THAT MARRIED LIFE 704 00:40:14,584 --> 00:40:16,934 MIGHT NOT BE FOR HIM AFTER ALL 705 00:40:17,069 --> 00:40:20,999 OR THAT HADLEY WOULD BETRAY HIM THE WAY AGNES HAD. 706 00:40:21,108 --> 00:40:23,698 HE GREW DARKER AND DARKER. 707 00:40:23,869 --> 00:40:29,879 HE HINTED TO HADLEY THAT HE WAS CONSIDERING SUICIDE. 708 00:40:29,979 --> 00:40:32,219 WOMAN, AS RICHARDSON: I KNOW HOW IT FEELS 'CAUSE I HAVE 709 00:40:32,326 --> 00:40:35,916 SO VERY MANY TIMES WANTED TO GO AND COULDN'T 710 00:40:36,054 --> 00:40:39,614 ON ACCOUNT OF THE MESS I'D LEAVE SOME OTHER PEOPLE IN, 711 00:40:39,747 --> 00:40:44,647 BUT REMEMBER IT WOULD KILL ME TO ALL INTENTS AND PURPOSES. 712 00:40:44,787 --> 00:40:49,717 DON'T EVER GET CONFUSED WHEN SUCH A MOMENT COMES. 713 00:40:49,861 --> 00:40:51,411 YOU GOTTA LIVE-- 714 00:40:51,552 --> 00:40:55,632 FIRST FOR YOU AND THEN FOR MY HAPPINESS. 715 00:40:55,763 --> 00:41:00,083 YOU MUSTN'T FEEL SO HORRIBLY, DEAR ERN. 716 00:41:00,250 --> 00:41:03,530 I'M ARRIVING SATURDAY TO LOVE YOU CLOSER. 717 00:41:05,601 --> 00:41:09,811 NARRATOR: ON SATURDAY AFTERNOON, SEPTEMBER 3, 1921, 718 00:41:09,950 --> 00:41:13,230 IN A METHODIST CHURCH NOT FAR FROM THE FAMILY COTTAGE 719 00:41:13,332 --> 00:41:16,272 ON WALLOON LAKE, HADLEY RICHARDSON 720 00:41:16,404 --> 00:41:22,274 BECAME MRS. ERNEST HEMINGWAY. 721 00:41:22,410 --> 00:41:36,980 ♪ 722 00:41:37,115 --> 00:41:39,835 MAN, AS HEMINGWAY: JANUARY 1922. 723 00:41:39,980 --> 00:41:42,330 DEAR FAMILY, HASH JUST CAME IN 724 00:41:42,465 --> 00:41:44,605 AND SAYS TO SEND LOTS OF LOVE TO YOU 725 00:41:44,709 --> 00:41:46,779 AND TELL YOU ABOUT OUR APARTMENT. 726 00:41:46,952 --> 00:41:50,512 IT IS AT 74 RUE DU CARDINAL LEMOINE 727 00:41:50,646 --> 00:41:53,816 AND IS THE JOLLIEST PLACE YOU EVER SAW. 728 00:41:53,959 --> 00:41:57,519 WE RENTED IT FURNISHED FOR 250 FRANCS A MONTH, 729 00:41:57,653 --> 00:41:58,963 ABOUT $18. 730 00:41:59,068 --> 00:42:01,798 IT IS THE MOST COMFORTABLE AND CHEAPEST WAY TO LIVE, 731 00:42:01,967 --> 00:42:04,627 AND HASH HAS A PIANO, AND WE HAVE ALL OUR PICTURES 732 00:42:04,798 --> 00:42:08,218 UP ON THE WALLS AND AN OPEN FIREPLACE. 733 00:42:08,353 --> 00:42:10,153 IT IS ON TOP OF A HIGH HILL 734 00:42:10,320 --> 00:42:13,430 IN THE VERY OLDEST PART OF PARIS. 735 00:42:13,565 --> 00:42:16,495 NARRATOR: THE NEWLY-WED HEMINGWAYS' FIRST REAL HOME 736 00:42:16,637 --> 00:42:20,187 WAS A FOURTH-FLOOR WALKUP IN THE LATIN QUARTER. 737 00:42:20,330 --> 00:42:22,540 EACH EVENING, ACCORDION MUSIC DRIFTED UP 738 00:42:22,678 --> 00:42:25,818 FROM THE WORKING-MAN'S DANCE-HALL NEXT DOOR. 739 00:42:25,922 --> 00:42:28,482 HIS FRIEND AND MENTOR SHERWOOD ANDERSON 740 00:42:28,580 --> 00:42:31,830 HAD PERSUADED ERNEST THAT FOR A YOUNG WRITER 741 00:42:31,997 --> 00:42:34,337 PARIS WAS THE PLACE TO BE. 742 00:42:34,517 --> 00:42:37,757 ONE COULD LIVE CHEAPLY THERE, AND THE LEFT BANK TEEMED 743 00:42:37,900 --> 00:42:42,180 WITH REVOLUTIONARY ARTISTS AND WRITERS FROM EVERYWHERE-- 744 00:42:42,318 --> 00:42:45,668 PABLO PICASSO AND JOAN MIR Ó; 745 00:42:45,770 --> 00:42:48,880 IGOR STRAVINSKY AND ERIK SATIE; 746 00:42:49,014 --> 00:42:53,614 JAMES JOYCE AND GERTRUDE STEIN, WHO REMEMBERED PARIS 747 00:42:53,743 --> 00:42:58,963 AS "THE PLACE WHERE THE 20th CENTURY WAS." 748 00:42:59,093 --> 00:43:03,203 ERNEST WAS JUST 22 YEARS OLD, WORKING AS A CORRESPONDENT 749 00:43:03,339 --> 00:43:05,129 FOR THE "TORONTO STAR," 750 00:43:05,272 --> 00:43:08,032 OTHERWISE UNPUBLISHED AND UNKNOWN, 751 00:43:08,206 --> 00:43:11,376 BUT SHERWOOD ANDERSON HAD WRITTEN LETTERS OF INTRODUCTION 752 00:43:11,485 --> 00:43:15,445 TO 3 INFLUENTIAL FRIENDS, GENEROUSLY DESCRIBING HIM 753 00:43:15,593 --> 00:43:17,973 AS A "QUITE WONDERFUL NEWSPAPERMAN" 754 00:43:18,112 --> 00:43:21,912 WHOSE "EXTRAORDINARY TALENT" WAS SURE TO TAKE HIM 755 00:43:22,047 --> 00:43:25,087 FAR BEYOND JOURNALISM. 756 00:43:25,223 --> 00:43:26,573 VAILL: HE'S TALL. 757 00:43:26,707 --> 00:43:28,917 HE IS AS HANDSOME AS A MOVIE STAR. 758 00:43:29,054 --> 00:43:31,234 HE HAS DIMPLES. 759 00:43:31,332 --> 00:43:35,472 HE HAS A SWASHBUCKLING QUALITY TO HIM, 760 00:43:35,613 --> 00:43:38,133 BUT HE HAS THIS KIND OF MIDWESTERN SWEETNESS 761 00:43:38,270 --> 00:43:39,760 AT THE SAME TIME. 762 00:43:39,893 --> 00:43:42,103 THE FACT IS THAT IF HE WOULD WALK INTO A ROOM 763 00:43:42,240 --> 00:43:45,380 PEOPLE LOVED HIM THE MINUTE THEY SAW HIM, 764 00:43:45,553 --> 00:43:47,423 AND THAT GIVES YOU A KIND OF CONFIDENCE 765 00:43:47,555 --> 00:43:50,725 THAT YOU CAN DO ANYTHING. 766 00:43:50,904 --> 00:43:53,084 NARRATOR: SHERWOOD ANDERSON'S FRIENDS DID 767 00:43:53,182 --> 00:43:55,082 WHAT THEY COULD FOR THE NEWCOMER. 768 00:43:55,184 --> 00:43:59,084 THE FIRST WAS THE AMERICAN EXPATRIATE POET EZRA POUND. 769 00:43:59,257 --> 00:44:02,667 HE WAS WELL-CONNECTED IN AVANT-GARDE LITERARY CIRCLES 770 00:44:02,812 --> 00:44:07,442 AND TALKED ERNEST UP TO EVERY MAGAZINE EDITOR HE KNEW. 771 00:44:07,541 --> 00:44:10,611 GERTRUDE STEIN PRESIDED OVER A SALON AT THE HOME 772 00:44:10,751 --> 00:44:14,481 SHE SHARED WITH HER PARTNER ALICE B. TOKLAS. 773 00:44:14,617 --> 00:44:17,277 ART COLLECTOR, AVANT-GARDE WRITER, 774 00:44:17,378 --> 00:44:20,238 CHAMPION OF MODERNISM IN ALL ITS FORMS, 775 00:44:20,416 --> 00:44:22,306 SHE TOOK A LIKING TO THE HANDSOME, 776 00:44:22,452 --> 00:44:24,632 EAGER YOUNG VISITOR WITH WHAT SHE REMEMBERED 777 00:44:24,765 --> 00:44:29,695 AS "DARK LUMINOUS EYES" AND "A FLASHING SMILE." 778 00:44:29,839 --> 00:44:32,769 SHE LIKED HIS TERSE, DECLARATIVE STYLE, TOO, 779 00:44:32,946 --> 00:44:36,706 AND OFFERED ENCOURAGEMENT AND USEFUL ADVICE. 780 00:44:36,846 --> 00:44:40,296 "MISS STEIN HAD DISCOVERED MANY TRUTHS ABOUT RHYTHMS 781 00:44:40,470 --> 00:44:42,780 AND THE USES OF WORDS IN REPETITION," 782 00:44:42,887 --> 00:44:45,677 HEMINGWAY REMEMBERED, THAT ECHOED THE COUNTERPOINT 783 00:44:45,821 --> 00:44:50,961 HE'D FIRST ENCOUNTERED IN THE MUSIC OF BACH. 784 00:44:51,136 --> 00:44:56,066 STEIN ALSO INTRODUCED HIM TO THE WORLD OF MODERN ART. 785 00:44:56,210 --> 00:44:59,590 HE WAS ESPECIALLY DRAWN TO THE WORK OF PAUL C ÉZANNE, 786 00:44:59,731 --> 00:45:03,421 WHO PAINTED THE SAME SUBJECTS OVER AND OVER AGAIN, 787 00:45:03,562 --> 00:45:06,152 BUILDING UP EACH IMAGE FROM THOUSANDS 788 00:45:06,255 --> 00:45:09,045 OF REPETITIVE BRUSH STROKES. 789 00:45:09,189 --> 00:45:12,229 MAN: C ÉZANNE--HE'S TRYING TO BREAK DOWN 790 00:45:12,364 --> 00:45:13,994 NORMAL HABITS OF SEEING, 791 00:45:14,090 --> 00:45:17,060 AND I THINK THAT'S WHAT HEMINGWAY LIKED. 792 00:45:17,197 --> 00:45:23,377 THE GREAT ENEMY FOR HEMINGWAY IS BOREDOM AND ROUTINE 793 00:45:23,513 --> 00:45:26,593 AND ANYTHING ACCUSTOMED, 794 00:45:26,724 --> 00:45:30,664 AND I THINK HE SAW IN C ÉZANNE A MODEL FOR TAKING 795 00:45:30,762 --> 00:45:32,382 THE SAME THING OVER AND OVER, 796 00:45:32,522 --> 00:45:33,872 LANDSCAPE, LANDSCAPE, LANDSCAPE, 797 00:45:34,007 --> 00:45:36,037 THE SAME MOUNTAIN, THE SAME MOUNTAIN, 798 00:45:36,181 --> 00:45:39,501 AND RENDERING IT NEW 799 00:45:39,667 --> 00:45:42,357 BY LOOKING AT IT IN DIFFERENT WAYS, 800 00:45:42,463 --> 00:45:45,713 AND I THINK THAT'S THE MODEL FOR HIM. 801 00:45:45,881 --> 00:45:49,261 NARRATOR: SYLVIA BEACH BECAME HEMINGWAY'S FRIEND, TOO. 802 00:45:49,401 --> 00:45:51,021 SHE RAN SHAKESPEARE AND COMPANY, 803 00:45:51,196 --> 00:45:56,026 A BOOKSTORE AND LENDING LIBRARY, AT 12 RUE DE L'ODEON. 804 00:45:56,201 --> 00:45:57,931 SYLVIA BEACH: HE CAME INTO MY SHOP, 805 00:45:58,065 --> 00:46:01,335 AND HE HAD AN INTRODUCTION FROM SHERWOOD ANDERSON, 806 00:46:01,448 --> 00:46:02,968 BUT HE DIDN'T GIVE THAT. 807 00:46:03,105 --> 00:46:04,685 HE'D FORGOTTEN TO BRING IT, AND HE DIDN'T NEED IT 808 00:46:04,796 --> 00:46:06,896 BECAUSE I THOUGHT HE WAS SO INTERESTING, 809 00:46:07,040 --> 00:46:11,250 AND HE SAID, "WOULD YOU LIKE TO SEE MY WOUNDS?" 810 00:46:11,389 --> 00:46:12,599 AND I SAID, "YES, INDEED," 811 00:46:12,735 --> 00:46:15,385 AND HE TOOK OFF HIS SHOE AND HIS SOCK 812 00:46:15,496 --> 00:46:17,356 AND SHOWED ME ALL THESE DREADFUL SCARS 813 00:46:17,464 --> 00:46:19,544 ON HIS LEG AND FOOT, 814 00:46:19,638 --> 00:46:23,058 AND THEN WE BECAME GREAT FRIENDS. 815 00:46:23,228 --> 00:46:24,948 NARRATOR: SHAKESPEARE AND COMPANY WAS 816 00:46:25,092 --> 00:46:28,542 A GATHERING PLACE FOR EXPATRIATE ARTISTS AND WRITERS. 817 00:46:28,716 --> 00:46:30,576 HEMINGWAY CHARMED THEM ALL, 818 00:46:30,684 --> 00:46:34,414 INCLUDING THE IRISH WRITER JAMES JOYCE, 819 00:46:34,515 --> 00:46:37,305 WHOSE DARINGLY EXPLICIT NOVEL "ULYSSES" 820 00:46:37,449 --> 00:46:40,799 SYLVIA BEACH HAD JUST PUBLISHED, 821 00:46:40,936 --> 00:46:43,416 AND HE SET OUT TO EDUCATE HIMSELF, 822 00:46:43,593 --> 00:46:48,083 BORROWING BOOKS FROM HER SHOP BY D.H. LAWRENCE, TURGENEV, 823 00:46:48,253 --> 00:46:52,433 DOSTOEVSKY, TOLSTOY. 824 00:46:52,602 --> 00:46:55,472 MAN, AS HEMINGWAY: FEBRUARY 14, 1922. 825 00:46:55,605 --> 00:46:58,155 WE KNOW A GOOD BATCH OF PEOPLE NOW IN PARIS 826 00:46:58,298 --> 00:47:00,708 AND IF WE ALLOWED IT WOULD HAVE ALL OUR TIME 827 00:47:00,852 --> 00:47:03,862 TAKEN UP SOCIALLY, BUT I AM WORKING VERY HARD, 828 00:47:03,993 --> 00:47:07,453 AND WE KEEP PLENTY OF TIME TO OURSELVES. 829 00:47:07,548 --> 00:47:11,098 PARIS IS SO VERY BEAUTIFUL THAT IT SATISFIES SOMETHING 830 00:47:11,207 --> 00:47:14,657 IN YOU THAT IS ALWAYS HUNGRY IN AMERICA. 831 00:47:17,179 --> 00:47:18,799 NARRATOR: FOR THE REST OF HIS LIFE, 832 00:47:18,939 --> 00:47:21,629 HEMINGWAY WOULD INSIST THAT HE AND HADLEY 833 00:47:21,735 --> 00:47:26,015 HAD BEEN VIRTUALLY PENNILESS WHEN THEY LIVED IN PARIS. 834 00:47:26,153 --> 00:47:27,643 THEY WERE NOT. 835 00:47:27,810 --> 00:47:31,610 BESIDES HIS SALARY, SHE HAD AN INHERITANCE. 836 00:47:31,710 --> 00:47:33,400 "WE ALWAYS HAD MONEY FOR ANYTHING 837 00:47:33,540 --> 00:47:36,340 WE REALLY WANTED TO DO," HADLEY REMEMBERED, 838 00:47:36,474 --> 00:47:40,654 "AND WE ALWAYS HAD MONEY FOR WHISKEY." 839 00:47:40,754 --> 00:47:42,964 THE FIRST YEAR OF THEIR MARRIAGE CONSTITUTED 840 00:47:43,136 --> 00:47:47,996 A SORT OF EXTENDED HONEYMOON-- EXPLORING PARIS, TREKKING, 841 00:47:48,141 --> 00:47:53,701 FISHING, SKIING, BOBSLEDDING IN THE ALPS. 842 00:47:53,836 --> 00:47:55,666 CUSHMAN: ONE OF THE THINGS ABOUT HIM IS THAT 843 00:47:55,803 --> 00:47:58,193 HE'S COMMITTED TO TRAVEL. 844 00:47:58,323 --> 00:47:59,983 HE LIKES, I THINK, MORE THAN ANYTHING, 845 00:48:00,153 --> 00:48:03,983 TO BE A FOREIGNER, A STRANGER IN A STRANGE LAND. 846 00:48:04,157 --> 00:48:07,567 EVERYTHING IS HEIGHTENED, AND TASTE IS HEIGHTENED, 847 00:48:07,712 --> 00:48:12,032 VISION IS HEIGHTENED, SMELLS ARE HEIGHTENED. 848 00:48:12,165 --> 00:48:15,055 NARRATOR: HEMINGWAY WROTE ABOUT EVERYTHING-- 849 00:48:15,202 --> 00:48:18,172 PARIS NIGHTLIFE AND GERMAN MANNERS, 850 00:48:18,274 --> 00:48:22,734 FASCISM AND COMMUNISM AND WOMEN'S HATS-- 851 00:48:22,865 --> 00:48:26,895 ALWAYS WITH A WEARY, INSIDER'S TONE REMARKABLE 852 00:48:27,042 --> 00:48:30,842 FOR A YOUNG MAN IN HIS EARLY TWENTIES, 853 00:48:30,942 --> 00:48:33,012 AND WHENEVER HE COULD FIND THE TIME, 854 00:48:33,117 --> 00:48:35,527 HE WORKED ON SHORT STORIES AND THE NOVEL 855 00:48:35,671 --> 00:48:38,541 HE HAD BEGUN IN CHICAGO. 856 00:48:38,708 --> 00:48:42,778 SOMETIMES, HE TOOK HADLEY ALONG ON ASSIGNMENT FOR THE "STAR"-- 857 00:48:42,920 --> 00:48:44,680 TO ITALY, WHERE HE SHOWED HER THE PLACE 858 00:48:44,783 --> 00:48:46,653 WHERE HE'D BEEN WOUNDED, 859 00:48:46,785 --> 00:48:49,545 TO THE BLACK FOREST FOR TROUT FISHING, 860 00:48:49,650 --> 00:48:51,760 ABOARD A PIONEERING PASSENGER FLIGHT 861 00:48:51,894 --> 00:48:54,864 FROM PARIS TO STRASBOURG-- 862 00:48:55,035 --> 00:48:57,615 BUT MORE OFTEN, HE TRAVELED ALONE, 863 00:48:57,762 --> 00:49:00,212 GETTING TO KNOW HIS FELLOW REPORTERS, 864 00:49:00,385 --> 00:49:04,455 COVERING AN INTERNATIONAL ECONOMIC CONFERENCE AT GENOA, 865 00:49:04,596 --> 00:49:07,496 RIOTS IN COLOGNE, 866 00:49:07,634 --> 00:49:11,054 AND IN THE AUTUMN OF 1922, OPEN WARFARE 867 00:49:11,155 --> 00:49:15,565 BETWEEN GREECE AND TURKEY THAT SEEMED FOR A TIME 868 00:49:15,711 --> 00:49:20,581 TO THREATEN A NEW WORLD WAR. 869 00:49:20,750 --> 00:49:23,410 HE STOOD AND WATCHED AS A 20-MILE COLUMN 870 00:49:23,581 --> 00:49:26,581 OF GREEK REFUGEES PASSED SLOWLY BY 871 00:49:26,722 --> 00:49:31,242 IN FLIGHT FROM THE TURKISH ARMY. 872 00:49:31,347 --> 00:49:33,827 MAN, AS HEMINGWAY: IT IS A SILENT PROCESSION. 873 00:49:33,971 --> 00:49:35,771 NOBODY EVEN GRUNTS. 874 00:49:35,903 --> 00:49:39,183 IT IS ALL THEY CAN DO TO KEEP MOVING. 875 00:49:39,321 --> 00:49:42,771 THEIR BRILLIANT PEASANT COSTUMES ARE SOAKED AND DRAGGLED. 876 00:49:42,945 --> 00:49:46,735 CHICKENS DANGLE BY THEIR FEET FROM THE CARTS. 877 00:49:46,914 --> 00:49:49,264 AN OLD MAN MARCHES UNDER A YOUNG PIG, 878 00:49:49,365 --> 00:49:52,265 A SCYTHE AND A GUN, WITH A CHICKEN TIED 879 00:49:52,368 --> 00:49:53,988 TO HIS SCYTHE. 880 00:49:54,129 --> 00:49:57,029 A HUSBAND SPREADS A BLANKET OVER A WOMAN IN LABOR 881 00:49:57,166 --> 00:50:00,786 IN ONE OF THE CARTS TO KEEP OFF THE DRIVING RAIN. 882 00:50:00,894 --> 00:50:04,524 SHE IS THE ONLY PERSON MAKING A SOUND. 883 00:50:04,656 --> 00:50:06,756 HER LITTLE DAUGHTER LOOKS AT HER IN HORROR 884 00:50:06,865 --> 00:50:09,445 AND BEGINS TO CRY. 885 00:50:09,627 --> 00:50:12,077 AND THE PROCESSION KEEPS MOVING. 886 00:50:15,115 --> 00:50:17,805 NARRATOR: LATER, HEMINGWAY JOINED OTHER REPORTERS 887 00:50:17,980 --> 00:50:21,230 AT LAUSANNE, SWITZERLAND, WHERE EUROPEAN STATESMEN 888 00:50:21,363 --> 00:50:24,883 WERE TRYING TO STOP THE FIGHTING. 889 00:50:25,022 --> 00:50:27,302 ONE OF THE REPORTERS WITH WHOM HEMINGWAY DRANK 890 00:50:27,403 --> 00:50:31,653 EACH EVENING WAS THE VETERAN CORRESPONDENT LINCOLN STEFFENS. 891 00:50:31,752 --> 00:50:34,762 STEFFENS WAS IMPRESSED BY THE PIECE ERNEST HAD WRITTEN 892 00:50:34,893 --> 00:50:37,973 ABOUT THE GREEK REFUGEES AND ASKED IF HE COULD SEE 893 00:50:38,069 --> 00:50:40,589 MORE OF THE YOUNG MAN'S WRITING. 894 00:50:40,727 --> 00:50:44,177 SO WHEN ERNEST ASKED HADLEY TO JOIN HIM IN SWITZERLAND, 895 00:50:44,317 --> 00:50:48,047 SHE DECIDED TO BRING ALONG HIS WORK. 896 00:50:48,183 --> 00:50:52,153 ON DECEMBER 2, 1922, SHE PACKED INTO A VALISE 897 00:50:52,256 --> 00:50:54,806 ALL THE MANUSCRIPTS SHE COULD FIND AND TOOK 898 00:50:54,982 --> 00:50:58,162 A TAXI TO THE GARE DE LYON. 899 00:50:58,262 --> 00:51:01,682 A PORTER CARRIED THE VALISE ONTO A TRAIN. 900 00:51:01,851 --> 00:51:05,341 WHEN SHE GOT TO HER COMPARTMENT, IT WASN'T THERE. 901 00:51:09,169 --> 00:51:13,099 THE FIRST CHAPTERS OF HIS NOVEL WERE LOST. 902 00:51:13,242 --> 00:51:16,902 SO WERE SEVERAL SHORT STORIES. 903 00:51:17,039 --> 00:51:19,179 HADLEY WEPT ALL THE WAY TO LAUSANNE 904 00:51:19,283 --> 00:51:22,083 AND WHEN SHE GOT THERE COULD BARELY BRING HERSELF 905 00:51:22,217 --> 00:51:27,217 TO TELL HER HUSBAND WHAT HAD HAPPENED. 906 00:51:27,360 --> 00:51:29,220 MAN, AS HEMINGWAY: SHE HAD CRIED AND CRIED 907 00:51:29,362 --> 00:51:30,982 AND COULD NOT TELL ME. 908 00:51:31,122 --> 00:51:33,372 I TOLD HER THAT NO MATTER WHAT THE DREADFUL THING WAS 909 00:51:33,538 --> 00:51:37,018 THAT HAD HAPPENED NOTHING COULD BE THAT BAD, 910 00:51:37,197 --> 00:51:40,197 AND WHATEVER IT WAS, IT WAS ALL RIGHT 911 00:51:40,304 --> 00:51:41,684 AND NOT TO WORRY. 912 00:51:41,857 --> 00:51:44,097 WE WOULD WORK IT OUT. 913 00:51:46,068 --> 00:51:48,858 NARRATOR: BUT THEY DID NOT REALLY WORK IT OUT. 914 00:51:49,036 --> 00:51:50,616 HEMINGWAY WAS ANGRY. 915 00:51:50,762 --> 00:51:52,902 HE'D LOST, HE CLAIMED TO A FRIEND, 916 00:51:53,040 --> 00:51:56,150 "EVERYTHING I'VE DONE FOR TWO YEARS." 917 00:51:56,285 --> 00:51:58,905 HE WOULD HAVE TO START ALL OVER AGAIN, 918 00:51:59,012 --> 00:52:02,222 THOUGH IN FACT, SOME WRITING SURVIVED. 919 00:52:02,395 --> 00:52:04,845 HE WAS FURTHER SHAKEN SEVERAL WEEKS LATER 920 00:52:04,983 --> 00:52:07,573 WHEN HADLEY TOLD HIM SHE WAS PREGNANT. 921 00:52:07,710 --> 00:52:09,920 HE WAS JUST 23. 922 00:52:10,092 --> 00:52:14,132 "I AM TOO YOUNG TO BE A FATHER," HE TOLD GERTRUDE STEIN, 923 00:52:14,269 --> 00:52:18,889 AND HE SAID IT, SHE REMEMBERED "WITH REAL BITTERNESS." 924 00:52:24,762 --> 00:52:27,772 MAN, AS HEMINGWAY: I WAS TRYING TO LEARN TO WRITE, 925 00:52:27,868 --> 00:52:30,178 COMMENCING WITH THE SIMPLEST THINGS, 926 00:52:30,319 --> 00:52:32,249 AND ONE OF THE SIMPLEST THINGS OF ALL 927 00:52:32,425 --> 00:52:36,285 AND THE MOST FUNDAMENTAL IS VIOLENT DEATH, 928 00:52:36,429 --> 00:52:39,089 SO I WENT TO SPAIN TO SEE BULLFIGHTS 929 00:52:39,190 --> 00:52:42,440 AND TO TRY TO WRITE ABOUT THEM FOR MYSELF. 930 00:52:42,538 --> 00:52:45,608 [CROWD CHEERING, HOOFBEATS] 931 00:52:45,714 --> 00:52:50,554 I THOUGHT THEY WOULD BE SIMPLE AND BARBAROUS AND CRUEL 932 00:52:50,684 --> 00:52:52,624 AND THAT I WOULD NOT LIKE THEM, 933 00:52:52,721 --> 00:52:55,551 BUT THAT I WOULD SEE CERTAIN DEFINITE ACTION 934 00:52:55,689 --> 00:52:58,619 WHICH WOULD GIVE ME THE FEELING OF LIFE AND DEATH 935 00:52:58,727 --> 00:53:01,797 THAT I WAS WORKING FOR. 936 00:53:01,902 --> 00:53:04,772 WOMAN: HE TALKED ABOUT SEEING HIS FIRST BULL. 937 00:53:04,871 --> 00:53:06,111 HE HAD A FRONT-ROW SEAT. 938 00:53:06,217 --> 00:53:08,457 HE COULD SEE THE BULL VERY WELL, 939 00:53:08,633 --> 00:53:11,023 AND HE SAID HE WAS STRUCK BY THE POWER OF IT 940 00:53:11,153 --> 00:53:13,783 AND THE SIZE OF IT, 941 00:53:13,880 --> 00:53:17,190 THIS NATURAL STRENGTH OF IT. 942 00:53:17,332 --> 00:53:20,132 I THINK MAYBE SOME OF THAT SPOKE TO HIM BECAUSE 943 00:53:20,300 --> 00:53:22,200 HE HAD POWER AND NATURAL STRENGTH, 944 00:53:22,337 --> 00:53:25,477 AND HE WAS A FORCE OF NATURE, TOO, 945 00:53:25,581 --> 00:53:30,171 AND THAT'S WHAT AN ARTIST DOES WITH HIS SUBJECT MATTER. 946 00:53:30,310 --> 00:53:32,310 WITH YOUR STRENGTH, WITH YOUR WILL, 947 00:53:32,416 --> 00:53:35,136 WITH YOUR SKILLS, YOU GO IN, 948 00:53:35,246 --> 00:53:37,136 AND YOU CONTROL THE SUBJECT MATTER, 949 00:53:37,317 --> 00:53:39,527 AND YOU MAKE SOMETHING BEAUTIFUL FROM IT. 950 00:53:39,664 --> 00:53:42,324 [CROWD CHEERING] 951 00:53:42,426 --> 00:53:45,946 NARRATOR: HEMINGWAY FELL IN LOVE WITH SPAIN. 952 00:53:46,084 --> 00:53:48,674 HE WAS SURE, HE WROTE, THAT BULLFIGHTING 953 00:53:48,846 --> 00:53:52,016 "WILL MAKE FINE STORIES SOMEDAY. 954 00:53:52,194 --> 00:53:55,234 "IT'S JUST LIKE HAVING A RINGSIDE SEAT AT THE WAR 955 00:53:55,370 --> 00:53:58,510 WITH NOTHING GOING TO HAPPEN TO YOU." 956 00:53:58,614 --> 00:54:01,414 HADLEY REMEMBERED SITTING IN THE STANDS, 957 00:54:01,548 --> 00:54:03,208 STITCHING BABY CLOTHES, 958 00:54:03,309 --> 00:54:08,179 "EMBROIDERING IN THE PRESENCE OF ALL THAT BRUTALITY." 959 00:54:11,558 --> 00:54:13,248 MAN, AS HEMINGWAY: TORONTO, CANADA, 960 00:54:13,388 --> 00:54:16,628 NOVEMBER 7, 1923. 961 00:54:16,770 --> 00:54:20,910 THE BABY HAS TAKEN TO SQUALLING AND IS A FINE NUISANCE. 962 00:54:21,050 --> 00:54:22,740 I SUPPOSE HE WILL YELL HIS HEAD OFF 963 00:54:22,880 --> 00:54:24,920 FOR THE NEXT 2 OR 3 YEARS. 964 00:54:25,054 --> 00:54:27,714 IT SEEMS HIS ONLY FORM OF ENTERTAINMENT. 965 00:54:27,885 --> 00:54:31,405 NO ONE GETS AS MUCH PLEASURE OUT OF IT AS HE DOES. 966 00:54:31,544 --> 00:54:34,444 NARRATOR: JOHN HADLEY NICANOR HEMINGWAY WAS BORN 967 00:54:34,581 --> 00:54:40,071 IN TORONTO ON OCTOBER 10, 1923. 968 00:54:40,242 --> 00:54:43,042 "NICANOR" WAS IN HONOR OF A SPANISH BULLFIGHTER 969 00:54:43,141 --> 00:54:46,141 HEMINGWAY ESPECIALLY ADMIRED. 970 00:54:46,283 --> 00:54:48,603 HADLEY NICKNAMED THE BABY "BUMBY" 971 00:54:48,733 --> 00:54:51,743 BECAUSE, SHE SAID, "OF THE ROUND, SOLID FEEL 972 00:54:51,840 --> 00:54:54,570 OF HIM," IN HER ARMS. 973 00:54:54,670 --> 00:54:56,880 THE HEMINGWAYS HAD COME BACK TO NORTH AMERICA 974 00:54:56,983 --> 00:54:58,953 EARLIER THAT YEAR. 975 00:54:59,088 --> 00:55:01,228 ERNEST THOUGHT HE SHOULD HAVE A STEADY JOB 976 00:55:01,401 --> 00:55:03,961 AT LEAST FOR THE BABY'S FIRST YEAR, 977 00:55:04,093 --> 00:55:06,163 AND THE "TORONTO STAR" WAS EAGER TO HAVE 978 00:55:06,303 --> 00:55:10,653 THEIR TALENTED CORRESPONDENT BACK IN THE HOME OFFICE, 979 00:55:10,790 --> 00:55:13,100 BUT HE CAME TO HATE HIS EDITOR, 980 00:55:13,206 --> 00:55:16,416 LOATHED THE CUB REPORTER ASSIGNMENTS HE WAS GIVEN, 981 00:55:16,520 --> 00:55:19,590 COULD FIND NO TIME TO WRITE FOR HIMSELF, 982 00:55:19,695 --> 00:55:23,345 AND LONGED FOR PARIS, WHERE, HE TOLD HIS SISTER, 983 00:55:23,492 --> 00:55:27,152 "THERE ARE FEW BATH TUBS, NO ELECTRIC FIXTURES, 984 00:55:27,289 --> 00:55:31,189 "BUT VERY NEARLY ALL THE CHARM, ALL THE GOOD FOOD, 985 00:55:31,328 --> 00:55:35,258 AND MOST OF THE GOOD PEOPLE IN THE WORLD." 986 00:55:37,610 --> 00:55:41,650 IN FEBRUARY, 1924, AFTER LESS THAN 4 MONTHS, 987 00:55:41,786 --> 00:55:46,196 THEY RETURNED TO PARIS AND MOVED INTO A SECOND-FLOOR APARTMENT 988 00:55:46,343 --> 00:55:52,633 ABOVE A NOISY SAWMILL AT 113 RUE NOTRE-DAME-DES-CHAMPS. 989 00:55:52,797 --> 00:55:56,347 "WE LIVED AS SAVAGES AND KEPT OUR OWN TRIBAL RULES," 990 00:55:56,491 --> 00:55:59,491 HEMINGWAY WROTE, "AND HAD OUR OWN CUSTOMS 991 00:55:59,632 --> 00:56:05,152 AND OUR OWN STANDARDS, SECRETS, TABOOS, AND DELIGHTS." 992 00:56:05,258 --> 00:56:09,498 HADLEY CUT HER HAIR SHORT, AND HE GREW HIS LONG 993 00:56:09,642 --> 00:56:11,952 UNTIL THEY MATCHED. 994 00:56:14,474 --> 00:56:17,654 ERNEST HAD ALSO DECIDED TO ABANDON JOURNALISM 995 00:56:17,753 --> 00:56:22,033 IN ORDER TO DO THE KIND OF WRITING HE WANTED TO DO. 996 00:56:24,277 --> 00:56:27,347 "IN NEWSPAPER WORK," HE WOULD EVENTUALLY EXPLAIN, 997 00:56:27,522 --> 00:56:30,732 "YOU HAVE TO LEARN TO FORGET EVERY DAY WHAT HAPPENED 998 00:56:30,870 --> 00:56:32,350 "THE DAY BEFORE. 999 00:56:32,492 --> 00:56:35,432 "NEWSPAPER WORK IS VALUABLE UP UNTIL THE POINT 1000 00:56:35,564 --> 00:56:39,914 THAT IT FORCIBLY BEGINS TO DESTROY YOUR MEMORY." 1001 00:56:40,051 --> 00:56:41,711 WOLFF: WHAT DID HE SAY ONCE? 1002 00:56:41,846 --> 00:56:46,126 A WRITER MUST COME TO HIS WORK LIKE A PRIEST TO THE ALTAR, 1003 00:56:46,264 --> 00:56:48,034 AND HE HAD THAT SENSE OF THE SACRED 1004 00:56:48,163 --> 00:56:49,753 ABOUT HIS VOCATION. 1005 00:56:49,889 --> 00:56:52,199 HE REALLY DID. HE WENT TO WORK, 1006 00:56:52,374 --> 00:56:55,104 AND I WOULD SAY THE COURAGE THAT HE SHOWED IN THE WAR 1007 00:56:55,239 --> 00:56:56,929 DOESN'T COMPARE TO ME TO THE COURAGE 1008 00:56:57,068 --> 00:56:59,588 HE SHOWED IN HIS WRITING LIFE. 1009 00:57:01,556 --> 00:57:03,556 NARRATOR: WITH THE HELP OF SYMPATHETIC FRIENDS, 1010 00:57:03,696 --> 00:57:06,796 HEMINGWAY WOULD PUBLISH TWO SLENDER BOOKS, 1011 00:57:06,940 --> 00:57:11,190 "THREE STORIES & TEN POEMS" AND "IN OUR TIME". 1012 00:57:11,358 --> 00:57:13,148 THEY MEANT THE WORLD TO HEMINGWAY, 1013 00:57:13,291 --> 00:57:16,541 BUT ONLY A VERY FEW COPIES WERE PRINTED. 1014 00:57:16,709 --> 00:57:20,989 HEMINGWAY'S PARENTS ORDERED 6 COPIES OF "IN OUR TIME." 1015 00:57:21,127 --> 00:57:24,367 HIS SISTER REMEMBERED THAT WHEN HIS FATHER READ A STORY 1016 00:57:24,475 --> 00:57:26,475 ABOUT A WAR VETERAN, WHO HAS BEEN JILTED 1017 00:57:26,615 --> 00:57:30,135 BY A NURSE NAMED AG AND CONTRACTS GONORRHEA 1018 00:57:30,274 --> 00:57:33,074 FROM A SALESGIRL, HE WROTE TO HIS SON 1019 00:57:33,208 --> 00:57:35,308 THAT THE BOOK WAS FILTH. 1020 00:57:35,452 --> 00:57:38,732 NO GENTLEMAN EVER MENTIONED A VENEREAL DISEASE 1021 00:57:38,834 --> 00:57:41,564 OUTSIDE A DOCTOR'S OFFICE. 1022 00:57:41,665 --> 00:57:45,245 HIS MOTHER HAD HOPED HE MIGHT BECOME AN ARTIST 1023 00:57:45,392 --> 00:57:49,332 BUT NOT THIS KIND. 1024 00:57:49,466 --> 00:57:53,436 ANOTHER STORY WAS SO DARING, THAT EVEN GERTRUDE STEIN 1025 00:57:53,608 --> 00:57:58,028 HAD TOLD HEMINGWAY IT WAS TOO OBSCENE TO BE PUBLISHED. 1026 00:57:58,164 --> 00:58:03,134 IT WAS CALLED "UP IN MICHIGAN." 1027 00:58:03,272 --> 00:58:04,652 KATAKIS: I THINK "UP IN MICHIGAN" 1028 00:58:04,791 --> 00:58:08,241 IS VERY IMPORTANT BECAUSE, FIRST OF ALL, 1029 00:58:08,346 --> 00:58:10,936 HE IS SAYING THERE ARE NO BOUNDARIES. 1030 00:58:11,108 --> 00:58:14,108 "I'M GOING TO WRITE WITH NO BOUNDARIES, NO RESTRICTIONS. 1031 00:58:14,283 --> 00:58:17,183 "I'M NOT GOING TO LISTEN TO YOU, POLITE WORLD. 1032 00:58:17,321 --> 00:58:20,121 "I'M GOING TO WHAT I THINK IS TRUE, 1033 00:58:20,289 --> 00:58:22,599 "BUT I'M GOING TO SEE IT FROM THE POINT OF VIEW 1034 00:58:22,775 --> 00:58:25,325 OF THE WOMAN." 1035 00:58:25,467 --> 00:58:28,297 NARRATOR: LIZ COATES IS A TEEN-AGED GIRL WORKING 1036 00:58:28,435 --> 00:58:30,915 IN A BOARDING HOUSE IN THE TINY TOWN 1037 00:58:31,093 --> 00:58:32,793 OF HORTONS BAY. 1038 00:58:32,888 --> 00:58:35,788 AMONG THE BOARDERS IS A HANDSOME YOUNG BLACKSMITH 1039 00:58:35,960 --> 00:58:38,690 NAMED JIM GILMORE. 1040 00:58:38,825 --> 00:58:44,175 ONE EVENING, THEY GO DOWN TO THE DOCK. 1041 00:58:44,313 --> 00:58:47,353 MAN, AS HEMINGWAY: "DON'T, JIM," LIZ SAID. 1042 00:58:47,489 --> 00:58:50,319 JIM SLID THE HAND FURTHER UP. 1043 00:58:50,457 --> 00:58:52,107 "YOU MUSTN'T, JIM. 1044 00:58:52,218 --> 00:58:54,288 YOU MUSTN'T." 1045 00:58:54,461 --> 00:58:56,461 NEITHER JIM NOR JIM'S BIG HAND PAID 1046 00:58:56,567 --> 00:58:58,287 ANY ATTENTION TO HER. 1047 00:58:58,465 --> 00:59:00,325 THE BOARDS WERE HARD. 1048 00:59:00,467 --> 00:59:02,297 JIM HAD HER DRESS UP AND WAS TRYING TO DO 1049 00:59:02,469 --> 00:59:04,469 SOMETHING TO HER. 1050 00:59:04,644 --> 00:59:07,164 SHE WAS FRIGHTENED, BUT SHE WANTED IT. 1051 00:59:07,336 --> 00:59:11,026 SHE HAD TO HAVE IT, BUT IT FRIGHTENED HER. 1052 00:59:11,168 --> 00:59:13,858 "YOU MUSTN'T DO IT, JIM. YOU MUSTN'T." 1053 00:59:13,998 --> 00:59:16,688 "I GOT TO. I'M GOING TO. 1054 00:59:16,829 --> 00:59:19,309 YOU KNOW WE GOT TO." 1055 00:59:19,417 --> 00:59:22,897 "NO WE HAVEN'T, JIM. WE AIN'T GOT TO. 1056 00:59:23,042 --> 00:59:24,422 "OH, IT ISN'T RIGHT. 1057 00:59:24,561 --> 00:59:27,151 "OH, IT'S SO BIG, AND IT HURTS SO. 1058 00:59:27,322 --> 00:59:28,842 "YOU CAN'T. 1059 00:59:28,979 --> 00:59:30,429 "OH, JIM. 1060 00:59:30,567 --> 00:59:33,357 JIM. OH." 1061 00:59:36,020 --> 00:59:41,680 O'BRIEN: I THINK MANY WOMEN FEEL, AND, INDEED, 1062 00:59:41,785 --> 00:59:49,375 UM, BROADCAST THE IDEA THAT HEMINGWAY HATED WOMEN 1063 00:59:49,516 --> 00:59:53,866 AND WROTE ADVERSELY ALWAYS ABOUT THEM. 1064 00:59:54,004 --> 00:59:56,284 THIS ISN'T TRUE. 1065 00:59:56,420 --> 00:59:58,770 "THE HEMLOCK PLANKS OF THE DOCK WERE HARD 1066 00:59:58,905 --> 01:00:00,795 "AND SPLINTERY AND COLD, 1067 01:00:00,942 --> 01:00:04,912 "AND JIM WAS HEAVY ON HER, AND HE HAD HURT HER. 1068 01:00:05,049 --> 01:00:06,399 "LIZ PUSHED HIM. 1069 01:00:06,533 --> 01:00:09,093 "SHE WAS SO UNCOMFORTABLE AND CRAMPED. 1070 01:00:09,226 --> 01:00:11,536 "JIM WAS ASLEEP. HE WOULDN'T MOVE. 1071 01:00:11,642 --> 01:00:13,822 "SHE WORKED OUT FROM UNDER HIM 1072 01:00:13,955 --> 01:00:17,885 "AND SAT UP AND STRAIGHTENED HER SKIRT AND COAT 1073 01:00:17,993 --> 01:00:21,483 "AND TRIED TO DO SOMETHING WITH HER HAIR. 1074 01:00:21,618 --> 01:00:24,658 "JIM WAS SLEEPING WITH HIS MOUTH A LITTLE OPEN. 1075 01:00:24,793 --> 01:00:28,073 "LIZ LEANED OVER AND KISSED HIM ON THE CHEEK. 1076 01:00:28,210 --> 01:00:29,590 "HE WAS STILL ASLEEP. 1077 01:00:29,729 --> 01:00:33,319 "SHE LIFTED HIS HEAD A LITTLE AND SHOOK IT. 1078 01:00:33,457 --> 01:00:36,007 "HE ROLLED HIS HEAD OVER AND SWALLOWED. 1079 01:00:36,149 --> 01:00:38,319 "LIZ STARTED TO CRY. 1080 01:00:38,462 --> 01:00:40,572 "SHE WALKED OVER TO THE EDGE OF THE DOCK 1081 01:00:40,671 --> 01:00:43,431 "AND LOOKED DOWN TO THE WATER. 1082 01:00:43,536 --> 01:00:46,086 "THERE WAS A MIST COMING UP FROM THE BAY. 1083 01:00:46,263 --> 01:00:53,413 SHE WAS COLD AND MISERABLE AND EVERYTHING FELT GONE." 1084 01:00:53,580 --> 01:00:58,860 NOW, I WOULD ASK, UM, HIS DETRACTORS, 1085 01:00:59,000 --> 01:01:03,110 FEMALE OR MALE, JUST TO READ THAT STORY, 1086 01:01:03,280 --> 01:01:08,460 AND COULD YOU IN ALL HONOR SAY THAT THIS WAS A WRITER 1087 01:01:08,595 --> 01:01:12,355 WHO DIDN'T UNDERSTAND WOMEN'S EMOTIONS 1088 01:01:12,496 --> 01:01:13,666 AND WHO HATED WOMEN? 1089 01:01:13,808 --> 01:01:16,638 YOU COULDN'T. NOBODY COULD. 1090 01:01:16,776 --> 01:01:19,156 KATAKIS: THIS IS ABOUT DATE RAPE. 1091 01:01:19,296 --> 01:01:24,466 HE WAS DRILLING DOWN DEEPER INTO THOSE DARK SIDES OF US, 1092 01:01:24,611 --> 01:01:28,441 AND MANY PEOPLE DIDN'T WANT TO SEE THAT, 1093 01:01:28,615 --> 01:01:31,065 LIKE HIS PARENTS, LIKE MS. STEIN, 1094 01:01:31,204 --> 01:01:34,144 LIKE SO MANY OTHER PEOPLE. 1095 01:01:34,242 --> 01:01:36,902 HE WAS UNCONCERNED WITH THAT, 1096 01:01:37,038 --> 01:01:42,178 AND I THINK AT THE END THAT'S WHAT MAKES HIM AN ARTIST. 1097 01:01:42,319 --> 01:01:44,319 NARRATOR: THE CRITIC EDMUND WILSON 1098 01:01:44,424 --> 01:01:46,674 PRAISED HEMINGWAY FOR WRITING PROSE 1099 01:01:46,806 --> 01:01:49,666 OF "THE FIRST DISTINCTION" AND FOR PROVIDING 1100 01:01:49,809 --> 01:01:52,469 "A HARROWING RECORD OF THE BARBARITIES 1101 01:01:52,570 --> 01:01:57,020 OF THE PERIOD IN WHICH WE LIVE." 1102 01:01:57,161 --> 01:01:59,821 FULL-TIME WRITING WASN'T EASY. 1103 01:01:59,923 --> 01:02:01,343 THE BABY CRIED. 1104 01:02:01,441 --> 01:02:04,341 FRIENDS DROPPED IN, DAY AND NIGHT. 1105 01:02:04,513 --> 01:02:07,073 MAN, AS HEMINGWAY: SOMETIMES WHEN I WAS STARTING A NEW STORY 1106 01:02:07,206 --> 01:02:10,896 AND I COULD NOT GET IT GOING, I WOULD STAND AND LOOK OUT 1107 01:02:11,037 --> 01:02:15,277 OVER THE ROOFS OF PARIS AND THINK, "DO NOT WORRY. 1108 01:02:15,421 --> 01:02:20,531 "YOU HAVE ALWAYS WRITTEN BEFORE, AND YOU WILL WRITE NOW. 1109 01:02:20,702 --> 01:02:24,432 "ALL YOU HAVE TO DO IS WRITE ONE TRUE SENTENCE. 1110 01:02:25,914 --> 01:02:30,024 WRITE THE TRUEST SENTENCE THAT YOU KNOW." 1111 01:02:30,125 --> 01:02:33,265 SO FINALLY I WOULD WRITE ONE TRUE SENTENCE 1112 01:02:33,404 --> 01:02:36,824 AND THEN GO ON FROM THERE. 1113 01:02:36,960 --> 01:02:40,140 IT WAS EASY THEN BECAUSE THERE WAS ALWAYS ONE TRUE SENTENCE 1114 01:02:40,273 --> 01:02:45,213 THAT YOU KNEW OR HAD SEEN OR HEARD SOMEONE SAY. 1115 01:02:45,382 --> 01:02:47,732 IF I STARTED TO WRITE ELABORATELY 1116 01:02:47,867 --> 01:02:51,077 OR LIKE SOMEONE INTRODUCING OR PRESENTING SOMETHING, 1117 01:02:51,215 --> 01:02:54,215 I FOUND THAT I COULD CUT THAT SCROLLWORK OR ORNAMENT OUT 1118 01:02:54,322 --> 01:02:57,392 AND THROW IT AWAY AND START WITH THE FIRST TRUE, 1119 01:02:57,566 --> 01:03:01,046 SIMPLE DECLARATIVE SENTENCE I HAD WRITTEN 1120 01:03:01,225 --> 01:03:04,495 AND THEN GO ON FROM THERE. 1121 01:03:04,642 --> 01:03:08,412 KATAKIS: THE SHORT STORIES MEAN MORE TO ME NOW 1122 01:03:08,543 --> 01:03:11,133 BECAUSE IT IS A YOUNG MAN 1123 01:03:11,270 --> 01:03:14,760 AT THE BEGINNING OF HIS ADVENTURE. 1124 01:03:14,894 --> 01:03:18,424 HE'S HUNGRY, HE'S EXCITED, HIS OBSERVATIONS 1125 01:03:18,553 --> 01:03:21,563 ARE LIKE A HAWK. 1126 01:03:21,728 --> 01:03:23,728 HE'S FEELING EVERYTHING. 1127 01:03:23,903 --> 01:03:26,113 HE'S ANTICIPATING EVERYTHING. 1128 01:03:26,250 --> 01:03:30,430 HE'S TRYING TO MAKE EVERYTHING GO HIS WAY. 1129 01:03:30,565 --> 01:03:34,115 IT'S TERRIBLY EXCITING. 1130 01:03:34,258 --> 01:03:36,918 VAILL: IF HE WERE A CAMERA, HE WOULD BE COMING IN 1131 01:03:37,020 --> 01:03:39,160 FOR EXTREME CLOSEUP ALL THE TIME. 1132 01:03:39,298 --> 01:03:41,848 HE'S COMING IN, IN, IN AT IT, 1133 01:03:41,990 --> 01:03:46,680 AND EVERY LITTLE DETAIL SUDDENLY IS VERY, VERY BIG. 1134 01:03:46,823 --> 01:03:49,553 IT'S NOT LIKE THE WAY 19th CENTURY WRITERS 1135 01:03:49,687 --> 01:03:51,447 WOULD WRITE, WHICH WAS VERY PANORAMIC, 1136 01:03:51,620 --> 01:03:53,480 WHERE THE CAMERA IS SET WAY, WAY BACK, 1137 01:03:53,622 --> 01:03:56,972 AND YOU SEE A GIANT EXPANSE OF EXPERIENCE, 1138 01:03:57,109 --> 01:04:00,219 AND YET HE'S REALLY UP CLOSE AT IT. 1139 01:04:00,353 --> 01:04:03,123 YOU CAN SEE EVERY PORE IN EVERYBODY'S SKIN 1140 01:04:03,218 --> 01:04:08,468 WHEN HE'S WRITING, AND THIS IS EXTREMELY EXCITING. 1141 01:04:08,568 --> 01:04:11,298 NARRATOR: DURING THE FIRST 6 MONTHS OF 1924, 1142 01:04:11,468 --> 01:04:14,848 HEMINGWAY WROTE MORE STORIES, HOPING TO INCLUDE THEM 1143 01:04:14,989 --> 01:04:20,129 IN A NEW AND EXPANDED COLLECTION OF "IN OUR TIME." 1144 01:04:20,235 --> 01:04:24,545 CUSHMAN: "IN OUR TIME" JUST REARRANGED THE GEOGRAPHY 1145 01:04:24,688 --> 01:04:28,758 OF WHAT WAS POSSIBLE FOR A LOT OF PEOPLE WRITING IN ENGLISH. 1146 01:04:28,899 --> 01:04:32,139 WHEN I GO BACK TO THAT BOOK AND TRY TO FORGET ABOUT 1147 01:04:32,247 --> 01:04:35,797 WHO HE BECAME, I'M JUST BLOWN AWAY. 1148 01:04:35,906 --> 01:04:39,526 THAT BOOK, IT TAKES THE TOP OF YOUR HEAD OFF. 1149 01:04:39,668 --> 01:04:41,218 NARRATOR: THE BOOK WOULD EVENTUALLY INCLUDE 1150 01:04:41,360 --> 01:04:46,710 15 STORIES SEPARATED BY BRIEF, ITALICIZED VIGNETTES 1151 01:04:46,848 --> 01:04:50,988 BASED ON THINGS HEMINGWAY HAD SEEN OR BEEN TOLD ABOUT-- 1152 01:04:51,163 --> 01:04:55,723 REFUGEES, A DYING BULLFIGHTER, A HANGING, 1153 01:04:55,857 --> 01:05:00,167 AND THE WAR HE HAD EXPERIENCED IN ITALY. 1154 01:05:00,275 --> 01:05:03,445 O'BRIEN: THERE'S SOMETHING ABOUT THESE SHORT PIECES 1155 01:05:03,589 --> 01:05:07,209 THAT ARE IMMORTAL IN MY OPINION. 1156 01:05:07,351 --> 01:05:11,491 I THINK THEY'RE ABSOLUTE MIRACLES OF PROSE, 1157 01:05:11,597 --> 01:05:15,387 OF DESCRIPTION, OF EVOCATION, 1158 01:05:15,532 --> 01:05:21,192 AND OF, THE MOST IMPORTANT THING OF ALL, BEING THERE. 1159 01:05:21,296 --> 01:05:23,706 THEY TAKE YOU THERE. 1160 01:05:26,301 --> 01:05:27,921 MAN, AS HEMINGWAY: WHILE THE BOMBARDMENT 1161 01:05:28,062 --> 01:05:30,862 WAS KNOCKING THE TRENCH TO PIECES AT FOSSALTA, 1162 01:05:31,030 --> 01:05:33,760 HE LAY VERY FLAT AND SWEATED AND PRAYED, 1163 01:05:33,895 --> 01:05:37,795 "O JESUS CHRIST GET ME OUT OF HERE. 1164 01:05:37,934 --> 01:05:41,734 "DEAR JESUS, PLEASE GET ME OUT. 1165 01:05:41,868 --> 01:05:44,978 "CHRIST PLEASE PLEASE PLEASE CHRIST. 1166 01:05:45,113 --> 01:05:46,913 "IF YOU'LL ONLY KEEP ME FROM GETTING KILLED, 1167 01:05:47,046 --> 01:05:48,946 "I'LL DO ANYTHING YOU SAY. 1168 01:05:49,083 --> 01:05:51,123 "I BELIEVE IN YOU, AND I'LL TELL EVERYONE 1169 01:05:51,257 --> 01:05:54,467 "IN THE WORLD THAT YOU ARE THE ONLY ONE THAT MATTERS. 1170 01:05:54,605 --> 01:05:58,705 PLEASE PLEASE DEAR JESUS." 1171 01:06:02,096 --> 01:06:05,436 THE SHELLING MOVED FURTHER UP THE LINE. 1172 01:06:05,582 --> 01:06:07,892 WE WENT TO WORK ON THE TRENCH, 1173 01:06:07,998 --> 01:06:09,858 AND IN THE MORNING, THE SUN CAME UP, 1174 01:06:10,000 --> 01:06:14,040 AND THE DAY WAS HOT AND MUGGY AND CHEERFUL AND QUIET. 1175 01:06:17,180 --> 01:06:19,110 THE NEXT NIGHT BACK AT MESTRE, HE DID NOT TELL THE GIRL 1176 01:06:19,251 --> 01:06:25,291 HE WENT UPSTAIRS WITH AT THE VILLA ROSSA ABOUT JESUS. 1177 01:06:25,429 --> 01:06:28,779 AND HE NEVER TOLD ANYBODY. 1178 01:06:28,950 --> 01:06:32,820 MAN: IT'S THE BETRAYAL OF A PROMISE THAT APPEALS TO ME. 1179 01:06:32,954 --> 01:06:35,274 I THINK WE ALL DO IT IN PETTY WAYS THROUGHOUT OUR LIVES. 1180 01:06:35,370 --> 01:06:39,100 "GET ME THROUGH THE CRISIS, AND I'LL CHANGE MY WAYS," 1181 01:06:39,271 --> 01:06:43,791 AND IT DOESN'T HAPPEN IN THIS STORY. 1182 01:06:43,965 --> 01:06:47,035 NARRATOR: HALF THE STORIES IN "IN OUR TIME" FEATURE 1183 01:06:47,175 --> 01:06:52,485 NICK ADAMS, A CHARACTER WHO IS VERY LIKE THE YOUNG HEMINGWAY. 1184 01:06:52,629 --> 01:06:56,499 IN "INDIAN CAMP," HE IS A LITTLE BOY WHO ACCOMPANIES 1185 01:06:56,633 --> 01:06:59,463 HIS PHYSICIAN FATHER ACROSS A LAKE 1186 01:06:59,567 --> 01:07:01,497 TO AN ENCAMPMENT, WHERE A WOMAN 1187 01:07:01,638 --> 01:07:05,228 HAS BEEN IN LABOR FOR TWO DAYS. 1188 01:07:05,366 --> 01:07:08,126 PURE HORROR FOLLOWS. 1189 01:07:08,231 --> 01:07:10,891 AS THE BOY LOOKS ON, HIS FATHER PERFORMS 1190 01:07:11,027 --> 01:07:14,647 AN EMERGENCY CAESARIAN SECTION BY LAMP LIGHT, 1191 01:07:14,754 --> 01:07:17,694 USING A JACKKNIFE AND SUTURING THE WOUND 1192 01:07:17,826 --> 01:07:22,726 WITH FISHING LINE, ALL WITHOUT ANESTHETIC. 1193 01:07:22,866 --> 01:07:25,316 WHEN NICK ASKS HIS FATHER IF HE CAN'T DO SOMETHING 1194 01:07:25,489 --> 01:07:32,149 ABOUT HER SCREAMS, HE ANSWERS "THEY ARE NOT IMPORTANT." 1195 01:07:32,324 --> 01:07:34,884 AFTERWARDS, THE FATHER OF THE CHILD, 1196 01:07:35,016 --> 01:07:37,876 APPARENTLY UNABLE TO ENDURE HIS HELPLESSNESS 1197 01:07:38,019 --> 01:07:40,569 DURING HIS WIFE'S ORDEAL, IS FOUND 1198 01:07:40,711 --> 01:07:43,891 TO HAVE SLIT HIS OWN THROAT. 1199 01:07:46,338 --> 01:07:47,888 MAN, AS HEMINGWAY: "DO LADIES ALWAYS HAVE 1200 01:07:48,029 --> 01:07:51,339 SUCH A HARD TIME HAVING BABIES?" NICK ASKED. 1201 01:07:51,515 --> 01:07:55,585 "NO, THAT WAS VERY, VERY EXCEPTIONAL." 1202 01:07:55,726 --> 01:07:58,726 "WHY DID HE KILL HIMSELF, DADDY?" 1203 01:07:58,867 --> 01:08:00,557 "I DON'T KNOW, NICK. 1204 01:08:00,697 --> 01:08:03,697 HE COULDN'T STAND THINGS, I GUESS." 1205 01:08:03,872 --> 01:08:06,672 "DO MANY MEN KILL THEMSELVES, DADDY?" 1206 01:08:06,841 --> 01:08:08,711 "NOT VERY MANY, NICK." 1207 01:08:08,843 --> 01:08:10,603 "DO MANY WOMEN?" 1208 01:08:10,741 --> 01:08:12,611 "HARDLY EVER." 1209 01:08:12,743 --> 01:08:14,543 "DON'T THEY EVER?" 1210 01:08:14,642 --> 01:08:17,712 "OH, YES. THEY DO SOMETIMES." 1211 01:08:17,852 --> 01:08:20,652 "IS DYING HARD, DADDY?" 1212 01:08:20,786 --> 01:08:24,066 "NO, I THINK IT'S PRETTY EASY, NICK. 1213 01:08:24,203 --> 01:08:26,343 IT ALL DEPENDS." 1214 01:08:28,966 --> 01:08:31,796 THEY WERE SEATED IN THE BOAT, NICK IN THE STERN, 1215 01:08:31,935 --> 01:08:34,315 HIS FATHER ROWING. 1216 01:08:34,455 --> 01:08:37,385 THE SUN WAS COMING UP OVER THE HILLS. 1217 01:08:37,561 --> 01:08:41,291 A BASS JUMPED, MAKING A CIRCLE IN THE WATER. 1218 01:08:41,427 --> 01:08:43,947 NICK TRAILED HIS HAND IN THE WATER. 1219 01:08:44,085 --> 01:08:47,295 IT FELT WARM IN THE SHARP CHILL OF THE MORNING. 1220 01:08:49,125 --> 01:08:50,915 IN THE EARLY MORNING ON THE LAKE, 1221 01:08:51,092 --> 01:08:54,852 SITTING IN THE STERN OF THE BOAT WITH HIS FATHER ROWING, 1222 01:08:54,992 --> 01:08:58,792 HE FELT QUITE SURE THAT HE WOULD NEVER DIE. 1223 01:09:01,240 --> 01:09:04,690 WOLFF: "INDIAN CAMP," THAT'S ONE 1224 01:09:04,830 --> 01:09:07,700 OF MY FAVORITE STORIES IN THE WORLD, 1225 01:09:07,833 --> 01:09:10,253 AND HE WAS A BABY WHEN HE WROTE IT, 1226 01:09:10,422 --> 01:09:14,152 BUT IT IS COMPL--IT IS A WORK OF GREAT SOPHISTICATION, 1227 01:09:14,288 --> 01:09:17,768 AND IT HANDLES VERY SENSATIONAL MATERIAL 1228 01:09:17,946 --> 01:09:20,666 IN AN ABSOLUTELY UNSENSATIONAL WAY. 1229 01:09:20,811 --> 01:09:25,821 AND WHAT IT ALL COMES DOWN TO IS "YOU'RE GOING TO DIE." 1230 01:09:25,954 --> 01:09:28,514 HE KNOWS HE'S GOING TO DIE. HE'S SEEN IT, 1231 01:09:28,647 --> 01:09:32,477 BUT THERE'S THIS FEELING, BEING WITH HIS FATHER, 1232 01:09:32,616 --> 01:09:36,276 BEING OUTDOORS IN THE DAWN, 1233 01:09:36,448 --> 01:09:42,388 THAT IT'S POSSIBLE TO HOPE OR DENY OR EVADE THAT TRUTH 1234 01:09:42,523 --> 01:09:44,803 FOR A LITTLE WHILE. 1235 01:09:46,975 --> 01:09:49,115 NARRATOR: THE LAST STORIES IN THE COLLECTION 1236 01:09:49,288 --> 01:09:53,398 ARE "BIG TWO-HEARTED RIVER, PARTS I AND II." 1237 01:09:53,534 --> 01:09:56,124 THEY ARE ABOUT A NOW OLDER NICK ADAMS, 1238 01:09:56,226 --> 01:09:58,776 A WRITER WHO HAD BEEN WOUNDED AND TRAUMATIZED 1239 01:09:58,884 --> 01:10:00,994 FROM THE GREAT WAR. 1240 01:10:01,162 --> 01:10:04,062 "IT WAS ABOUT THE WAR," HEMINGWAY LATER RECALLED, 1241 01:10:04,200 --> 01:10:07,480 "BUT THERE WAS NO MENTION OF THE WAR IN IT." 1242 01:10:10,033 --> 01:10:11,313 NICK JOURNEYS ALONE 1243 01:10:11,483 --> 01:10:13,693 TO THE UPPER PENINSULA OF MICHIGAN, 1244 01:10:13,830 --> 01:10:18,490 WHERE HE HAD FREQUENTLY FISHED FOR TROUT BEFORE THE WAR. 1245 01:10:18,593 --> 01:10:22,253 A FOREST FIRE HAS DESTROYED THE TOWN HE HAD KNOWN. 1246 01:10:22,390 --> 01:10:24,980 HE FEARS THE RIVER AND THE LIFE HE KNEW 1247 01:10:25,082 --> 01:10:28,222 BEFORE THE WAR HAD BEEN RUINED, TOO. 1248 01:10:32,089 --> 01:10:34,439 MAN, AS HEMINGWAY: THE RIVER WAS THERE. 1249 01:10:34,575 --> 01:10:38,855 IT SWIRLED AGAINST THE LOG PILES OF THE BRIDGE. 1250 01:10:38,958 --> 01:10:41,338 NICK LOOKED DOWN INTO THE CLEAR, BROWN WATER, 1251 01:10:41,444 --> 01:10:45,174 COLORED FROM THE PEBBLY BOTTOM, AND WATCHED THE TROUT 1252 01:10:45,344 --> 01:10:47,424 KEEPING THEMSELVES STEADY IN THE CURRENT 1253 01:10:47,553 --> 01:10:49,873 WITH WAVERING FINS. 1254 01:10:52,248 --> 01:10:54,458 AS HE WATCHED THEM, THEY CHANGED THEIR POSITIONS 1255 01:10:54,595 --> 01:10:57,525 BY QUICK ANGLES, ONLY TO HOLD STEADY 1256 01:10:57,632 --> 01:11:00,082 IN THE FAST WATER AGAIN. 1257 01:11:00,221 --> 01:11:03,221 NICK WATCHED THEM A LONG TIME. 1258 01:11:04,846 --> 01:11:06,706 IT WAS A HOT DAY. 1259 01:11:06,883 --> 01:11:09,543 A KINGFISHER FLEW UP THE STREAM. 1260 01:11:09,713 --> 01:11:12,683 IT WAS A LONG TIME SINCE NICK HAD LOOKED INTO A STREAM 1261 01:11:12,785 --> 01:11:14,855 AND SEEN TROUT. 1262 01:11:14,960 --> 01:11:18,690 THEY WERE VERY SATISFACTORY. 1263 01:11:18,791 --> 01:11:21,101 WOMAN: I LOVED IT. 1264 01:11:21,242 --> 01:11:24,452 I LOVED THE DESCRIPTION OF THE SCENERY 1265 01:11:24,590 --> 01:11:30,320 WITHOUT SAYING ANYTHING ABOUT HIS INNER SITUATION. 1266 01:11:30,458 --> 01:11:33,048 HE HAD SOME HURT, OR SOMETHING BAD, 1267 01:11:33,150 --> 01:11:35,430 IT WAS INSIDE OF HIMSELF. 1268 01:11:35,567 --> 01:11:39,567 BY FOLLOWING HIS DESCRIPTION OF THE LANDSCAPE 1269 01:11:39,743 --> 01:11:46,443 AND WHAT HE DOES, WE FEEL HE IS CURED, HEALED. 1270 01:11:49,477 --> 01:11:53,447 NARRATOR: IN 1925, THE NEW YORK PUBLISHER HORACE LIVERIGHT 1271 01:11:53,585 --> 01:11:57,415 BROUGHT OUT THE EXPANDED EDITION OF "IN OUR TIME," 1272 01:11:57,520 --> 01:12:00,250 BUT HE REFUSED TO INCLUDE "UP IN MICHIGAN," 1273 01:12:00,419 --> 01:12:04,799 THE STORY GERTRUDE STEIN HAD SAID WAS UNPUBLISHABLE. 1274 01:12:04,941 --> 01:12:08,321 HEMINGWAY WAS DISAPPOINTED BUT SAID HE HOPED THE BOOK 1275 01:12:08,462 --> 01:12:13,332 WOULD BE "PRAISED BY HIGHBROWS AND CAN BE READ BY LOWBROWS. 1276 01:12:13,467 --> 01:12:15,607 "THERE IS NO WRITING IN IT THAT ANYBODY 1277 01:12:15,710 --> 01:12:19,610 WITH A HIGH SCHOOL EDUCATION CANNOT READ." 1278 01:12:19,714 --> 01:12:21,134 CUSHMAN: ONE OF THE THINGS TO THINK ABOUT, 1279 01:12:21,267 --> 01:12:23,267 WHEN YOU THINK ABOUT MODERNISM, 1280 01:12:23,373 --> 01:12:27,003 AT LEAST ANGLO-IRISH, AMERICAN, HIGH MODERNISM, 1281 01:12:27,135 --> 01:12:31,515 IS THERE WAS A CULT OF DIFFICULTY: 1282 01:12:31,657 --> 01:12:35,177 JOYCE, DIFFICULT; GERTRUDE STEIN, DIFFICULT; 1283 01:12:35,316 --> 01:12:39,316 FAULKNER, DIFFICULT; E.E. CUMMINGS, DIFFICULT. 1284 01:12:39,458 --> 01:12:43,288 AND HEMINGWAY JUST WENT AGAINST THE GRAIN ON THAT. 1285 01:12:43,393 --> 01:12:45,843 HE DARED TO BE STRAIGHTFORWARD 1286 01:12:45,982 --> 01:12:47,642 OR APPARENTLY STRAIGHTFORWARD. 1287 01:12:47,811 --> 01:12:52,161 HE DARED TO IMPERSONATE SIMPLICITY. 1288 01:12:52,298 --> 01:12:55,368 HE HOOKS YOU WITH THE LOWBROW APPEARANCE. 1289 01:12:55,509 --> 01:13:02,379 THEN, HE PLAYS YOU, AND THEN, YOU'RE HIS TROPHY. 1290 01:13:02,516 --> 01:13:05,656 NARRATOR: THE BOOK WAS A CRITICAL SENSATION. 1291 01:13:05,760 --> 01:13:08,560 THE "NEW YORK TIMES" SAID THAT HEMINGWAY PACKED 1292 01:13:08,694 --> 01:13:11,324 "A WHOLE CHARACTER INTO A PHRASE, 1293 01:13:11,490 --> 01:13:15,110 AN ENTIRE SITUATION INTO A SENTENCE OR TWO" 1294 01:13:15,252 --> 01:13:19,502 AND MADE "EACH WORD COUNT 3 OR 4 WAYS." 1295 01:13:19,602 --> 01:13:22,852 "ERNEST HEMINGWAY IS SOMEBODY," SAID "TIME," 1296 01:13:23,019 --> 01:13:31,789 "A NEW, HONEST, UNLITERARY TRANSCRIBER OF LIFE, A WRITER." 1297 01:13:31,924 --> 01:13:35,004 CUSHMAN: HE WAS VERY RESTLESS AND AMBITIOUS, 1298 01:13:35,100 --> 01:13:36,860 VERY COMPETITIVE, 1299 01:13:36,964 --> 01:13:43,384 AND FAULKNER'S GETTING GOING, FITZGERALD'S GETTING GOING, 1300 01:13:43,522 --> 01:13:46,282 JOYCE IS KING OF THE MOUNTAIN, 1301 01:13:46,422 --> 01:13:50,772 AND HE KNEW THAT A NOVEL HAD TO HAPPEN. 1302 01:13:50,909 --> 01:13:55,709 HOW DOES ONE GO FROM THE MICROSTITCHING 1303 01:13:55,810 --> 01:13:58,740 OF SENTENCE TO SENTENCE TO SENTENCE AND, 1304 01:13:58,882 --> 01:14:00,952 "OH, MY GOODNESS, A PARAGRAPH! 1305 01:14:01,091 --> 01:14:03,441 IT ONLY TOOK ME A MORNING"-- 1306 01:14:03,577 --> 01:14:06,127 HOW DO YOU GO FROM THAT TO A LONGER FORM? 1307 01:14:11,895 --> 01:14:15,035 I STARTED IN VALENCIA ON MY 26th BIRTHDAY, 1308 01:14:15,140 --> 01:14:17,560 JULY 21st. 1309 01:14:17,729 --> 01:14:20,209 EVERYBODY MY AGE HAD WRITTEN A NOVEL, 1310 01:14:20,317 --> 01:14:22,037 AND I WAS STILL HAVING A DIFFICULT TIME 1311 01:14:22,216 --> 01:14:24,596 WRITING A PARAGRAPH, 1312 01:14:24,736 --> 01:14:27,386 SO I STARTED THE BOOK ON MY BIRTHDAY, 1313 01:14:27,566 --> 01:14:31,256 WROTE ALL THROUGH THE FERIA, IN BED IN THE MORNING, 1314 01:14:31,397 --> 01:14:34,947 WENT ON TO MADRID AND WROTE THERE. 1315 01:14:35,091 --> 01:14:38,301 WE HAD A ROOM WITH A TABLE, AND I WROTE IN GREAT LUXURY 1316 01:14:38,439 --> 01:14:40,919 ON THE TABLE AND AROUND THE CORNER 1317 01:14:41,097 --> 01:14:44,547 FROM THE HOTEL IN A BEER PLACE, WHERE IT WAS COOL. 1318 01:14:44,721 --> 01:15:00,121 ♪ 1319 01:15:00,288 --> 01:15:05,118 NARRATOR: IN THE SUMMER OF 1925, LEAVING BUMBY WITH A NANNY, 1320 01:15:05,293 --> 01:15:07,263 THE HEMINGWAYS RETURNED TO PAMPLONA 1321 01:15:07,433 --> 01:15:11,023 FOR THE ANNUAL RUNNING OF THE BULLS. 1322 01:15:11,161 --> 01:15:15,441 WITH THEM WENT A GROUP OF 5 AMERICAN AND BRITISH FRIENDS, 1323 01:15:15,614 --> 01:15:19,794 INCLUDING THE SEDUCTIVE LADY DUFF TWYSDEN. 1324 01:15:19,894 --> 01:15:22,384 "EVERYBODY WAS DRINKING ALL THE TIME, 1325 01:15:22,518 --> 01:15:25,038 AND EVERYBODY WAS HAVING AFFAIRS ALL THE TIME," 1326 01:15:25,175 --> 01:15:26,965 HADLEY REMEMBERED. 1327 01:15:27,143 --> 01:15:30,393 "I FOUND IT SORT OF UPSETTING." 1328 01:15:30,526 --> 01:15:33,556 AFTERWARDS, ERNEST AND HADLEY CONTINUED TO FOLLOW 1329 01:15:33,701 --> 01:15:41,261 THE BULLFIGHTS ACROSS SPAIN-- VALENCIA, MADRID, SAN SEBASTIAN, 1330 01:15:41,398 --> 01:15:44,918 AND AS THEY TRAVELED ABOARD TRAINS AND BUSES, 1331 01:15:45,057 --> 01:15:49,057 ON RESTAURANT TABLES AND IN HOTEL ROOMS AT NIGHT, 1332 01:15:49,199 --> 01:15:51,549 HE WORKED FEVERISHLY ON A NOVEL, 1333 01:15:51,685 --> 01:15:54,305 INSPIRED BY THE TURBULENT TIME THEY'D HAD 1334 01:15:54,480 --> 01:15:56,720 WITH THEIR FRIENDS IN PAMPLONA. 1335 01:15:56,862 --> 01:16:02,212 IT WOULD BE CALLED "THE SUN ALSO RISES." 1336 01:16:02,350 --> 01:16:06,390 THE FIRST DRAFT WAS FINISHED IN JUST 8 WEEKS. 1337 01:16:06,527 --> 01:16:09,007 IT WOULD BE A CLEAR-EYED AND SARDONIC PORTRAIT 1338 01:16:09,185 --> 01:16:13,525 OF WHAT GERTRUDE STEIN CALLED, "THE LOST GENERATION," 1339 01:16:13,672 --> 01:16:16,502 MEN AND WOMEN SCARRED BY THE GREAT WAR, 1340 01:16:16,606 --> 01:16:21,366 WHO DID THEIR BEST TO ERASE ITS MEMORY. 1341 01:16:21,542 --> 01:16:24,722 THE NARRATOR, A NEWSPAPERMAN FROM KANSAS CITY, 1342 01:16:24,856 --> 01:16:30,686 WAS FIRST NAMED "HEM" BEFORE HE BECAME JAKE BARNES. 1343 01:16:30,793 --> 01:16:33,553 BARNES IS A WAR VETERAN WITH A MYSTERIOUS 1344 01:16:33,658 --> 01:16:38,768 AND UNEXPLAINED WOUND THAT HAS MADE HIM IMPOTENT. 1345 01:16:38,904 --> 01:16:40,914 [MAN SPEAKING SPANISH] 1346 01:16:52,538 --> 01:16:54,468 MAN, AS HEMINGWAY: OUTSIDE A NIGHT TRAIN, 1347 01:16:54,610 --> 01:16:56,300 RUNNING ON THE STREETCAR TRACKS, 1348 01:16:56,439 --> 01:16:59,409 WENT BY CARRYING VEGETABLES TO THE MARKETS. 1349 01:16:59,511 --> 01:17:03,481 THEY WERE NOISY AT NIGHT WHEN YOU COULD NOT SLEEP. 1350 01:17:03,619 --> 01:17:06,239 UNDRESSING, I LOOKED AT MYSELF IN THE MIRROR 1351 01:17:06,414 --> 01:17:10,424 OF THE BIG ARMOIRE BESIDE THE BED. 1352 01:17:10,556 --> 01:17:13,386 OF ALL THE WAYS TO BE WOUNDED. 1353 01:17:14,802 --> 01:17:17,322 [VARGAS LLOSA SPEAKING SPANISH] 1354 01:17:39,758 --> 01:17:42,108 NARRATOR: IN THE EARLY DRAFTS, HEMINGWAY HAD USED 1355 01:17:42,209 --> 01:17:43,829 THE REAL NAMES OF HIS FRIENDS 1356 01:17:43,969 --> 01:17:47,459 FROM THEIR RECKLESS, DRUNKEN TIME IN PAMPLONA. 1357 01:17:47,628 --> 01:17:51,838 FOR FEAR OF BEING SUED, HE LATER CHANGED THEM. 1358 01:17:51,977 --> 01:17:55,327 LADY DUFF TWYSDEN, WHO HAD CAPTIVATED HEMINGWAY 1359 01:17:55,463 --> 01:17:56,953 AND HAD WORRIED HADLEY, 1360 01:17:57,120 --> 01:17:59,710 WOULD EVENTUALLY BECOME THE THINLY DISGUISED 1361 01:17:59,847 --> 01:18:02,947 LADY BRETT ASHLEY, THE PROMISCUOUS WOMAN 1362 01:18:03,057 --> 01:18:07,957 JAKE BARNES LONGS FOR BUT CAN NEVER HAVE. 1363 01:18:08,062 --> 01:18:10,862 MAN, AS HEMINGWAY: BRETT WAS DAMNED GOOD-LOOKING. 1364 01:18:10,996 --> 01:18:13,096 SHE WORE A SLIPOVER JERSEY SWEATER 1365 01:18:13,205 --> 01:18:14,685 AND A TWEED SKIRT, 1366 01:18:14,828 --> 01:18:18,278 AND HER HAIR WAS BRUSHED BACK LIKE A BOY'S. 1367 01:18:18,452 --> 01:18:20,972 SHE STARTED ALL THAT. 1368 01:18:21,144 --> 01:18:24,424 SHE WAS BUILT WITH CURVES LIKE THE HULL OF A RACING YACHT, 1369 01:18:24,561 --> 01:18:28,431 AND YOU MISSED NONE OF IT WITH THAT WOOL JERSEY. 1370 01:18:28,565 --> 01:18:31,215 MAN: SOMEBODY LIKE LADY BRETT IS EFFECTIVELY 1371 01:18:31,361 --> 01:18:33,161 A VERY STRONG CHARACTER. 1372 01:18:33,260 --> 01:18:36,130 SHE ACTIVELY GOES OUT OF HER WAY TO DRESS LIKE A MAN, 1373 01:18:36,297 --> 01:18:37,707 DRESS LIKE A BOY. 1374 01:18:37,851 --> 01:18:40,031 SHE WEARS A RUGBY SWEATER, CUTS HER HAIR SHORT, 1375 01:18:40,163 --> 01:18:44,553 AND CHOOSES TO LIVE HER LIFE AS A MAN WOULD IN THAT MOMENT. 1376 01:18:44,685 --> 01:18:49,615 THAT'S HIGHLY PROVOCATIVE FOR A 1926 TEXT. 1377 01:18:49,759 --> 01:18:52,589 NARRATOR: ANOTHER MEMBER OF THE PARTY HAROLD LOEB, 1378 01:18:52,728 --> 01:18:57,218 HANDSOME, ATHLETIC, AND JEWISH, BECAME ROBERT COHN, 1379 01:18:57,353 --> 01:18:59,043 WEAK AND OBNOXIOUS, 1380 01:18:59,182 --> 01:19:04,022 SCORNED BY SOME IN THE GROUP BECAUSE HE WAS A JEW. 1381 01:19:04,118 --> 01:19:06,358 MAN, AS HEMINGWAY: BILL LOOKED AROUND, HALF-SHAVED, 1382 01:19:06,465 --> 01:19:08,015 AND THEN WENT ON TALKING INTO THE MIRROR 1383 01:19:08,191 --> 01:19:10,611 WHILE HE LATHERED HIS FACE. 1384 01:19:10,746 --> 01:19:12,326 "HAVEN'T YOU GOT SOME MORE JEWISH FRIENDS 1385 01:19:12,437 --> 01:19:14,467 YOU COULD BRING ALONG?" 1386 01:19:14,611 --> 01:19:17,101 HE RUBBED HIS CHIN WITH HIS THUMB, LOOKED AT IT, 1387 01:19:17,235 --> 01:19:19,615 AND THEN STARTED SCRAPING AGAIN. 1388 01:19:19,755 --> 01:19:22,515 "YOU'VE GOT SOME FINE ONES YOURSELF." 1389 01:19:22,619 --> 01:19:25,379 "OH, YES. I'VE GOT SOME DARBS. 1390 01:19:25,484 --> 01:19:28,044 "BUT NOT ALONGSIDE OF THIS ROBERT COHN. 1391 01:19:28,211 --> 01:19:30,801 "THE FUNNY THING IS HE'S NICE, TOO. 1392 01:19:30,938 --> 01:19:32,278 "I LIKE HIM. 1393 01:19:32,422 --> 01:19:35,082 BUT HE'S JUST SO AWFUL." 1394 01:19:35,218 --> 01:19:37,358 "HE CAN BE DAMNED NICE." 1395 01:19:37,462 --> 01:19:39,222 "I KNOW IT. 1396 01:19:39,395 --> 01:19:42,325 THAT'S THE TERRIBLE PART." 1397 01:19:42,467 --> 01:19:44,877 DEARBORN: I LOVE "THE SUN ALSO RISES" 1398 01:19:45,056 --> 01:19:48,086 BUT IT'S TRAGIC THAT HE MAKES HAROLD LOEB 1399 01:19:48,231 --> 01:19:51,371 INTO THIS DESPICABLE JEW. 1400 01:19:51,545 --> 01:19:56,095 IT'S JUST, UM, STUNNING. 1401 01:19:56,239 --> 01:19:58,519 IT'S JUST STUNNING, 1402 01:19:58,655 --> 01:20:01,485 AND HAROLD LOEB COULD NOT BELIEVE IT. 1403 01:20:01,624 --> 01:20:03,834 YOU KNOW, HE THOUGHT THEY WERE SO CLOSE. 1404 01:20:03,971 --> 01:20:05,251 THEY WERE CLOSE, 1405 01:20:05,421 --> 01:20:08,421 AND HE JUST SAID, "I STILL DON'T UNDERSTAND HIM. 1406 01:20:08,562 --> 01:20:11,052 HE WAS MY FRIEND." 1407 01:20:13,774 --> 01:20:16,434 NARRATOR: HEMINGWAY'S PROTAGONIST JAKE BARNES 1408 01:20:16,570 --> 01:20:19,470 IS A JADED INSIDER AT PAMPLONA. 1409 01:20:19,607 --> 01:20:21,677 HE SEEMS TO KNOW EVERYTHING THERE IS TO KNOW 1410 01:20:21,817 --> 01:20:24,127 ABOUT BULLFIGHTING. 1411 01:20:24,267 --> 01:20:28,507 THE STAR OF THE FIESTA IS A MATADOR NAMED PEDRO ROMERO, 1412 01:20:28,651 --> 01:20:32,281 JUST 19, INNOCENT, AND UNSPOILED. 1413 01:20:32,448 --> 01:20:36,348 THE BULLFIGHTING WORLD HOPES TO KEEP HIM THAT WAY, 1414 01:20:36,486 --> 01:20:38,446 BUT JAKE BREAKS THE RULES 1415 01:20:38,626 --> 01:20:41,316 AND INTRODUCES HIM TO BRETT ASHLEY, 1416 01:20:41,457 --> 01:20:46,117 THE WOMAN HE CAN NEVER BE WITH HIMSELF. 1417 01:20:46,220 --> 01:20:48,530 MANDEL: JAKE BARNES SHOULDN'T HAVE DONE THAT. 1418 01:20:48,671 --> 01:20:51,641 SHE'S NOT A SERIOUS, COMMITTED PERSON. 1419 01:20:51,743 --> 01:20:54,023 SHE'S A FREE WOMAN. SHE'S A FREE WOMAN. 1420 01:20:54,159 --> 01:20:55,889 SHE INDULGES HERSELF, 1421 01:20:56,023 --> 01:20:58,473 AND SHE WANTS TO INDULGE HERSELF WITH THE BULLFIGHTER. 1422 01:20:58,577 --> 01:21:00,547 JAKE BARNES SHOULD HAVE PROTECTED 1423 01:21:00,683 --> 01:21:04,693 THIS YOUNG, VULNERABLE, ETHICAL FIGURE, 1424 01:21:04,825 --> 01:21:08,035 AND AFTER THAT, THE PEOPLE IN THE KNOW IN PAMPLONA 1425 01:21:08,173 --> 01:21:09,973 TURN AGAINST JAKE. 1426 01:21:10,141 --> 01:21:13,011 THEY BARELY TALK TO HIM. THEY AVOID HIM, 1427 01:21:13,144 --> 01:21:16,914 AND THAT'S A BIG TURNING POINT IN THIS CHARACTER. 1428 01:21:17,044 --> 01:21:20,914 OF COURSE, HE KNOWS WHAT HE DID. 1429 01:21:21,048 --> 01:21:22,598 NARRATOR: AT THE END OF THE NOVEL, 1430 01:21:22,739 --> 01:21:26,879 JAKE AND BRETT SHARE A TAXI IN MADRID. 1431 01:21:28,953 --> 01:21:31,403 MAN, AS HEMINGWAY: THE DRIVER STARTED UP THE STREET. 1432 01:21:31,541 --> 01:21:33,061 I SETTLED BACK. 1433 01:21:33,198 --> 01:21:35,438 BRETT MOVED CLOSE TO ME. 1434 01:21:35,580 --> 01:21:38,170 WE SAT CLOSE AGAINST EACH OTHER. 1435 01:21:38,341 --> 01:21:39,651 I PUT MY ARM AROUND HER, 1436 01:21:39,825 --> 01:21:42,685 AND SHE RESTED AGAINST ME COMFORTABLY. 1437 01:21:42,828 --> 01:21:44,828 IT WAS VERY HOT AND BRIGHT, 1438 01:21:45,003 --> 01:21:48,013 AND THE HOUSES LOOKED SHARPLY WHITE. 1439 01:21:48,110 --> 01:21:51,350 WE TURNED OUT ONTO THE GRAN VIA. 1440 01:21:51,492 --> 01:21:53,292 "OH, JAKE," BRETT SAID, 1441 01:21:53,425 --> 01:21:57,185 "WE COULD HAVE HAD SUCH A DAMNED GOOD TIME TOGETHER." 1442 01:21:57,360 --> 01:22:02,090 AHEAD WAS A MOUNTED POLICEMAN IN KHAKI DIRECTING TRAFFIC. 1443 01:22:02,227 --> 01:22:03,947 HE RAISED HIS BATON. 1444 01:22:04,091 --> 01:22:08,341 THE CAR SLOWED, SUDDENLY PRESSING BRETT AGAINST ME. 1445 01:22:08,440 --> 01:22:10,930 "YES," I SAID. 1446 01:22:11,064 --> 01:22:14,214 ISN'T IT PRETTY TO THINK SO?" 1447 01:22:14,377 --> 01:22:16,927 TIM O'BRIEN: "ISN'T IT PRETTY TO THINK SO?" 1448 01:22:17,070 --> 01:22:20,730 IT'S THE WISTFULNESS OF WHAT WE BOTH LOSE 1449 01:22:20,866 --> 01:22:23,796 AND NEVER HAD, A WISTFULNESS. 1450 01:22:23,939 --> 01:22:25,939 "ISN'T IT PRETTY TO THINK THAT MY DAD AND I 1451 01:22:26,079 --> 01:22:30,389 "COULD HAVE TALKED ABOUT VIRTUALLY ANYTHING? 1452 01:22:30,497 --> 01:22:32,977 IT'S PRETTY TO THINK SO," 1453 01:22:33,120 --> 01:22:35,610 BUT IT DIDN'T HAPPEN, AND IT WON'T HAPPEN, 1454 01:22:35,743 --> 01:22:39,853 AND SO THERE'S A SADNESS TO IT THAT FEELS TO ME FULLY HUMAN. 1455 01:22:39,989 --> 01:22:42,649 "ALL THAT WILL NOT BE," WHICH IS GOING TO BE TRUE 1456 01:22:42,785 --> 01:22:45,235 FOR EVERY HUMAN BEING IN SOME WAY OR ANOTHER 1457 01:22:45,339 --> 01:22:48,409 ON THIS PLANET, "ALL THAT WILL NEVER BE." 1458 01:22:48,515 --> 01:22:51,305 IT HAS A UNIVERSALITY TO IT. 1459 01:22:51,449 --> 01:22:54,589 "ISN'T IT PRETTY TO THINK SO?" 1460 01:22:56,419 --> 01:22:58,899 NARRATOR: THE WAR HAD OBLITERATED ANY ILLUSIONS 1461 01:22:59,077 --> 01:23:01,937 ABOUT THE FUTURE, BUT HEMINGWAY SEEMED 1462 01:23:02,046 --> 01:23:05,906 TO BE SUGGESTING THAT EVEN IN THE MOST DAMAGED LIVES, 1463 01:23:06,084 --> 01:23:09,024 DESPITE THE INDIGNITIES MEN AND WOMEN INFLICT 1464 01:23:09,156 --> 01:23:15,126 UPON EACH OTHER, SOME HOPE, SOME SWEETNESS COULD BE FOUND. 1465 01:23:15,266 --> 01:23:18,266 EDNA O'BRIEN: I LOVE "THE SUN ALSO RISES." 1466 01:23:18,372 --> 01:23:21,932 THE PITH OF IT, FOR ME. 1467 01:23:22,100 --> 01:23:25,550 THERE'S ALL THE HOTELS AND THE DRINK 1468 01:23:25,690 --> 01:23:27,760 AND THE BULLFIGHTING AND THE FISHING 1469 01:23:27,933 --> 01:23:30,283 AND THE MOUNTAINS AND THEIR KNAPSACKS, 1470 01:23:30,453 --> 01:23:31,943 "THAT'S A DAMN FINE WINE," 1471 01:23:32,110 --> 01:23:35,490 AND THERE'S ALL THAT BLUSTER, 1472 01:23:35,631 --> 01:23:38,121 AND THERE'S IMPOTENCE. 1473 01:23:38,220 --> 01:23:41,050 WHAT IT DID FOR ME, WHEN I READ IT, 1474 01:23:41,188 --> 01:23:48,988 WAS TO INTRODUCE ME TO AN EXOTICA, A GLAMOUR, 1475 01:23:49,127 --> 01:23:54,677 A LIFE THAT, COMING FROM COUNTY CLARE IN IRELAND, 1476 01:23:54,822 --> 01:23:56,312 I COULDN'T BELIEVE IT. 1477 01:23:56,410 --> 01:23:57,520 I WAS SEDUCED BY IT. 1478 01:23:57,653 --> 01:24:00,143 THAT IS THE WORD I'M LOOKING FOR. 1479 01:24:00,311 --> 01:24:03,621 MAN, AS HEMINGWAY: AUGUST 23, 1925. 1480 01:24:03,797 --> 01:24:05,937 IT IS A HELL OF A FINE NOVEL. 1481 01:24:06,075 --> 01:24:08,835 WRITTEN VERY SIMPLY AND FULL OF THINGS HAPPENING 1482 01:24:08,940 --> 01:24:11,670 AND PEOPLE AND PLACES AND EXCITING AS HELL 1483 01:24:11,839 --> 01:24:14,699 AND NO AUTOBIOGRAPHICAL FIRST NOVEL STUFF. 1484 01:24:14,842 --> 01:24:16,712 I THINK IT WILL BE A KNOCKOUT 1485 01:24:16,844 --> 01:24:18,404 AND WILL LET THESE BASTARDS WHO SAY, 1486 01:24:18,536 --> 01:24:20,806 "YES, HE CAN WRITE VERY BEAUTIFUL LITTLE PARAGRAPHS KNOW 1487 01:24:20,986 --> 01:24:23,056 WHERE THEY GET OFF AT." 1488 01:24:23,196 --> 01:24:24,956 I'VE TRIED TO WRITE A HELL OF A GOOD STORY 1489 01:24:25,094 --> 01:24:29,754 ABOUT PEOPLE WITHOUT FAKING, PRECIOSITY, OR HORSESHIT. 1490 01:24:29,892 --> 01:24:32,522 EVERYBODY KNOWS LIFE IS A TRAGIC SHOW, 1491 01:24:32,688 --> 01:24:36,108 I.E. BORN HERE, DIE THERE. 1492 01:24:36,243 --> 01:24:40,353 EVERYBODY DIES, EVERYBODY GETS BITCHED. 1493 01:24:42,939 --> 01:24:45,359 NARRATOR: ERNEST WAS HAPPY WITH HIS MANUSCRIPT 1494 01:24:45,459 --> 01:24:49,459 BUT UNHAPPY WITH HIS PUBLISHER HORACE LIVERIGHT. 1495 01:24:49,601 --> 01:24:53,671 HIS LAST BOOK "IN OUR TIME" HAD BEEN A CRITICAL SUCCESS, 1496 01:24:53,847 --> 01:24:55,777 BUT IT HADN'T SOLD. 1497 01:24:55,918 --> 01:24:58,918 BY CONTRACT, LIVERIGHT HAD THE RIGHT TO PUBLISH 1498 01:24:59,059 --> 01:25:02,859 HIS NEXT TWO BOOKS PROVIDED HE ACCEPTED THE FIRST ONE 1499 01:25:02,959 --> 01:25:06,099 WITHIN 60 DAYS OF ITS SUBMISSION. 1500 01:25:06,239 --> 01:25:10,139 BY THIS TIME, THE CELEBRATED NOVELIST F. SCOTT FITZGERALD 1501 01:25:10,277 --> 01:25:13,447 HAD BECOME A GOOD FRIEND AND HAD ALERTED HIS OWN EDITOR 1502 01:25:13,591 --> 01:25:19,221 MAXWELL PERKINS OF SCRIBNER'S, TO HEMINGWAY'S GREAT PROMISE. 1503 01:25:19,390 --> 01:25:21,770 MAN AS FITZGERALD: DEAR MAX, THIS IS TO TELL YOU 1504 01:25:21,909 --> 01:25:24,459 ABOUT A YOUNG MAN NAMED ERNEST HEMINGWAY, 1505 01:25:24,602 --> 01:25:26,162 WHO LIVES IN PARIS, 1506 01:25:26,293 --> 01:25:29,643 AN AMERICAN, WRITES FOR THE "TRANSATLANTIC REVIEW," 1507 01:25:29,779 --> 01:25:32,089 AND HAS A BRILLIANT FUTURE. 1508 01:25:32,230 --> 01:25:33,820 EZRA POUND PUBLISHED A COLLECTION 1509 01:25:33,956 --> 01:25:35,436 OF HIS SHORT PIECES. 1510 01:25:35,578 --> 01:25:38,058 I HAVEN'T IT HERE NOW, BUT IT'S REMARKABLE, 1511 01:25:38,236 --> 01:25:40,336 AND I'D LOOK HIM UP RIGHT AWAY. 1512 01:25:40,480 --> 01:25:42,240 HE'S THE REAL THING. 1513 01:25:42,413 --> 01:25:43,933 SCOTT. 1514 01:25:44,104 --> 01:25:46,974 NARRATOR: FITZGERALD WOULD EVENTUALLY PERSUADE ERNEST 1515 01:25:47,107 --> 01:25:49,897 TO JETTISON THE FIRST TWO CLUMSY CHAPTERS 1516 01:25:50,006 --> 01:25:52,456 OF "THE SUN ALSO RISES," THOUGH HEMINGWAY 1517 01:25:52,595 --> 01:25:57,425 WOULD LATER CLAIM IT HAD BEEN HIS IDEA ALL ALONG. 1518 01:25:57,531 --> 01:26:00,471 NOW, FITZGERALD SUGGESTED A WAY HEMINGWAY COULD GET 1519 01:26:00,603 --> 01:26:03,263 OUT OF HIS CONTRACT-- WRITE SOMETHING 1520 01:26:03,365 --> 01:26:07,745 HORACE LIVERIGHT WOULD HAVE TO REJECT. 1521 01:26:09,440 --> 01:26:14,030 IN JUST 10 DAYS, ERNEST BANGED OUT "THE TORRENTS OF SPRING," 1522 01:26:14,169 --> 01:26:16,519 A CRUEL LAMPOON OF HIS FRIEND 1523 01:26:16,654 --> 01:26:17,974 SHERWOOD ANDERSON, 1524 01:26:18,103 --> 01:26:19,693 WHO HAD BEEN ESPECIALLY KIND 1525 01:26:19,829 --> 01:26:20,799 TO HEMINGWAY 1526 01:26:20,934 --> 01:26:22,324 AND WAS ONE OF LIVERIGHT'S 1527 01:26:22,453 --> 01:26:24,903 BEST-SELLING AUTHORS. 1528 01:26:25,041 --> 01:26:28,981 HADLEY THOUGHT THE PARODY OF ANDERSON "DETESTABLE," 1529 01:26:29,080 --> 01:26:31,840 BUT ANOTHER WOMAN'S OPINION HAD BEGUN TO MATTER 1530 01:26:31,979 --> 01:26:35,289 MORE TO HIM THAN HADLEY'S. 1531 01:26:35,397 --> 01:26:39,117 PAULINE PFEIFFER THOUGHT THE MANUSCRIPT WAS HILARIOUS, 1532 01:26:39,297 --> 01:26:42,677 FURTHER EVIDENCE OF ERNEST'S GENIUS. 1533 01:26:42,818 --> 01:26:46,238 SHE WAS WITTY, WEALTHY, WELL-READ, 1534 01:26:46,373 --> 01:26:49,413 A REPORTER COVERING PARIS FASHION FOR "VOGUE," 1535 01:26:49,549 --> 01:26:51,409 AND A PRACTICING CATHOLIC. 1536 01:26:51,551 --> 01:26:54,211 SHE HAD BECOME HADLEY'S FRIEND FIRST, 1537 01:26:54,347 --> 01:26:56,417 A FREQUENT VISITOR AT THE APARTMENT 1538 01:26:56,556 --> 01:26:59,006 ABOVE THE SAWMILL. 1539 01:26:59,179 --> 01:27:01,909 ERNEST INVITED PAULINE TO JOIN HIM AND HADLEY 1540 01:27:02,044 --> 01:27:04,364 FOR CHRISTMAS IN AUSTRIA. 1541 01:27:04,495 --> 01:27:06,975 "PAULINE WAS NICE TO ME," HADLEY RECALLED. 1542 01:27:07,152 --> 01:27:09,402 "SHE WANTED TO BE FRIENDS." 1543 01:27:09,534 --> 01:27:11,674 THEY TOOK TURNS PLAYING WITH BUMBY, 1544 01:27:11,778 --> 01:27:16,748 SKIED AND DRANK AND PLAYED BRIDGE TOGETHER EVERY EVENING, 1545 01:27:16,886 --> 01:27:20,506 BUT IN THE AFTERNOONS, IT WAS PAULINE, NOT HADLEY, 1546 01:27:20,614 --> 01:27:25,524 WHOM ERNEST TOOK FOR LONG WALKS THROUGH THE SNOW. 1547 01:27:25,688 --> 01:27:27,928 "SHE DIDN'T GO STRAIGHT FOR MY HUSBAND," 1548 01:27:28,070 --> 01:27:30,350 HADLEY RECALLED YEARS LATER, 1549 01:27:30,521 --> 01:27:33,901 "BUT ONCE SHE MADE UP HER MIND THAT HE WAS WHAT SHE WANTED, 1550 01:27:34,041 --> 01:27:36,771 "SHE WAS VERY AGGRESSIVE. 1551 01:27:36,906 --> 01:27:39,246 HE COULDN'T HELP HIMSELF." 1552 01:27:43,292 --> 01:27:46,432 MAN, AS HEMINGWAY: TO REALLY LOVE TWO WOMEN AT THE SAME TIME, 1553 01:27:46,571 --> 01:27:51,021 TRULY LOVE THEM, IS THE MOST DESTRUCTIVE AND TERRIBLE THING 1554 01:27:51,196 --> 01:27:53,536 THAT CAN HAPPEN TO A MAN. 1555 01:27:53,647 --> 01:27:56,057 YOU DO THINGS THAT ARE IMPOSSIBLE, 1556 01:27:56,167 --> 01:27:58,827 AND WHEN YOU ARE WITH ONE, YOU LOVE HER, 1557 01:27:58,963 --> 01:28:01,793 AND WITH THE OTHER, YOU LOVE HER, 1558 01:28:01,931 --> 01:28:04,561 AND TOGETHER, YOU LOVE THEM BOTH. 1559 01:28:04,727 --> 01:28:08,077 YOU BREAK ALL PROMISES, AND YOU DO EVERYTHING YOU KNEW 1560 01:28:08,179 --> 01:28:11,909 THAT YOU COULD NEVER DO NOR WOULD WANT TO DO. 1561 01:28:12,010 --> 01:28:15,980 YOU LIE AND HATE IT, AND IT DESTROYS YOU, 1562 01:28:16,118 --> 01:28:18,908 AND EVERY DAY IS MORE DANGEROUS. 1563 01:28:19,017 --> 01:28:21,257 EVERYTHING IS SPLIT INSIDE OF YOU, 1564 01:28:21,399 --> 01:28:25,229 AND YOU LOVE TWO PEOPLE NOW INSTEAD OF ONE, 1565 01:28:25,334 --> 01:28:29,414 AND THE STRANGE PART IS THAT YOU ARE HAPPY. 1566 01:28:31,064 --> 01:28:32,414 NARRATOR: WHEN HEMINGWAY SUBMITTED 1567 01:28:32,583 --> 01:28:34,933 "THE TORRENTS OF SPRING" TO HORACE LIVERIGHT, 1568 01:28:35,102 --> 01:28:40,592 THE PUBLISHER REJECTED IT RIGHT AWAY JUST AS ERNEST HAD HOPED. 1569 01:28:40,763 --> 01:28:44,563 HE WAS NOW FREE TO BRING IT AND "THE SUN ALSO RISES" 1570 01:28:44,733 --> 01:28:46,323 TO SCRIBNER'S. 1571 01:28:46,459 --> 01:28:51,949 IN JANUARY 1926, ERNEST MADE A 3-WEEK TRIP TO NEW YORK 1572 01:28:52,050 --> 01:28:56,300 TO MEET WITH HIS NEW EDITOR MAX PERKINS. 1573 01:28:56,434 --> 01:28:59,514 HADLEY AND BUMBY STAYED ON IN AUSTRIA. 1574 01:28:59,644 --> 01:29:02,134 AS SOON AS HER HUSBAND RETURNED TO FRANCE, 1575 01:29:02,267 --> 01:29:05,097 HADLEY EXPECTED HIM TO BOARD THE TRAIN 1576 01:29:05,201 --> 01:29:07,381 AND COME TO HER IN THE ALPS. 1577 01:29:07,514 --> 01:29:11,214 INSTEAD, HE WENT TO PARIS, TO PAULINE'S APARTMENT, 1578 01:29:11,346 --> 01:29:15,136 A DECISION THAT WOULD ONE DAY COME TO HAUNT HIM. 1579 01:29:19,354 --> 01:29:21,054 MAN, AS HEMINGWAY: THE GIRL I WAS IN LOVE WITH 1580 01:29:21,183 --> 01:29:23,293 WAS IN PARIS NOW, AND I DID NOT TAKE 1581 01:29:23,392 --> 01:29:27,152 THE FIRST TRAIN OR THE SECOND OR THE THIRD, 1582 01:29:27,292 --> 01:29:29,642 AND WHERE WE WENT AND WHAT WE DID 1583 01:29:29,812 --> 01:29:33,922 AND THE UNBELIEVABLE WRENCHING, KICKING HAPPINESS, 1584 01:29:34,058 --> 01:29:37,678 THE SELFISHNESS AND TREACHERY OF EVERYTHING WE DID, 1585 01:29:37,820 --> 01:29:39,370 GAVE ME SUCH HAPPINESS 1586 01:29:39,512 --> 01:29:44,242 AND UNKILLABLE DREADFUL HAPPINESS 1587 01:29:44,379 --> 01:29:46,519 SO THAT THE BLACK REMORSE CAME 1588 01:29:46,657 --> 01:29:49,797 AND HATRED OF THE SIN AND NO CONTRITION, 1589 01:29:49,970 --> 01:29:53,390 ONLY A TERRIBLE REMORSE. 1590 01:29:53,526 --> 01:29:58,526 NARRATOR: HE DID NOT GET TO HADLEY FOR 3 DAYS. 1591 01:29:58,669 --> 01:30:00,329 MAN, AS HEMINGWAY: WHEN I SAW MY WIFE AGAIN 1592 01:30:00,429 --> 01:30:03,049 STANDING BY THE TRACKS AS THE TRAIN CAME IN 1593 01:30:03,190 --> 01:30:05,330 BY THE PILED LOGS AT THE STATION, 1594 01:30:05,503 --> 01:30:07,713 I WISHED I HAD DIED BEFORE I EVER LOVED 1595 01:30:07,850 --> 01:30:09,540 ANYONE BUT HER. 1596 01:30:09,680 --> 01:30:12,680 SHE WAS SMILING, THE SUN ON HER LOVELY FACE 1597 01:30:12,786 --> 01:30:17,336 TANNED BY THE SNOW AND SUN, BEAUTIFULLY BUILT, 1598 01:30:17,446 --> 01:30:19,686 HER HAIR RED GOLD IN THE SUN 1599 01:30:19,793 --> 01:30:23,213 AND MR. BUMBY STANDING WITH HER, BLONDE AND CHUNKY 1600 01:30:23,348 --> 01:30:26,518 AND WITH WINTER CHEEKS. 1601 01:30:26,628 --> 01:30:29,698 I LOVED HER, AND I LOVED NO ONE ELSE, 1602 01:30:29,872 --> 01:30:33,392 AND WE HAD A LOVELY MAGIC TIME WHILE WE WERE ALONE. 1603 01:30:33,531 --> 01:30:37,471 I WORKED WELL, AND WE MADE GREAT TRIPS, 1604 01:30:37,604 --> 01:30:40,754 AND IT WASN'T UNTIL WE WERE OUT OF THE MOUNTAINS IN LATE SPRING, 1605 01:30:40,883 --> 01:30:45,413 AND BACK IN PARIS THAT THE OTHER THING STARTED AGAIN. 1606 01:30:47,821 --> 01:30:50,131 NARRATOR: ERNEST HOPED THAT THINGS COULD SOMEHOW 1607 01:30:50,272 --> 01:30:53,382 GO ON THAT WAY, STILL MARRIED TO HADLEY 1608 01:30:53,551 --> 01:30:56,731 BUT WITH HIS MISTRESS CONVENIENTLY AT HAND, 1609 01:30:56,830 --> 01:31:00,560 BUT PAULINE WAS NOT CONTENT TO REMAIN HIS MISTRESS. 1610 01:31:00,662 --> 01:31:04,222 SHE WAS DETERMINED TO BECOME HIS WIFE. 1611 01:31:05,321 --> 01:31:07,631 HADLEY CONFRONTED HER HUSBAND. 1612 01:31:07,772 --> 01:31:10,292 "WE HAD A TERRIFIC SCENE," SHE RECALLED. 1613 01:31:10,430 --> 01:31:13,260 ERNEST LASHED OUT AT HER. 1614 01:31:13,433 --> 01:31:16,783 IF ONLY SHE HADN'T BROUGHT UP HIS INFIDELITY, HE SAID, 1615 01:31:16,919 --> 01:31:19,609 THINGS COULD HAVE CONTINUED AS THEY WERE, 1616 01:31:19,750 --> 01:31:21,990 BUT NOW THAT SHE HAD BROKEN THE SPELL 1617 01:31:22,131 --> 01:31:24,791 THEIR LOVE WAS NO LONGER SAFE. 1618 01:31:24,927 --> 01:31:28,477 "IF I'D HAD ANY SENSE AT ALL," HADLEY REMEMBERED YEARS LATER, 1619 01:31:28,621 --> 01:31:30,621 "I'D HAVE LET HIM GO WITH PAULINE 1620 01:31:30,761 --> 01:31:32,181 "AND BURN HIMSELF OUT, 1621 01:31:32,314 --> 01:31:35,284 AND THEN WE COULD HAVE BEGUN AGAIN." 1622 01:31:35,420 --> 01:31:38,320 INSTEAD, IN SEPTEMBER, SHE SCRIBBLED OUT 1623 01:31:38,458 --> 01:31:40,768 A SORT OF CONTRACT IN PENCIL. 1624 01:31:40,943 --> 01:31:45,533 ERNEST AND PAULINE WOULD HAVE TO SPEND 100 DAYS APART, 1625 01:31:45,672 --> 01:31:49,092 AND AFTERWARDS IF THEY STILL WANTED ONE ANOTHER, 1626 01:31:49,193 --> 01:31:51,953 SHE WOULD GRANT HIM A DIVORCE. 1627 01:31:52,058 --> 01:31:56,608 ERNEST AND PAULINE AGREED TO ABIDE BY HER TERMS. 1628 01:31:56,718 --> 01:32:00,028 HE MOVED TO A FRIEND'S APARTMENT. 1629 01:32:00,169 --> 01:32:03,309 PAULINE SAILED FOR HOME. 1630 01:32:03,448 --> 01:32:05,868 HER MOTHER WAS INITIALLY APPALLED. 1631 01:32:06,003 --> 01:32:09,143 HER DAUGHTER HAD BROKEN UP HEMINGWAY'S MARRIAGE. 1632 01:32:09,282 --> 01:32:11,282 ERNEST WAS NOT A CATHOLIC. 1633 01:32:11,387 --> 01:32:14,807 A CHILD WAS INVOLVED. 1634 01:32:14,977 --> 01:32:19,117 ALONE IN PARIS, DEPRESSION AGAIN GRIPPED HEMINGWAY, 1635 01:32:19,292 --> 01:32:21,192 THIS TIME TINGED WITH GUILT 1636 01:32:21,328 --> 01:32:24,368 ABOUT WHAT HE WAS DOING TO HADLEY. 1637 01:32:24,504 --> 01:32:27,994 HE DRANK TOO MUCH, PICKED FIGHTS, COULDN'T SLEEP, 1638 01:32:28,094 --> 01:32:32,484 SOMEHOW CONVINCED HIMSELF THAT HE WAS THE VICTIM. 1639 01:32:34,894 --> 01:32:39,314 ONLY TWO MONTHS LATER, ON NOVEMBER 16, 1926, 1640 01:32:39,484 --> 01:32:42,144 HADLEY WROTE ERNEST THAT IF HE AND PAULINE 1641 01:32:42,246 --> 01:32:44,346 REALLY WANTED TO BE TOGETHER 1642 01:32:44,489 --> 01:32:48,049 SHE WOULD NO LONGER STAND IN THE WAY. 1643 01:32:48,183 --> 01:32:50,703 THEY WERE FREE TO MARRY. 1644 01:32:54,016 --> 01:32:55,596 WOMAN, AS RICHARDSON: THE ENTIRE PROBLEM BELONGS 1645 01:32:55,742 --> 01:32:57,852 TO YOU TWO. 1646 01:32:57,951 --> 01:33:02,021 I AM NOT RESPONSIBLE FOR YOUR FUTURE WELFARE. 1647 01:33:02,128 --> 01:33:04,988 I TOOK YOU ORIGINALLY FOR BETTER, FOR WORSE 1648 01:33:05,165 --> 01:33:08,615 AND MEANT IT! 1649 01:33:08,755 --> 01:33:11,855 BUT IN THE CASE OF YOUR MARRYING SOMEONE ELSE, 1650 01:33:12,034 --> 01:33:16,524 I CAN STAND BY MY VOW ONLY AS AN OUTSIDE FRIEND. 1651 01:33:19,386 --> 01:33:22,386 COME TO SEE BUMBY AS MUCH AS YOU WANT-- 1652 01:33:22,527 --> 01:33:25,287 HE IS YOURS AS MUCH AS MINE-- 1653 01:33:25,427 --> 01:33:27,217 AND TAKE HIM OUT SOMETIMES IF YOU FEEL LIKE 1654 01:33:27,360 --> 01:33:28,880 THAT KIND OF THING-- 1655 01:33:29,051 --> 01:33:32,571 SO THAT HE WILL KNOW YOU ARE HIS REAL PAPA. 1656 01:33:35,230 --> 01:33:39,540 NARRATOR: HADLEY AND BUMBY SOON SAILED FOR THE UNITED STATES. 1657 01:33:39,717 --> 01:33:46,377 ERNEST STAYED IN PARIS. PAULINE JOINED HIM. 1658 01:33:46,551 --> 01:33:49,071 MEANWHILE, SCRIBNER'S HAD FINALLY PUBLISHED 1659 01:33:49,209 --> 01:33:51,419 "THE SUN ALSO RISES." 1660 01:33:51,591 --> 01:33:54,391 EDMUND WILSON DECLARED IT THE BEST NOVEL WRITTEN 1661 01:33:54,559 --> 01:33:57,419 BY ANYONE OF HEMINGWAY'S GENERATION. 1662 01:33:57,597 --> 01:34:00,567 A REVIEWER FOR "THE ATLANTIC" SAID THAT HEMINGWAY 1663 01:34:00,738 --> 01:34:04,158 "WRITES AS IF HE HAD NEVER READ ANYBODY'S WRITING, 1664 01:34:04,293 --> 01:34:08,403 AS IF HE HAD FASHIONED THE ART OF WRITING HIMSELF." 1665 01:34:08,504 --> 01:34:10,964 THE BOOK SOLD WELL. 1666 01:34:11,093 --> 01:34:18,143 ITS AUTHOR INSISTED THAT ALL THE ROYALTIES GO TO HADLEY. 1667 01:34:18,273 --> 01:34:21,483 ON MAY 10, 1927, ERNEST HEMINGWAY 1668 01:34:21,621 --> 01:34:25,491 AND PAULINE PFEIFFER WERE MARRIED IN PARIS. 1669 01:34:25,625 --> 01:34:29,415 THERE WERE TWO CEREMONIES, ONE AT THE MAYOR'S OFFICE 1670 01:34:29,525 --> 01:34:32,735 AND A SECOND AT A CATHOLIC CHURCH. 1671 01:34:32,874 --> 01:34:35,674 THE PFEIFFER FAMILY HAD COME AROUND TO APPROVING PAULINE'S 1672 01:34:35,808 --> 01:34:38,048 DECISION TO MARRY HEMINGWAY. 1673 01:34:38,189 --> 01:34:41,779 HE NOW CLAIMED HE'D SECRETLY ALWAYS BEEN A CATHOLIC 1674 01:34:41,952 --> 01:34:45,062 BECAUSE A PRIEST HAD GIVEN HIM EXTREME UNCTION 1675 01:34:45,196 --> 01:34:47,056 AFTER HE WAS WOUNDED. 1676 01:34:47,198 --> 01:34:51,308 SINCE HIS FIRST MARRIAGE HAD TAKEN PLACE OUTSIDE THE CHURCH, 1677 01:34:51,444 --> 01:34:53,964 THE CHURCH DID NOT RECOGNIZE IT. 1678 01:34:54,136 --> 01:34:56,966 HADLEY HAD NEVER REALLY BEEN HIS WIFE, 1679 01:34:57,139 --> 01:35:01,799 AND, BY EXTENSION, BUMBY WAS ILLEGITIMATE. 1680 01:35:03,767 --> 01:35:06,217 NARRATOR: HEMINGWAY HOPED TO LIVE THE SAME KIND OF LIFE 1681 01:35:06,355 --> 01:35:09,355 WITH PAULINE THAT HE HAD LED WITH HADLEY-- 1682 01:35:09,496 --> 01:35:12,776 PARIS CAF ÉS, BULLFIGHTS, SKIING-- 1683 01:35:12,914 --> 01:35:17,374 AND DREAMED OF HAVING ONE LITERARY SUCCESS AFTER ANOTHER, 1684 01:35:17,504 --> 01:35:21,684 BUT THINGS DIDN'T GO QUITE AS PLANNED. 1685 01:35:21,819 --> 01:35:24,999 HE STARTED A NOVEL ABOUT A FATHER AND SON, 1686 01:35:25,098 --> 01:35:27,508 ONLY TO ABANDON IT. 1687 01:35:27,687 --> 01:35:31,547 A NEW BOOK OF 14 SHORT STORIES, "MEN WITHOUT WOMEN," 1688 01:35:31,691 --> 01:35:34,001 DID NOT SELL AS WELL AS HE LIKED, 1689 01:35:34,176 --> 01:35:36,386 AND THERE WERE MIXED REVIEWS. 1690 01:35:36,523 --> 01:35:39,423 SOME READERS WERE PUT OFF BY ITS THEMES, 1691 01:35:39,561 --> 01:35:45,021 INCLUDING HOMOSEXUALITY, INFIDELITY, AND DIVORCE. 1692 01:35:45,118 --> 01:35:47,738 AS ALWAYS, HEMINGWAY TRIED TO MAKE HIS CHARACTERS 1693 01:35:47,880 --> 01:35:51,470 SPEAK PRECISELY AS HIS CONTEMPORARIES SPOKE, 1694 01:35:51,607 --> 01:35:55,057 INCLUDING THEIR USE OF RACIAL EPITHETS. 1695 01:35:57,096 --> 01:35:59,996 DUDLEY: WHY USE THE N-WORD MULTIPLE TIMES? 1696 01:36:02,584 --> 01:36:04,484 HEMINGWAY KNOWS THAT IT'S PROBABLY ONE 1697 01:36:04,620 --> 01:36:06,420 OF THE MOST OFFENSIVE WORDS HE COULD HAVE USED, 1698 01:36:06,553 --> 01:36:08,623 EVEN AT THIS TIME. 1699 01:36:08,763 --> 01:36:10,453 COULD YOU MAKE A CASE FOR HEMINGWAY 1700 01:36:10,592 --> 01:36:13,982 BEING PREJUDICIAL IN HIS LIFE, IN HIS WRITING? 1701 01:36:14,113 --> 01:36:16,843 ABSOLUTELY, YOU COULD, BUT, AT THE SAME TIME, 1702 01:36:16,978 --> 01:36:18,978 YOU COULD PEEL BACK THE LAYERS, AND YOU CAN GET A SENSE 1703 01:36:19,118 --> 01:36:24,328 OF A MAN TRYING TO CONVEY A SENSE OF HIS TIME. 1704 01:36:24,468 --> 01:36:26,918 CUSHMAN: THAT'S NOT AN EXCUSE FOR HIM. 1705 01:36:27,057 --> 01:36:30,887 I DON'T THINK YOU CAN DRY CLEAN HEMINGWAY 1706 01:36:30,992 --> 01:36:35,722 INTO SOMEBODY WHO FITS INTO WHAT WE NOW CONSIDER 1707 01:36:35,893 --> 01:36:39,763 SOCIALLY AND POLITICALLY ACCEPTABLE MUCH OF THE TIME. 1708 01:36:39,863 --> 01:36:42,453 NARRATOR: "MEN WITHOUT WOMEN" ALSO INCLUDED A STORY 1709 01:36:42,589 --> 01:36:48,839 THAT IS AMONG HIS MASTERPIECES "HILLS LIKE WHITE ELEPHANTS." 1710 01:36:48,975 --> 01:36:52,835 IN IT, A COUPLE WAITING IN A SMALL SPANISH TRAIN STATION 1711 01:36:52,979 --> 01:36:56,809 DISCUSS WHETHER OR NOT THE WOMAN WILL HAVE AN ABORTION 1712 01:36:56,949 --> 01:37:00,159 WITHOUT EVER MENTIONING THE WORD. 1713 01:37:00,297 --> 01:37:03,087 EDNA O'BRIEN: WHAT'S NOT SAID IS SO WONDERFUL. 1714 01:37:03,196 --> 01:37:08,436 SOMEHOW, THE WHOLE RELATIONSHIP, WHICH WILL BE FOREVER SHADOWED, 1715 01:37:08,546 --> 01:37:11,236 IF NOT TO SAY DESTROYED, BY THIS, 1716 01:37:11,411 --> 01:37:14,761 YOU GET A PICTURE OF IT 1717 01:37:14,863 --> 01:37:18,493 WITHOUT HIM SPELLING OUT THE WORDS. 1718 01:37:18,625 --> 01:37:20,415 YOU SEE, THAT'S WHAT HE DID. 1719 01:37:20,524 --> 01:37:23,424 THAT EVASION THAT HE MASTERED 1720 01:37:23,596 --> 01:37:27,116 AND THAT CONTROL THAT HE MASTERED 1721 01:37:27,289 --> 01:37:32,709 IS ONE OF HIS SIGNATURE STROKES OF GENIUS. 1722 01:37:32,847 --> 01:37:34,397 MAN, AS HEMINGWAY: "IT'S REALLY AN AWFULLY 1723 01:37:34,538 --> 01:37:37,368 SIMPLE OPERATION, JIG," THE MAN SAID. 1724 01:37:37,506 --> 01:37:40,026 "IT'S NOT REALLY AN OPERATION AT ALL." 1725 01:37:40,164 --> 01:37:44,414 THE GIRL LOOKED AT THE GROUND THE TABLE LEGS RESTED ON. 1726 01:37:44,548 --> 01:37:46,648 "I KNOW YOU WOULDN'T MIND IT, JIG. 1727 01:37:46,791 --> 01:37:48,521 "IT'S REALLY NOT ANYTHING. 1728 01:37:48,655 --> 01:37:51,725 IT'S JUST TO LET THE AIR IN." 1729 01:37:51,866 --> 01:37:53,826 THE GIRL DID NOT SAY ANYTHING. 1730 01:37:53,971 --> 01:37:56,081 "I'LL GO WITH YOU, AND I'LL STAY WITH YOU 1731 01:37:56,215 --> 01:37:57,455 "ALL THE TIME. 1732 01:37:57,630 --> 01:37:58,910 "THEY JUST LET THE AIR IN, 1733 01:37:59,045 --> 01:38:01,355 AND THEN IT'S ALL PERFECTLY NATURAL." 1734 01:38:01,496 --> 01:38:04,186 "THEN WHAT WILL WE DO AFTERWARD?" 1735 01:38:04,326 --> 01:38:05,566 "WE'LL BE FINE AFTERWARD. 1736 01:38:05,707 --> 01:38:07,707 JUST LIKE WE WERE BEFORE." 1737 01:38:07,847 --> 01:38:10,367 "WHAT MAKES YOU THINK SO?" 1738 01:38:10,505 --> 01:38:13,225 "THAT'S THE ONLY THING THAT BOTHERS US. 1739 01:38:13,370 --> 01:38:16,960 IT'S THE ONLY THING THAT'S MADE US UNHAPPY." 1740 01:38:18,927 --> 01:38:21,787 MANDEL: HE KNOWS WHAT HE WANTS. 1741 01:38:21,930 --> 01:38:24,480 HE WANTS ONE THING, IT'S "GET RID OF THIS THING," 1742 01:38:24,657 --> 01:38:26,107 BUT HE CAN'T TELL HER THAT. 1743 01:38:26,245 --> 01:38:30,415 SO HE SAYS, "I ONLY WANT WHAT YOU WANT." 1744 01:38:30,559 --> 01:38:32,839 HE SAYS, "I'LL DO WHATEVER YOU SAY. 1745 01:38:32,941 --> 01:38:35,011 DON'T DO ANYTHING THAT YOU DON'T WANT TO DO," 1746 01:38:35,116 --> 01:38:39,116 BUT HE'S PUSHING AND PUSHING AND PUSHING AND PUSHING. 1747 01:38:39,258 --> 01:38:42,568 IT IS PAINFUL TO WATCH THIS GOING ON. 1748 01:38:42,709 --> 01:38:46,019 IT IS RECOGNIZABLE FOR MOST WOMEN 1749 01:38:46,196 --> 01:38:48,646 TO--EVEN IF IT'S NOT THE SITUATION-- 1750 01:38:48,784 --> 01:38:54,414 THE PUSHING, THE INSISTENCE, THE MASCULINE ASSERTION, 1751 01:38:54,549 --> 01:38:58,929 AND THEN, SHE FINALLY SAYS-- AND THIS IS, I THINK, 1752 01:38:59,071 --> 01:39:02,901 ONE OF GREAT UNDERSTATED SENTENCES-- 1753 01:39:03,006 --> 01:39:11,876 SHE SAYS TO HIM, "WOULD YOU PLEASE PLEASE PLEASE PLEASE 1754 01:39:11,980 --> 01:39:18,750 PLEASE PLEASE PLEASE STOP TALKING?" 1755 01:39:20,092 --> 01:39:23,062 WE DON'T KNOW WHAT SHE'S GOING TO DECIDE. 1756 01:39:23,233 --> 01:39:26,413 SHE'S--MAYBE TO KEEP THE RELATIONSHIP, 1757 01:39:26,546 --> 01:39:28,236 SHE WILL DO WHAT HE SAYS, 1758 01:39:28,410 --> 01:39:31,410 BUT IF SHE DOES THAT, THE RELATIONSHIP IS OVER. 1759 01:39:31,586 --> 01:39:36,826 MAYBE SHE WILL KEEP IT AND JUST BE WITH HERSELF AND THE BABY. 1760 01:39:36,971 --> 01:39:39,281 MAYBE SHE WILL GET RID OF THE BABY 1761 01:39:39,421 --> 01:39:40,911 AND CARRY ON HER LIFE. 1762 01:39:41,009 --> 01:39:44,429 WHATEVER SHE DOES, HER LIFE WILL BE DIFFERENT. 1763 01:39:44,599 --> 01:39:46,499 MAN, AS HEMINGWAY: HE DRANK AN ANIS AT THE BAR 1764 01:39:46,635 --> 01:39:48,875 AND LOOKED AT THE PEOPLE. 1765 01:39:49,017 --> 01:39:52,297 THEY WERE ALL WAITING REASONABLY FOR THE TRAIN. 1766 01:39:54,816 --> 01:39:57,846 HE WENT OUT THROUGH THE BEAD CURTAIN. 1767 01:39:57,992 --> 01:40:01,752 SHE WAS SITTING AT THE TABLE AND SMILED AT HIM. 1768 01:40:01,857 --> 01:40:04,827 "DO YOU FEEL BETTER?" HE ASKED. 1769 01:40:04,964 --> 01:40:06,864 "I FEEL FINE," SHE SAID. 1770 01:40:07,001 --> 01:40:09,211 "THERE'S NOTHING WRONG WITH ME. 1771 01:40:09,348 --> 01:40:11,588 I FEEL FINE." 1772 01:40:17,977 --> 01:40:19,697 NARRATOR: IN MARCH OF 1928, 1773 01:40:19,841 --> 01:40:23,291 HEMINGWAY AND PAULINE LEFT FRANCE. 1774 01:40:23,396 --> 01:40:25,776 SHE WAS PREGNANT NOW, AND THEY WANTED TO HAVE 1775 01:40:25,881 --> 01:40:28,441 THEIR BABY IN THE UNITED STATES. 1776 01:40:28,608 --> 01:40:29,948 HEMINGWAY WAS RECOVERING 1777 01:40:30,058 --> 01:40:32,988 FROM A SECOND SERIOUS HEAD INJURY CAUSED 1778 01:40:33,096 --> 01:40:36,546 WHEN HE ACCIDENTALLY PULLED A SKYLIGHT DOWN ON HIS HEAD, 1779 01:40:36,685 --> 01:40:39,475 LEAVING A PERMANENT SCAR, 1780 01:40:39,585 --> 01:40:41,235 BUT HE HAD BEGUN A NEW NOVEL, 1781 01:40:41,380 --> 01:40:44,730 A STORY ABOUT A WOUNDED SOLDIER WHO FALLS IN LOVE 1782 01:40:44,866 --> 01:40:47,896 WITH THE NURSE WHO CARES FOR HIM. 1783 01:40:48,042 --> 01:40:51,322 THE HEMINGWAYS RENTED A HOUSE IN KEY WEST, FLORIDA, 1784 01:40:51,424 --> 01:40:53,634 WHERE ERNEST ENJOYED OCEAN FISHING 1785 01:40:53,737 --> 01:40:55,837 FOR THE FIRST TIME. 1786 01:40:57,982 --> 01:41:00,022 THEY THEN MOVED TO PAULINE'S PARENTS' HOME 1787 01:41:00,192 --> 01:41:03,782 IN PIGGOTT, ARKANSAS, AS THE BABY'S ARRIVAL NEARED, 1788 01:41:03,919 --> 01:41:09,339 AND SPENT A MONTH IN KANSAS CITY WHERE, ON JUNE 28, 1928, 1789 01:41:09,442 --> 01:41:12,862 PATRICK HEMINGWAY WAS BORN BY CAESARIAN SECTION 1790 01:41:12,997 --> 01:41:15,717 AFTER A DIFFICULT LABOR. 1791 01:41:15,862 --> 01:41:20,632 THEY RETURNED TO ARKANSAS TOGETHER, 1792 01:41:20,764 --> 01:41:23,914 BUT THEN HEMINGWAY HEADED WEST ALONE, 1793 01:41:24,043 --> 01:41:27,433 WRITING AS HE WENT, WORKING AND REWORKING 1794 01:41:27,564 --> 01:41:30,194 THE BOOK THAT NOW CONSUMED HIM. 1795 01:41:30,360 --> 01:41:34,670 IT WOULD BE CALLED "A FAREWELL TO ARMS." 1796 01:41:36,400 --> 01:41:38,400 MAN, AS HEMINGWAY: I REMEMBER LIVING IN THE BOOK 1797 01:41:38,540 --> 01:41:42,060 AND MAKING UP WHAT HAPPENED IN IT EVERY DAY. 1798 01:41:42,199 --> 01:41:43,859 MAKING THE COUNTRY AND THE PEOPLE 1799 01:41:44,028 --> 01:41:46,238 AND THE THINGS THAT HAPPENED, 1800 01:41:46,376 --> 01:41:50,066 I WAS HAPPIER THAN I HAD EVER BEEN. 1801 01:41:50,173 --> 01:41:52,903 EACH DAY I READ THE BOOK THROUGH FROM THE BEGINNING 1802 01:41:53,037 --> 01:41:55,587 TO THE POINT WHERE I WENT ON WRITING, 1803 01:41:55,730 --> 01:41:59,220 AND EACH DAY I STOPPED WHEN I WAS STILL GOING GOOD 1804 01:41:59,389 --> 01:42:02,049 AND WHEN I KNEW WHAT WOULD HAPPEN NEXT. 1805 01:42:06,258 --> 01:42:09,158 IN THE LATE SUMMER OF THAT YEAR, WE LIVED IN A HOUSE 1806 01:42:09,295 --> 01:42:11,675 IN A VILLAGE THAT LOOKED ACROSS THE RIVER 1807 01:42:11,815 --> 01:42:14,955 AND THE PLAIN TO THE MOUNTAINS. 1808 01:42:15,094 --> 01:42:18,484 IN THE BED OF THE RIVER, THERE WERE PEBBLES AND BOULDERS, 1809 01:42:18,615 --> 01:42:20,785 DRY AND WHITE IN THE SUN, 1810 01:42:20,927 --> 01:42:23,407 AND THE WATER WAS CLEAR AND SWIFTLY MOVING 1811 01:42:23,516 --> 01:42:26,066 AND BLUE IN THE CHANNELS. 1812 01:42:26,243 --> 01:42:29,253 TROOPS WENT BY THE HOUSE AND DOWN THE ROAD... 1813 01:42:29,350 --> 01:42:30,940 MAN AND EDNA O'BRIEN: AND THE DUST THEY RAISED 1814 01:42:31,075 --> 01:42:33,485 POWDERED THE LEAVES OF THE TREES. 1815 01:42:33,630 --> 01:42:35,080 THE TRUNKS OF THE TREES, TOO... 1816 01:42:35,252 --> 01:42:36,912 EDNA O'BRIEN: "WERE DUSTY, 1817 01:42:37,012 --> 01:42:39,432 "AND THE LEAVES FELL EARLY THAT YEAR, 1818 01:42:39,532 --> 01:42:42,672 "AND WE SAW THE TROOPS MARCHING ALONG THE ROAD 1819 01:42:42,811 --> 01:42:45,711 "AND THE DUST RISING AND LEAVES, 1820 01:42:45,849 --> 01:42:47,989 "STIRRED BY THE BREEZE, FALLING 1821 01:42:48,127 --> 01:42:49,537 "AND THE SOLDIERS MARCHING 1822 01:42:49,680 --> 01:42:53,790 "AND AFTERWARDS THE ROAD BARE 1823 01:42:53,891 --> 01:42:59,971 AND WHITE EXCEPT FOR THE LEAVES." 1824 01:43:00,070 --> 01:43:02,660 CUSHMAN: I READ THAT PARAGRAPH, AND I WANT TO CRY. 1825 01:43:02,797 --> 01:43:05,387 IT'S INCREDIBLY BEAUTIFUL. 1826 01:43:05,524 --> 01:43:10,184 HE BROKE EVERY RULE, ALL THE REPETITION. 1827 01:43:10,322 --> 01:43:15,532 IN 4 SENTENCES, THE WORD "AND" 15 TIMES. 1828 01:43:15,672 --> 01:43:20,852 WHAT'S GOING ON IS JUST AN UNFORGETTABLE DISPLAY 1829 01:43:20,987 --> 01:43:23,817 OF RHYTHMIC MASTERY. 1830 01:43:23,990 --> 01:43:29,000 THERE'S A KIND--ALMOST A KIND OF HYPNOSIS, AN INCANTATION 1831 01:43:29,133 --> 01:43:32,173 THAT I THINK IS ABOUT THE FRAME OF MIND 1832 01:43:32,309 --> 01:43:34,859 THAT YOU'RE GOING INTO THE WAR WITH. 1833 01:43:35,001 --> 01:43:39,141 [BACH'S "CELLO SUITE NO. 4, PRELUDE" PLAYING] 1834 01:43:42,043 --> 01:43:44,773 EDNA O'BRIEN: BY RELISTENING TO BACH 1835 01:43:44,908 --> 01:43:47,148 AND BY RECOGNIZING THE REPETITION 1836 01:43:47,324 --> 01:43:50,854 OF PARTICULAR NOTES IN BACH, 1837 01:43:51,017 --> 01:43:56,367 THAT THAT WAS INSPIRATION FOR WRITING "A FAREWELL TO ARMS." 1838 01:43:58,266 --> 01:44:01,676 NARRATOR: UNLIKE "THE SUN ALSO RISES," 1839 01:44:01,787 --> 01:44:05,447 "A FAREWELL TO ARMS" WAS EXPLICITLY ABOUT THE GREAT WAR. 1840 01:44:05,584 --> 01:44:08,454 ITS PROTAGONIST LIEUTENANT FREDERIC HENRY 1841 01:44:08,587 --> 01:44:13,067 IS AN AMERICAN AMBULANCE DRIVER ATTACHED TO THE ITALIAN ARMY, 1842 01:44:13,212 --> 01:44:16,152 WHO IS WOUNDED AND FALLS IN LOVE WITH A NURSE 1843 01:44:16,284 --> 01:44:19,564 NAMED CATHERINE BARKLEY, WHO IS MOURNING A LOVER 1844 01:44:19,701 --> 01:44:22,701 KILLED IN THE WAR. 1845 01:44:22,808 --> 01:44:26,358 DRAWN FROM HIS OWN EXPERIENCES, THE STORIES HE HEARD, 1846 01:44:26,467 --> 01:44:29,917 AND HIS OWN DOGGED RESEARCH, THE BOOK'S DISILLUSIONMENT 1847 01:44:30,056 --> 01:44:33,296 WITH THE WAR WOULD SPEAK TO-- AND FOR-- 1848 01:44:33,439 --> 01:44:35,959 THOSE WHO HAD LIVED THROUGH IT. 1849 01:44:40,377 --> 01:44:42,067 MAN, AS HEMINGWAY: I WAS ALWAYS EMBARRASSED 1850 01:44:42,172 --> 01:44:46,802 BY THE WORDS SACRED, GLORIOUS, AND SACRIFICE 1851 01:44:46,935 --> 01:44:49,895 AND THE EXPRESSION IN VAIN. 1852 01:44:52,009 --> 01:44:54,119 WE HAD HEARD THEM, SOMETIMES STANDING 1853 01:44:54,253 --> 01:44:56,263 IN THE RAIN ALMOST OUT OF EARSHOT, 1854 01:44:56,393 --> 01:44:59,263 SO THAT ONLY THE SHOUTED WORDS CAME THROUGH, 1855 01:44:59,396 --> 01:45:01,566 AND HAD READ THEM ON PROCLAMATIONS 1856 01:45:01,674 --> 01:45:03,444 THAT WERE SLAPPED UP BY BILLPOSTERS 1857 01:45:03,573 --> 01:45:08,063 OVER OTHER PROCLAMATIONS, NOW FOR A LONG TIME... 1858 01:45:09,958 --> 01:45:12,028 AND I HAD SEEN NOTHING SACRED, 1859 01:45:12,167 --> 01:45:15,337 AND THE THINGS THAT WERE GLORIOUS HAD NO GLORY, 1860 01:45:15,481 --> 01:45:18,001 AND THE SACRIFICES WERE LIKE THE STOCKYARDS 1861 01:45:18,139 --> 01:45:20,349 AT CHICAGO IF NOTHING WAS DONE 1862 01:45:20,486 --> 01:45:23,346 WITH THE MEAT EXCEPT TO BURY IT. 1863 01:45:23,489 --> 01:45:27,109 THERE WERE MANY WORDS THAT YOU COULD NOT STAND TO HEAR, 1864 01:45:27,217 --> 01:45:31,327 AND FINALLY ONLY THE NAMES OF PLACES HAD DIGNITY. 1865 01:45:32,774 --> 01:45:36,544 CERTAIN NUMBERS WERE THE SAME WAY AND CERTAIN DATES, 1866 01:45:36,675 --> 01:45:39,465 AND THESE WITH THE NAMES OF THE PLACES WERE 1867 01:45:39,609 --> 01:45:43,959 ALL YOU COULD SAY AND HAVE THEM MEAN ANYTHING. 1868 01:45:45,856 --> 01:45:49,266 WOLFF: I DON'T KNOW OF ANYONE UP TO THAT POINT 1869 01:45:49,377 --> 01:45:53,307 WHO HAD SAID THAT THAT WELL 1870 01:45:53,416 --> 01:45:58,556 BECAUSE WE CAN'T SEEM TO STOP USING THAT KIND OF LANGUAGE 1871 01:45:58,697 --> 01:46:00,317 ABOUT WAR, 1872 01:46:00,457 --> 01:46:05,357 AND IT IS OUR DUTY ALWAYS TO PUNCTURE IT, 1873 01:46:05,497 --> 01:46:10,187 BUT NO ONE HAS EVER DONE IT THIS ELOQUENTLY. 1874 01:46:10,329 --> 01:46:14,399 THE ACCUMULATING WEIGHT OF THOSE SENTENCES 1875 01:46:14,540 --> 01:46:17,920 AND THE EMOTION, THE DISGUST, 1876 01:46:18,061 --> 01:46:22,891 AND ALSO THE REVERENCE FOR WHAT HAS BEEN, IN FACT, DONE, 1877 01:46:23,031 --> 01:46:24,651 THE DIGNITY OF THOSE PLACES 1878 01:46:24,826 --> 01:46:27,756 THAT GATHER IN THOSE SENTENCES AS THEY GO ON, 1879 01:46:27,898 --> 01:46:31,418 IT'S JUST BEAUTIFUL. 1880 01:46:31,557 --> 01:46:34,347 NARRATOR: IN THE NOVEL, LIEUTENANT HENRY DESERTS 1881 01:46:34,526 --> 01:46:38,496 AND FLEES TO NEUTRAL SWITZERLAND WITH CATHERINE BARKLEY. 1882 01:46:38,599 --> 01:46:40,839 THEY HOPE TO MARRY AND BUILD A LIFE TOGETHER 1883 01:46:40,980 --> 01:46:43,330 ONCE THE WAR IS OVER. 1884 01:46:43,431 --> 01:46:46,681 SHE IS PREGNANT, BUT SOMETHING GOES 1885 01:46:46,848 --> 01:46:49,988 TERRIBLY WRONG IN THE DELIVERY ROOM. 1886 01:46:50,093 --> 01:46:52,723 DOCTORS PERFORM A CAESARIAN. 1887 01:46:52,854 --> 01:46:55,274 THE BABY IS STILLBORN. 1888 01:46:55,409 --> 01:46:59,029 CATHERINE'S LIFE EBBS AWAY. 1889 01:47:01,138 --> 01:47:03,558 HEMINGWAY AGONIZED OVER THE ENDING, 1890 01:47:03,693 --> 01:47:07,083 WRITING 47 VERSIONS OF THE FINAL PAGES 1891 01:47:07,213 --> 01:47:09,873 BEFORE HE WAS SATISFIED. 1892 01:47:10,009 --> 01:47:30,369 ♪ 1893 01:47:30,547 --> 01:47:33,407 MAN, AS HEMINGWAY: I WENT TO THE DOOR OF THE ROOM. 1894 01:47:33,516 --> 01:47:36,856 "YOU CAN'T COME IN NOW," ONE OF THE NURSES SAID. 1895 01:47:36,967 --> 01:47:39,827 "YES I CAN," I SAID. 1896 01:47:39,970 --> 01:47:42,590 "YOU CAN'T COME IN YET." 1897 01:47:42,732 --> 01:47:44,042 "YOU GET OUT," I SAID. 1898 01:47:44,147 --> 01:47:48,077 "THE OTHER ONE TOO." 1899 01:47:48,254 --> 01:47:50,744 BUT AFTER I HAD GOT THEM OUT AND SHUT THE DOOR 1900 01:47:50,843 --> 01:47:55,473 AND TURNED OFF THE LIGHT, IT WASN'T ANY GOOD. 1901 01:47:55,607 --> 01:47:58,747 IT WAS LIKE SAYING GOODBYE TO A STATUE. 1902 01:47:58,851 --> 01:48:01,341 [RAIN FALLING, THUNDER] 1903 01:48:01,475 --> 01:48:05,575 AFTER A WHILE, I WENT OUT AND LEFT THE HOSPITAL 1904 01:48:05,686 --> 01:48:09,546 AND WALKED BACK TO THE HOTEL IN THE RAIN. 1905 01:48:13,314 --> 01:48:15,354 EDNA O'BRIEN: PARTS OF "A FAREWELL TO ARMS" 1906 01:48:15,489 --> 01:48:18,179 COULD HAVE BEEN WRITTEN BY A WOMAN. 1907 01:48:18,319 --> 01:48:21,119 NOW, I REGARD THAT AS A COMPLIMENT. 1908 01:48:21,287 --> 01:48:23,597 HEMINGWAY MIGHT REGARD IT AS AN INSULT, 1909 01:48:23,773 --> 01:48:29,123 BUT I DON'T BECAUSE IT IS THE ANDROGYNY 1910 01:48:29,226 --> 01:48:34,226 IN A MAN OR A WOMAN THAT ALLOWS THEM, EVEN IF BRIEFLY, 1911 01:48:34,369 --> 01:48:36,819 NOT UTTERLY, TO BE ABLE TO PUT THEMSELVES 1912 01:48:36,958 --> 01:48:40,718 INSIDE THE SKIN OF THE OPPOSITE THING. 1913 01:48:40,859 --> 01:48:44,099 IN MANY WAYS, I THINK IT'S HIS GREATEST NOVEL. 1914 01:48:44,276 --> 01:48:47,616 I DO. IT'S THE TRUEST. 1915 01:48:47,797 --> 01:48:50,277 IT'S ALSO HEARTBREAKING. 1916 01:48:50,454 --> 01:48:54,674 I REMEMBER CRYING AND CRYING AND CRYING. 1917 01:48:54,804 --> 01:48:58,954 HE GETS THE--ALL THE--THE "BOY" STUFF, 1918 01:48:59,118 --> 01:49:00,288 THE "MAN" STUFF. 1919 01:49:00,395 --> 01:49:02,325 HE GETS THE HORROR OF THE WAR, 1920 01:49:02,466 --> 01:49:05,396 BUT WHEN PEOPLE PUT THAT BOOK DOWN, 1921 01:49:05,539 --> 01:49:07,539 WHAT DO THEY REMEMBER? 1922 01:49:07,679 --> 01:49:11,339 THEY REMEMBER A WOMAN DYING IN CHILDBIRTH. 1923 01:49:12,891 --> 01:49:14,721 MAN, AS HEMINGWAY: IF PEOPLE BRING SO MUCH COURAGE 1924 01:49:14,858 --> 01:49:17,858 TO THIS WORLD, THE WORLD HAS TO KILL THEM 1925 01:49:17,999 --> 01:49:19,479 TO BREAK THEM, 1926 01:49:19,656 --> 01:49:23,696 SO OF COURSE IT KILLS THEM. 1927 01:49:23,833 --> 01:49:26,593 THE WORLD BREAKS EVERYONE, AND AFTERWARD, 1928 01:49:26,732 --> 01:49:31,082 MANY ARE STRONG AT THE BROKEN PLACES, 1929 01:49:31,219 --> 01:49:35,259 BUT THOSE THAT WILL NOT BREAK IT KILLS. 1930 01:49:35,396 --> 01:49:38,086 IT KILLS THE VERY GOOD AND THE VERY GENTLE 1931 01:49:38,226 --> 01:49:42,126 AND THE VERY BRAVE IMPARTIALLY. 1932 01:49:42,265 --> 01:49:44,435 IF YOU ARE NONE OF THESE, YOU CAN BE SURE 1933 01:49:44,578 --> 01:49:46,608 IT WILL KILL YOU, TOO, 1934 01:49:46,752 --> 01:49:49,582 BUT THERE WILL BE NO SPECIAL HURRY. 1935 01:49:55,796 --> 01:49:58,066 NARRATOR: IN THE LATE FALL OF 1928, 1936 01:49:58,212 --> 01:50:02,732 HEMINGWAY'S FATHER'S LIFE WAS SPIRALING SLOWLY DOWNWARD. 1937 01:50:02,872 --> 01:50:07,322 THE ANXIETY THAT HAD ALWAYS HAUNTED HIM INTENSIFIED. 1938 01:50:07,462 --> 01:50:10,262 HIS PERIODS OF DEPRESSION LENGTHENED. 1939 01:50:10,396 --> 01:50:13,226 HE SEEMED SUSPICIOUS OF EVERYONE AROUND HIM 1940 01:50:13,399 --> 01:50:16,679 AND UNABLE TO SHAKE A SENSE OF DREAD. 1941 01:50:18,888 --> 01:50:22,548 ON DECEMBER 6, ED HEMINGWAY CAME HOME AT NOON, 1942 01:50:22,719 --> 01:50:25,449 BURNED SOME PERSONAL PAPERS IN THE BASEMENT, 1943 01:50:25,584 --> 01:50:28,764 TOLD HIS WIFE HE THOUGHT HE'D LIE DOWN BEFORE LUNCH, 1944 01:50:28,898 --> 01:50:32,828 AND CLIMBED THE STAIRS TO HIS BEDROOM. 1945 01:50:32,971 --> 01:50:39,391 THEN HE SHOT HIMSELF WITH HIS FATHER'S CIVIL WAR REVOLVER. 1946 01:50:40,910 --> 01:50:43,150 MAN, AS HEMINGWAY: MY FATHER WAS A COWARD. 1947 01:50:43,291 --> 01:50:46,161 HE SHOT HIMSELF WITHOUT NECESSITY. 1948 01:50:46,294 --> 01:50:48,264 AT LEAST I THOUGHT SO. 1949 01:50:48,365 --> 01:50:52,745 I HAD GONE THROUGH IT MYSELF UNTIL I FIGURED IT IN MY HEAD. 1950 01:50:52,853 --> 01:50:55,273 I KNEW WHAT IT WAS TO BE A COWARD 1951 01:50:55,372 --> 01:50:58,892 AND WHAT IT WAS TO CEASE BEING A COWARD. 1952 01:51:00,826 --> 01:51:04,236 NARRATOR: ERNEST PROMISED TO PAY HIS MOTHER A MONTHLY STIPEND, 1953 01:51:04,347 --> 01:51:06,177 BUT HE WOULD PRIVATELY BLAME HER 1954 01:51:06,314 --> 01:51:10,354 FOR DRIVING HIS FATHER TO SUICIDE. 1955 01:51:10,491 --> 01:51:11,631 MAN, AS HEMINGWAY: I HATED MY MOTHER 1956 01:51:11,768 --> 01:51:13,528 AS SOON AS I KNEW THE SCORE 1957 01:51:13,667 --> 01:51:15,807 AND LOVED MY FATHER UNTIL HE EMBARRASSED ME 1958 01:51:15,945 --> 01:51:17,765 WITH HIS COWARDICE. 1959 01:51:17,878 --> 01:51:21,608 MY MOTHER IS AN ALL-TIME, ALL-AMERICAN BITCH, 1960 01:51:21,709 --> 01:51:24,229 AND SHE WOULD MAKE A PACK MULE SHOOT HIMSELF, 1961 01:51:24,367 --> 01:51:27,717 LET ALONE POOR BLOODY FATHER. 1962 01:51:27,853 --> 01:51:30,863 HENDRICKSON: I THINK HEMINGWAY, AMONG HIS MANY, MANY FEARS, 1963 01:51:30,994 --> 01:51:34,484 WAS TERRIFIED "WILL THAT HAPPEN TO ME? 1964 01:51:34,618 --> 01:51:37,518 WILL I BECOME MY FATHER?" 1965 01:51:37,656 --> 01:51:44,176 IN THIS CHRISTIAN, MIDWESTERN, SUBURBAN ILLINOIS FAMILY 1966 01:51:44,318 --> 01:51:48,808 OF A UNIT OF 8, OF 2 PARENTS 1967 01:51:48,909 --> 01:51:50,979 AND 6 CHILDREN-- 1968 01:51:51,152 --> 01:51:56,852 4, AT LEAST 4 DESTROYED THEMSELVES BY THEIR OWN HAND, 1969 01:51:56,986 --> 01:51:59,296 4 OUT OF THE 8. 1970 01:52:03,820 --> 01:52:07,760 NARRATOR: IN SEPTEMBER OF 1929, "A FAREWELL TO ARMS" 1971 01:52:07,893 --> 01:52:09,833 WAS PUBLISHED. 1972 01:52:09,999 --> 01:52:14,689 THE REACTION WAS EVERYTHING HEMINGWAY HAD HOPED FOR. 1973 01:52:14,866 --> 01:52:19,526 "SCRIBNER'S" MAGAZINE HAD PAID $16,000 TO SERIALIZE IT-- 1974 01:52:19,698 --> 01:52:23,558 MORE THAN IT HAD EVER PAID ANYONE BEFORE-- 1975 01:52:23,702 --> 01:52:26,532 AND WHEN THE JUNE ISSUE WAS BANNED IN BOSTON 1976 01:52:26,636 --> 01:52:30,326 BECAUSE SOME PASSAGES WERE THOUGHT TOO "SALACIOUS," 1977 01:52:30,502 --> 01:52:33,262 IT ONLY BOOSTED SALES. 1978 01:52:33,401 --> 01:52:37,411 "A FAREWELL TO ARMS" CLIMBED ONTO THE BEST-SELLER LISTS 1979 01:52:37,543 --> 01:52:41,063 AND STAYED THERE WEEK AFTER WEEK. 1980 01:52:41,202 --> 01:52:47,552 PARAMOUNT PICTURES PAID ANOTHER $24,000 FOR THE MOVIE RIGHTS. 1981 01:52:47,691 --> 01:52:50,141 BY THE AGE OF 30, ERNEST HEMINGWAY 1982 01:52:50,280 --> 01:52:54,110 HAD SURVIVED HIS WAR WOUNDS, HAD MARRIED TWO WOMEN, 1983 01:52:54,250 --> 01:52:56,420 AND FATHERED TWO SONS, 1984 01:52:56,562 --> 01:52:59,912 HAD BURIED HIS FATHER, PUBLISHED 5 BOOKS 1985 01:53:00,049 --> 01:53:05,709 AND WAS NOW THE MOST FAMOUS WRITER IN THE UNITED STATES. 1986 01:53:05,813 --> 01:53:08,643 HIS FRIEND, THE NOVELIST JOHN DOS PASSOS, 1987 01:53:08,782 --> 01:53:10,752 WROTE TO CONGRATULATE HIM. 1988 01:53:10,887 --> 01:53:13,577 "DEAR HEM," HE SAID, "DO YOU REALIZE THAT 1989 01:53:13,752 --> 01:53:17,792 YOU'RE NOW THE KING OF THE FICTION RACKET?" 1990 01:53:21,415 --> 01:53:24,065 MAN, AS HEMINGWAY: I AM VERY PREJUDICED AGAINST SUICIDE 1991 01:53:24,176 --> 01:53:27,456 BECAUSE SOMEHOW I WOULD NOT LIKE TO EVEN RUN A CHANCE 1992 01:53:27,593 --> 01:53:29,293 OF HAVING TO SPEND THE REST OF THE TIME 1993 01:53:29,423 --> 01:53:32,913 WITH A LOT OF THE SORT OF PEOPLE WHO COMMIT SUICIDE. 1994 01:53:33,013 --> 01:53:35,153 ALTHOUGH OF COURSE THAT DOESN'T HOLD TRUE 1995 01:53:35,291 --> 01:53:37,811 BECAUSE THERE ARE SOME SWELL ONES. 1996 01:53:39,295 --> 01:53:41,705 THE REAL REASON FOR NOT COMMITTING SUICIDE 1997 01:53:41,849 --> 01:53:44,579 IS BECAUSE YOU ALWAYS KNOW HOW SWELL LIFE GETS AGAIN 1998 01:53:44,679 --> 01:53:46,649 AFTER THE HELL IS OVER. 1999 01:53:46,785 --> 01:53:50,785 SO YOU HAVE TO RESOLVE IN ADVANCE TO LAST OUT THE TIME 2000 01:53:50,927 --> 01:53:53,587 WHEN YOU DON'T BELIEVE THAT. 2001 01:53:53,757 --> 01:53:57,067 ♪ 2002 01:54:00,247 --> 01:54:05,797 ♪ 2003 01:54:28,378 --> 01:54:36,868 ♪ 2004 01:54:57,304 --> 01:55:02,554 ♪ 2005 01:55:21,845 --> 01:55:27,505 ♪ 2006 01:55:51,599 --> 01:55:57,189 ♪ 2007 01:56:18,557 --> 01:56:24,737 ♪