1 00:00:01,721 --> 00:00:03,163 {\an7}ANNOUNCER: MAJOR FUNDING FOR "HEMINGWAY" 2 00:00:03,187 --> 00:00:06,121 {\an8}WAS PROVIDED BY THE BETTER ANGELS SOCIETY 3 00:00:06,154 --> 00:00:07,887 {\an1}AND BY ITS MEMBERS: 4 00:00:07,921 --> 00:00:10,354 {\an1}THE ELIZABETH RUTH WALLACE LIVING TRUST, 5 00:00:10,387 --> 00:00:12,287 {\an1}JOHN AND LESLIE McQUOWN, 6 00:00:12,321 --> 00:00:13,987 {\an1}JOHN AND CATHERINE DEBS, 7 00:00:14,021 --> 00:00:16,721 {\an1}THE FULLERTON FAMILY CHARITABLE TRUST, 8 00:00:16,754 --> 00:00:19,721 {\an1}KISSICK FAMILY FOUNDATION, GAIL ELDEN, 9 00:00:19,754 --> 00:00:21,321 {\an1}GILCHRIST AND AMY BERG, 10 00:00:21,354 --> 00:00:22,921 {\an1}ROBERT AND BEVERLY GRAPPONE, 11 00:00:22,954 --> 00:00:25,387 {\an1}AND MAUREE JANE AND MARK PERRY. 12 00:00:25,421 --> 00:00:29,787 {\an1}ADDITIONAL FUNDING WAS PROVIDED BY THE ANNENBERG FOUNDATION, 13 00:00:29,821 --> 00:00:32,354 {\an1}THE ARTHUR VINING DAVIS FOUNDATIONS, 14 00:00:32,387 --> 00:00:34,887 THE CORPORATION FOR PUBLIC BROADCASTING, 15 00:00:34,921 --> 00:00:38,154 {\an1}AND BY CONTRIBUTIONS TO YOUR PBS STATION 16 00:00:38,187 --> 00:00:40,221 {\an1}FROM VIEWERS LIKE YOU. 17 00:00:40,254 --> 00:00:44,621 THANK YOU. 18 00:00:45,754 --> 00:00:53,754 ♪ 19 00:01:00,754 --> 00:01:08,754 ♪ 20 00:01:10,421 --> 00:01:14,921 {\an1}MAN: HEMINGWAY WAS A WRITER WHO HAPPENED TO BE AMERICAN, 21 00:01:14,954 --> 00:01:18,454 BUT HIS PALETTE WAS INCREDIBLY WIDE 22 00:01:18,487 --> 00:01:25,154 {\an1}AND DELICIOUS AND VIOLENT AND BRUTAL AND UGLY, 23 00:01:25,187 --> 00:01:27,621 {\an1}ALL OF THOSE THINGS. 24 00:01:27,654 --> 00:01:31,954 {\an7}IT'S SOMETHING EVERY CULTURE CAN BASICALLY UNDERSTAND. 25 00:01:31,987 --> 00:01:37,821 {\an7}EVERY CULTURE CAN UNDERSTAND FALLING IN LOVE WITH SOMEONE, 26 00:01:37,854 --> 00:01:40,354 {\an1}THE LOSS OF THAT PERSON, 27 00:01:40,387 --> 00:01:42,987 {\an1}OF HOW GREAT A MEAL TASTES, 28 00:01:43,021 --> 00:01:46,354 HOW EXTRAORDINARY THIS JOURNEY IS. 29 00:01:46,387 --> 00:01:49,421 {\an1}THAT IS NOT NATIONALISTIC. 30 00:01:49,454 --> 00:01:51,454 IT'S HUMAN, 31 00:01:51,487 --> 00:01:53,954 {\an1}AND I THINK WITH ALL OF HIS FLAWS, 32 00:01:53,987 --> 00:01:57,987 {\an1}WITH ALL THE DIFFICULTIES, HIS PERSONAL LIFE, WHATEVER, 33 00:01:58,021 --> 00:02:03,721 {\an1}HE SEEMED TO UNDERSTAND HUMAN BEINGS. 34 00:02:03,754 --> 00:02:06,054 {\an1}MAN, AS HEMINGWAY: YOU SEE, I'M TRYING IN ALL MY STORIES 35 00:02:06,087 --> 00:02:10,121 {\an1}TO GET THE FEELING OF THE ACTUAL LIFE ACROSS... 36 00:02:10,154 --> 00:02:14,821 {\an1}NOT JUST TO DEPICT LIFE OR CRITICIZE IT... 37 00:02:14,854 --> 00:02:17,487 {\an1}BUT TO ACTUALLY MAKE IT ALIVE 38 00:02:17,521 --> 00:02:19,854 {\an1}SO THAT WHEN YOU'VE READ SOMETHING BY ME 39 00:02:19,887 --> 00:02:22,887 {\an1}YOU ACTUALLY EXPERIENCE THE THING. 40 00:02:22,921 --> 00:02:24,754 YOU CAN'T DO THIS WITHOUT PUTTING IN 41 00:02:24,787 --> 00:02:28,354 {\an1}THE BAD AND THE UGLY, AS WELL AS WHAT IS BEAUTIFUL, 42 00:02:28,387 --> 00:02:32,121 {\an1}BECAUSE IF IT IS ALL BEAUTIFUL YOU CAN'T BELIEVE IN IT. 43 00:02:32,154 --> 00:02:34,287 {\an1}THINGS AREN'T THAT WAY. 44 00:02:34,321 --> 00:02:36,887 {\an1}IT IS ONLY BY SHOWING BOTH SIDES... 45 00:02:36,921 --> 00:02:40,087 {\an1}3 DIMENSIONS AND IF POSSIBLE 4... 46 00:02:40,121 --> 00:02:42,821 {\an1}THAT YOU CAN WRITE THE WAY I WANT TO. 47 00:02:49,621 --> 00:02:53,187 {\an1}[THE BENNY GOODMAN SEXTET'S "A SMO-O-O-OTH ONE" PLAYING] 48 00:02:53,221 --> 00:02:56,921 {\an1}NARRATOR: ERNEST HEMINGWAY REMADE AMERICAN LITERATURE. 49 00:02:56,954 --> 00:03:00,221 {\an1}HE PARED STORY-TELLING TO ITS ESSENTIALS, 50 00:03:00,254 --> 00:03:02,654 CHANGED THE WAY CHARACTERS SPEAK, 51 00:03:02,687 --> 00:03:06,621 {\an1}EXPANDED THE WORLDS A WRITER COULD LEGITIMATELY EXPLORE, 52 00:03:06,654 --> 00:03:10,787 {\an1}AND LEFT AN INDELIBLE RECORD OF HOW MEN AND WOMEN LIVED 53 00:03:10,821 --> 00:03:13,587 {\an1}DURING HIS LIFETIME. 54 00:03:13,621 --> 00:03:16,421 {\an1}GENERATIONS OF WRITERS WOULD FIND THEIR WORK 55 00:03:16,454 --> 00:03:18,421 {\an1}MEASURED AGAINST HIS. 56 00:03:18,454 --> 00:03:21,154 SOME FOLLOWED THE PATH HE'D BLAZED. 57 00:03:21,187 --> 00:03:23,321 {\an1}OTHERS REBELLED AGAINST IT. 58 00:03:23,354 --> 00:03:26,487 {\an1}NONE COULD ESCAPE IT. 59 00:03:26,521 --> 00:03:29,454 {\an1}HE MADE HIMSELF THE MOST CELEBRATED AMERICAN WRITER 60 00:03:29,487 --> 00:03:31,254 SINCE MARK TWAIN, 61 00:03:31,287 --> 00:03:35,454 {\an1}READ... AND REVERED... AROUND THE WORLD. 62 00:03:35,487 --> 00:03:38,154 {\an1}MAN: IT'S HARD TO IMAGINE A WRITER TODAY 63 00:03:38,187 --> 00:03:42,454 {\an1}WHO HASN'T BEEN IN SOME WAY INFLUENCED BY HIM. 64 00:03:42,487 --> 00:03:44,187 {\an1}IT'S LIKE HE CHANGED ALL THE FURNITURE 65 00:03:44,221 --> 00:03:47,321 {\an7}IN THE ROOM, RIGHT, AND WE ALL HAVE TO SIT IN IT 66 00:03:47,354 --> 00:03:49,254 {\an7}TO SOME... YOU KNOW, WE CAN KIND OF SIT 67 00:03:49,287 --> 00:03:52,721 {\an1}ON THE EDGE OF THE ARMCHAIR, ON THE ARM OR DO THIS, 68 00:03:52,754 --> 00:03:57,421 {\an1}BUT, YOU KNOW HE CHANGED THE FURNITURE IN THE ROOM. 69 00:03:57,454 --> 00:04:02,521 {\an1}THE VALUE OF THE AMERICAN DECLARATIVE SENTENCE, RIGHT, 70 00:04:02,554 --> 00:04:06,487 {\an1}THE WAY YOU BUILD A HOUSE BRICK BY BRICK OUT OF THOSE. 71 00:04:06,521 --> 00:04:09,754 {\an1}WITHIN A FEW SENTENCES OF READING A HEMINGWAY STORY, 72 00:04:09,787 --> 00:04:14,354 {\an1}YOU WERE NOT IN ANY CONFUSION AS TO WHO HAD WRITTEN IT. 73 00:04:14,387 --> 00:04:17,887 {\an1}WOMAN: I CAN'T IMAGINE HOW IT'S POSSIBLE 74 00:04:17,921 --> 00:04:23,154 {\an1}THAT ANY ONE WRITER COULD HAVE SO CHANGED THE LANGUAGE. 75 00:04:23,187 --> 00:04:27,821 {\an7}PEOPLE HAVE BEEN COPYING HIM FOR NEARLY A HUNDRED YEARS, 76 00:04:27,854 --> 00:04:33,287 {\an7}AND THEY HAVEN'T SUCCEEDED IN EQUALING WHAT HE DID. 77 00:04:33,321 --> 00:04:37,154 {\an1}MAN: IF YOU'RE A WRITER, YOU CAN'T ESCAPE HEMINGWAY. 78 00:04:37,187 --> 00:04:40,387 {\an1}HE'S SO DAMN POPULAR THAT YOU CAN'T BEGIN TO WRITE 79 00:04:40,421 --> 00:04:43,054 {\an1}TILL YOU TRY AND KILL HIS GHOST IN YOU 80 00:04:43,087 --> 00:04:44,921 OR EMBRACE IT, 81 00:04:44,954 --> 00:04:48,354 {\an7}AND I THINK I IDENTIFY THAT MOST ABOUT HEMINGWAY 82 00:04:48,387 --> 00:04:50,521 {\an8}IS THAT HE WAS ALWAYS QUESTING. 83 00:04:50,554 --> 00:04:52,821 THE PERFECT LINE HAD NOT HAPPENED YET. 84 00:04:52,854 --> 00:04:55,487 {\an1}IT IS ALWAYS A STRUGGLE TRYING TO GET IT RIGHT, 85 00:04:55,521 --> 00:04:58,354 {\an1}AND YOU NEVER WILL. 86 00:04:58,387 --> 00:05:01,287 {\an1}NARRATOR: FOR 3 DECADES, PEOPLE WHO HAD NOT READ 87 00:05:01,321 --> 00:05:04,587 {\an1}A WORD HE'D WRITTEN THOUGHT THEY KNEW HIM... 88 00:05:04,621 --> 00:05:07,921 WOUNDED VETERAN AND BATTLEFIELD CORRESPONDENT, 89 00:05:07,954 --> 00:05:11,554 BIG-GAME HUNTER AND DEEP-SEA FISHERMAN, 90 00:05:11,587 --> 00:05:15,754 {\an1}BULL-FIGHT AFICIONADO, BRAWLER, AND LOVER 91 00:05:15,787 --> 00:05:17,821 {\an1}AND MAN ABOUT TOWN... 92 00:05:23,054 --> 00:05:27,587 {\an1}BUT BEHIND THE PUBLIC FIGURE WAS A TROUBLED AND CONFLICTED MAN, 93 00:05:27,621 --> 00:05:30,787 {\an1}WHO BELONGED TO A TROUBLED AND CONFLICTED FAMILY 94 00:05:30,821 --> 00:05:36,021 {\an1}WITH ITS OWN DRAMA AND DARKNESS AND CLOSELY-HELD SECRETS. 95 00:05:36,054 --> 00:05:39,087 THE WORLD SAW HIM AS A MAN'S MAN, 96 00:05:39,121 --> 00:05:42,221 {\an1}BUT ALL HIS LIFE, HE WOULD PRIVATELY BE INTRIGUED 97 00:05:42,254 --> 00:05:45,387 {\an1}BY THE BLURRED LINES BETWEEN MALE AND FEMALE, 98 00:05:45,421 --> 00:05:48,887 MEN AND WOMEN. 99 00:05:48,921 --> 00:05:50,821 {\an1}THERE WERE SO MANY SIDES TO HIM, 100 00:05:50,854 --> 00:05:53,221 THE FIRST OF HIS 4 WIVES REMEMBERED, 101 00:05:53,254 --> 00:05:56,421 {\an1}THAT HE DEFIED GEOMETRY. 102 00:05:56,454 --> 00:05:58,054 {\an1}WOMAN: HE WAS OPEN TO LIFE. 103 00:05:58,087 --> 00:06:00,687 {\an1}HE WAS OPEN TO TRAGEDY. 104 00:06:00,721 --> 00:06:03,254 HE WAS OPEN TO FEELING. 105 00:06:03,287 --> 00:06:06,187 {\an1}I LIKED THAT HE FELL IN LOVE, 106 00:06:06,221 --> 00:06:09,721 {\an1}AND HE FELL IN LOVE QUITE A FEW TIMES. 107 00:06:09,754 --> 00:06:13,821 {\an1}HE ALWAYS HAD THE NEXT WOMAN 108 00:06:13,854 --> 00:06:18,487 {\an8}BEFORE HE LEFT THE EXISTING WOMAN. 109 00:06:18,521 --> 00:06:21,054 {\an1}NARRATOR: HE WAS OFTEN KIND AND GENEROUS TO THOSE 110 00:06:21,087 --> 00:06:24,354 IN NEED OF HELP AND SOMETIMES JUST AS CRUEL 111 00:06:24,387 --> 00:06:29,187 {\an1}AND VENGEFUL TO THOSE WHO HAD HELPED HIM. 112 00:06:29,221 --> 00:06:31,130 {\an1}MAN, AS HEMINGWAY: I HAVE ALWAYS HAD THE ILLUSION 113 00:06:31,154 --> 00:06:33,987 {\an1}IT WAS MORE IMPORTANT, OR AS IMPORTANT, 114 00:06:34,021 --> 00:06:37,521 TO BE A GOOD MAN AS TO BE A GREAT WRITER. 115 00:06:37,554 --> 00:06:39,887 {\an1}I MAY TURN OUT TO BE NEITHER 116 00:06:39,921 --> 00:06:42,454 {\an1}BUT WOULD LIKE TO BE BOTH. 117 00:06:45,354 --> 00:06:48,954 {\an1}NARRATOR: HEMINGWAY'S STORY IS A TALE OLDER EVEN 118 00:06:48,987 --> 00:06:52,021 {\an1}THAN THE WRITTEN WORD OF A YOUNG MAN 119 00:06:52,054 --> 00:06:54,287 {\an1}WHOSE AMBITION AND IMAGINATION, 120 00:06:54,321 --> 00:06:58,354 {\an1}ENERGY AND ENORMOUS GIFTS BRING HIM WEALTH AND FAME 121 00:06:58,387 --> 00:07:02,421 BEYOND IMAGINING, 122 00:07:02,454 --> 00:07:06,154 {\an1}WHO DESTROYS HIMSELF TRYING TO REMAIN TRUE 123 00:07:06,187 --> 00:07:10,354 TO THE CHARACTER HE HAS INVENTED. 124 00:07:10,387 --> 00:07:12,954 O'BRIEN: ONE OF HIS WEAKNESSES... 125 00:07:12,987 --> 00:07:17,354 {\an1}I WAS GOING TO SAY, "FAILINGS," AND IT WAS A GREAT PITY... 126 00:07:17,387 --> 00:07:19,921 IT'S A GREAT PITY FOR ANY WRITER... 127 00:07:19,954 --> 00:07:23,254 {\an1}HE LOVED AN AUDIENCE. 128 00:07:23,287 --> 00:07:27,387 {\an1}HE LOVED AN AUDIENCE, AND IN FRONT OF AN AUDIENCE, 129 00:07:27,421 --> 00:07:30,821 {\an1}HE LOST THE BEST PART OF HIMSELF 130 00:07:30,854 --> 00:07:34,654 {\an1}BY TRYING TO IMPRESS THE AUDIENCE. 131 00:07:34,687 --> 00:07:36,887 KATAKIS: I HATE THE MYTH OF HEMINGWAY, 132 00:07:36,921 --> 00:07:39,754 {\an1}AND THE REASON I HATE THE MYTH OF HEMINGWAY, 133 00:07:39,787 --> 00:07:42,621 {\an1}IT OBSCURES THE MAN, 134 00:07:42,654 --> 00:07:48,354 {\an1}AND THE MAN IS MUCH MORE INTERESTING THAN THE MYTH. 135 00:07:48,387 --> 00:07:51,754 I THINK HE WAS A TERRIFIC FATHER SOMETIMES. 136 00:07:51,787 --> 00:07:56,054 {\an1}I THINK THAT HE WAS A LOVING HUSBAND SOMETIMES. 137 00:07:56,087 --> 00:07:59,387 {\an1}I THINK HE WAS LIKE SO MANY PEOPLE 138 00:07:59,421 --> 00:08:02,454 {\an1}EXCEPT THIS ENORMOUS TALENT. 139 00:08:02,487 --> 00:08:06,354 {\an1}HEMINGWAY IS COMPLICATED. HE'S VERY COMPLICATED. 140 00:08:07,821 --> 00:08:09,954 {\an1}MAN, AS HEMINGWAY: THE GREAT THING IS TO LAST 141 00:08:09,987 --> 00:08:12,654 {\an1}AND GET YOUR WORK DONE 142 00:08:12,687 --> 00:08:17,487 {\an1}AND SEE AND HEAR AND LEARN AND UNDERSTAND; 143 00:08:17,521 --> 00:08:20,454 {\an1}AND WRITE WHEN THERE IS SOMETHING THAT YOU KNOW; 144 00:08:20,487 --> 00:08:22,654 AND NOT BEFORE; 145 00:08:22,687 --> 00:08:25,754 {\an1}AND NOT TOO DAMNED MUCH AFTER. 146 00:08:25,787 --> 00:08:33,787 ♪ 147 00:08:40,721 --> 00:08:41,621 ♪ 148 00:08:41,654 --> 00:08:43,821 {\an1}[SCOTT JOPLIN'S "PARAGON RAG" PLAYING] 149 00:08:43,854 --> 00:08:51,854 ♪ 150 00:08:57,121 --> 00:08:58,997 {\an1}WOMAN, AS GRACE HEMINGWAY: MY BOY DELIGHTS IN SHOOTING 151 00:08:59,021 --> 00:09:02,487 {\an1}IMAGINARY WOLVES, BEARS, LIONS. 152 00:09:02,521 --> 00:09:06,054 {\an1}ALSO LIKES TO PRETEND HE IS A SOLDIER. 153 00:09:06,087 --> 00:09:11,187 {\an1}HE STORMS AND KICKS AND DANCES WITH RAGE WHEN THWARTED. 154 00:09:11,221 --> 00:09:13,321 {\an1}WHEN ASKED WHAT HE IS AFRAID OF, 155 00:09:13,354 --> 00:09:18,387 HE SHOUTS OUT "'FRAID OF NOTHING!" 156 00:09:18,421 --> 00:09:21,021 NARRATOR: ERNEST MILLER HEMINGWAY WAS BORN 157 00:09:21,054 --> 00:09:26,487 JULY 21, 1899, THE SECOND OF 6 CHILDREN 158 00:09:26,521 --> 00:09:30,687 {\an1}AND ENJOYED WHAT SEEMED TO BE AN IDYLLIC BOYHOOD. 159 00:09:30,721 --> 00:09:32,854 {\an1}HE HAD 4 ADORING SISTERS 160 00:09:32,887 --> 00:09:35,254 AND A WORSHIPFUL YOUNGER BROTHER. 161 00:09:35,287 --> 00:09:37,387 THEY ALL LIVED IN A BIG, COMFORTABLE HOME 162 00:09:37,421 --> 00:09:41,354 IN THE PROSPEROUS CHICAGO SUBURB OF OAK PARK, 163 00:09:41,387 --> 00:09:43,854 A COMPLACENT, WELL-MANNERED COMMUNITY 164 00:09:43,887 --> 00:09:46,387 WITH NO SALOONS AND SO MANY CHURCHES 165 00:09:46,421 --> 00:09:50,787 {\an1}IT LIKED TO CALL ITSELF "SAINT'S REST." 166 00:09:50,821 --> 00:09:54,354 {\an1}THE HEMINGWAYS SPENT LONG SUMMERS AT WINDEMERE, 167 00:09:54,387 --> 00:09:57,721 {\an1}THEIR COTTAGE ON WALLOON LAKE IN MICHIGAN. 168 00:09:57,754 --> 00:10:01,021 [FIRE CRACKLING] 169 00:10:01,054 --> 00:10:03,887 ERNEST'S FATHER CLARENCE HEMINGWAY... 170 00:10:03,921 --> 00:10:08,321 {\an1}KNOWN TO EVERYONE AS ED... WAS A FAMILY DOCTOR. 171 00:10:08,354 --> 00:10:11,121 {\an1}HE KEPT OFFICE HOURS EVERY DAY OF THE WEEK 172 00:10:11,154 --> 00:10:13,454 {\an1}BUT WAS OFTEN FORCED TO MAKE HOUSE CALLS 173 00:10:13,487 --> 00:10:15,321 {\an1}IN THE MIDDLE OF THE NIGHT, 174 00:10:15,354 --> 00:10:18,187 {\an1}PERFORMING EMERGENCY CESAREAN SECTIONS 175 00:10:18,221 --> 00:10:20,587 BY LANTERN LIGHT. 176 00:10:20,621 --> 00:10:27,321 {\an1}SOMETIMES, HE FAILED TO SAVE THE MOTHER OR THE BABY OR BOTH. 177 00:10:27,354 --> 00:10:29,887 {\an1}"MY FATHER WAS VERY DEVOTED TO MY MOTHER," 178 00:10:29,921 --> 00:10:32,254 {\an1}ERNEST'S YOUNGEST SISTER REMEMBERED, 179 00:10:32,287 --> 00:10:35,454 {\an1}"BUT SHE WAS DEVOTED TO HERSELF." 180 00:10:37,021 --> 00:10:39,387 {\an1}HIS MOTHER GRACE HALL HEMINGWAY 181 00:10:39,421 --> 00:10:41,654 {\an1}HAD MARRIED AFTER ABANDONING HER DREAM 182 00:10:41,687 --> 00:10:44,687 {\an1}OF BEING AN OPERA SINGER, BUT SHE GAVE 183 00:10:44,721 --> 00:10:47,521 VOICE AND VIOLIN AND PIANO LESSONS, 184 00:10:47,554 --> 00:10:49,054 DIRECTED A CHOIR, 185 00:10:49,087 --> 00:10:52,687 AND EARNED MORE THAN HER HUSBAND. 186 00:10:52,721 --> 00:10:56,021 GRACE EXPOSED ALL OF HER CHILDREN TO THE ARTS, 187 00:10:56,054 --> 00:10:59,187 {\an1}BUT SHE NEVER LET THEM FORGET THAT SHE HAD SACRIFICED 188 00:10:59,221 --> 00:11:02,554 {\an1}A CONCERT CAREER TO RAISE THEM. 189 00:11:02,587 --> 00:11:05,221 {\an1}IF THEY LOVED HER, SHE SAID, THEY WOULD DO 190 00:11:05,254 --> 00:11:07,787 {\an1}WHATEVER SHE TOLD THEM TO DO. 191 00:11:09,454 --> 00:11:12,254 {\an1}IT AMUSED HER FOR A TIME TO PRETEND THAT ERNEST 192 00:11:12,287 --> 00:11:16,454 {\an1}AND HIS OLDER SISTER MARCELLINE WERE SOMEHOW TWINS, 193 00:11:16,487 --> 00:11:23,287 {\an1}SOMETIMES TWO BOYS, SOMETIMES TWO GIRLS. 194 00:11:23,321 --> 00:11:26,887 {\an1}WOMAN: SHE DID THIS THING OF TWINNING HIM WITH HIS SISTER. 195 00:11:26,921 --> 00:11:28,554 {\an1}SHE DRESSED THEM ALIKE. 196 00:11:28,587 --> 00:11:31,787 SHE DRESSED THEM IN DRESSES OFTEN, 197 00:11:31,821 --> 00:11:34,554 {\an1}BUT THEN SHE'D PUT THEM IN OVERALLS. 198 00:11:34,587 --> 00:11:36,787 {\an7}SHE DIDN'T ONLY DRESS HIM UP AS A GIRL. 199 00:11:36,821 --> 00:11:39,221 {\an7}SOMETIMES, SHE'D DRESS THE GIRLS UP AS BOYS, 200 00:11:39,254 --> 00:11:43,054 {\an1}AND THERE'S THIS... THERE IS THIS ANDROGYNY GOING ON. 201 00:11:43,087 --> 00:11:45,654 {\an1}WOMAN, AS MARCELLINE: WE WORE OUR HAIR EXACTLY THE SAME 202 00:11:45,687 --> 00:11:48,487 {\an1}IN A SQUARE-CUT DUTCH BOB. 203 00:11:48,521 --> 00:11:51,854 {\an1}WE PLAYED WITH SMALL CHINA TEA SETS. 204 00:11:51,887 --> 00:11:55,021 {\an1}WE HAD DOLLS ALIKE, AND WHEN ERNEST WAS GIVEN 205 00:11:55,054 --> 00:11:59,587 {\an1}A LITTLE AIR RIFLE, I HAD ONE, TOO. 206 00:11:59,621 --> 00:12:01,821 {\an1}NARRATOR: ONE OF HIS TEACHERS THOUGHT GRACE TOO CLOSE 207 00:12:01,854 --> 00:12:04,354 {\an1}TO HER SON, TOO CONTROLLING. 208 00:12:04,387 --> 00:12:07,587 {\an1}SHE REMEMBERED WONDERING IF, "GIVEN THE LUSH MOTHERHOOD 209 00:12:07,621 --> 00:12:11,554 {\an1}HE KNEW, HE WOULD FIND WIFE." 210 00:12:14,454 --> 00:12:17,987 {\an8}[BIRDS CHIRPING, DUCKS QUACKING] 211 00:12:18,021 --> 00:12:19,954 {\an7}MAN, AS HEMINGWAY: HIS FATHER CAME BACK TO HIM 212 00:12:19,987 --> 00:12:22,121 {\an7}IN THE FALL OF THE YEAR, 213 00:12:22,154 --> 00:12:25,121 {\an7}OR IN THE EARLY SPRING WHEN THERE HAD BEEN JACKSNIPE 214 00:12:25,154 --> 00:12:27,721 {\an8}ON THE PRAIRIE, 215 00:12:27,754 --> 00:12:29,887 {\an1}OR WHEN HE SAW SHOCKS OF CORN, 216 00:12:29,921 --> 00:12:33,287 {\an1}OR WHEN HE SAW A LAKE, 217 00:12:33,321 --> 00:12:36,387 OR IF HE EVER SAW A HORSE AND BUGGY, 218 00:12:36,421 --> 00:12:39,554 {\an1}OR WHEN HE SAW, OR HEARD, WILD GEESE, 219 00:12:39,587 --> 00:12:41,787 {\an1}OR IN A DUCK BLIND. 220 00:12:41,821 --> 00:12:46,187 HIS FATHER WAS WITH HIM, SUDDENLY, 221 00:12:46,221 --> 00:12:49,487 {\an1}IN DESERTED ORCHARDS AND IN NEW-PLOWED FIELDS, 222 00:12:49,521 --> 00:12:52,821 {\an1}IN THICKETS, ON SMALL HILLS, 223 00:12:52,854 --> 00:12:55,587 OR WHEN GOING THROUGH DEAD GRASS, 224 00:12:55,621 --> 00:12:58,587 {\an1}WHENEVER SPLITTING WOOD OR HAULING WATER, 225 00:12:58,621 --> 00:13:02,187 BY GRIST MILLS, CIDER MILLS, AND DAMS 226 00:13:02,221 --> 00:13:07,054 {\an1}AND ALWAYS WITH OPEN FIRES. 227 00:13:07,087 --> 00:13:09,221 {\an1}NARRATOR: ERNEST WORSHIPPED HIS FATHER, 228 00:13:09,254 --> 00:13:14,487 {\an1}WHO SPENT HOURS TEACHING HIM HOW TO HUNT AND FISH AND CANOE, 229 00:13:14,521 --> 00:13:17,021 INCULCATING A LIFE-LONG FASCINATION 230 00:13:17,054 --> 00:13:20,521 WITH THE OUTDOORS AND WITH LEARNING PRECISELY 231 00:13:20,554 --> 00:13:24,021 {\an1}HOW THINGS SHOULD BE DONE. 232 00:13:24,054 --> 00:13:27,854 {\an1}MAN: HE INSTILLED IN THIS BOY BEFORE THE BOY 233 00:13:27,887 --> 00:13:32,387 ALMOST COULD WALK THIS PRIMAL FEELING 234 00:13:32,421 --> 00:13:34,421 {\an1}FOR THE BEAUTY OF NATURE, 235 00:13:34,454 --> 00:13:38,554 {\an7}JUST THE ORGANIC LOVE FOR THE WOODS, FOR WATER. 236 00:13:38,587 --> 00:13:42,354 {\an1}NARRATOR: BUT ED HEMINGWAY WAS ALSO SEVERE, PIOUS, 237 00:13:42,387 --> 00:13:46,021 {\an1}OPPOSED TO DRINKING, CARD-PLAYING, AND DANCING 238 00:13:46,054 --> 00:13:48,054 {\an1}AND, AS ERNEST GREW OLDER, 239 00:13:48,087 --> 00:13:52,287 {\an1}INCREASINGLY ANXIOUS, MOODY, AND UNPREDICTABLE. 240 00:13:52,321 --> 00:13:54,787 {\an1}ONE MINUTE HE WAS LAUGHING WITH HIS CHILDREN, 241 00:13:54,821 --> 00:14:00,054 {\an1}THE NEXT HE WAS PUNISHING THEM WITH A LEATHER STRAP. 242 00:14:00,087 --> 00:14:03,754 {\an1}TWICE, HEMINGWAY'S FATHER WAS SO CRIPPLED BY DEPRESSION 243 00:14:03,787 --> 00:14:06,621 {\an1}THAT HE HAD TO LEAVE TOWN FOR SEVERAL WEEKS 244 00:14:06,654 --> 00:14:09,254 IN ORDER TO REST WHAT HIS WIFE CALLED 245 00:14:09,287 --> 00:14:13,587 {\an1}"THE WORRYING PLACE IN YOUR BRAIN." 246 00:14:13,621 --> 00:14:16,954 {\an1}BY THE TIME ERNEST WAS A TEENAGER, HE REMEMBERED, 247 00:14:16,987 --> 00:14:21,121 {\an1}HIS ADMIRATION FOR HIS FATHER HAD BEGUN TO TURN TO PITY. 248 00:14:21,154 --> 00:14:24,121 {\an1}HE CAME TO SEE HIM AS WEAK AND SUBMISSIVE 249 00:14:24,154 --> 00:14:27,754 {\an1}AND BLAMED HIS MOTHER FOR HIS FATHER'S UNHAPPINESS. 250 00:14:29,721 --> 00:14:33,021 {\an1}ERNEST DREAMED OF ONE DAY BECOMING A NATURALIST 251 00:14:33,054 --> 00:14:38,421 {\an1}OR AN EXPLORER LIKE HIS HERO THEODORE ROOSEVELT. 252 00:14:38,454 --> 00:14:41,787 {\an1}HE WAS ALSO A GOOD STUDENT AND A FERVENT READER, 253 00:14:41,821 --> 00:14:46,654 {\an1}WHO LOVED O. HENRY, JACK LONDON, AND RUDYARD KIPLING. 254 00:14:46,687 --> 00:14:48,287 {\an1}AT HIS MOTHER'S URGING, 255 00:14:48,321 --> 00:14:50,821 HE SANG IN HER CONGREGATIONAL CHURCH CHOIR 256 00:14:50,854 --> 00:14:52,821 {\an1}AND PLAYED THE CELLO. 257 00:14:52,854 --> 00:14:55,787 {\an1}HE REMEMBERED THAT HE ESPECIALLY ENJOYED THE REPETITION 258 00:14:55,821 --> 00:14:59,321 AND COUNTERPOINT, COUNTERPOINT AND REPETITION 259 00:14:59,354 --> 00:15:02,987 {\an1}THAT RAN THROUGH THE WORKS OF BACH. 260 00:15:03,021 --> 00:15:05,821 {\an1}WOMAN: SHE ALSO TAUGHT HER KIDS WHAT EVERY MUSICIAN 261 00:15:05,854 --> 00:15:08,954 {\an1}TEACHES THEIR KIDS, TO PRACTICE. 262 00:15:08,987 --> 00:15:13,321 {\an1}"DON'T COME TO ME AND SAY THAT YOU LOVE ART 263 00:15:13,354 --> 00:15:16,821 {\an7}"IF YOU DON'T PRACTICE YOUR ART BECAUSE PRACTICE IS LOVE. 264 00:15:16,854 --> 00:15:18,721 {\an8}WORK IS LOVE." 265 00:15:18,754 --> 00:15:20,354 {\an1}AND THROUGHOUT HIS LIFE, 266 00:15:20,387 --> 00:15:23,621 {\an1}HE WAS A TREMENDOUSLY DISCIPLINED WRITER. 267 00:15:23,654 --> 00:15:26,554 {\an1}NARRATOR: IN HIS JUNIOR YEAR, HE BEGAN TO WRITE, 268 00:15:26,587 --> 00:15:30,154 {\an1}CONTRIBUTING SPORTS STORIES AND TALES OF ADVENTURE 269 00:15:30,187 --> 00:15:34,054 {\an1}TO THE HIGH SCHOOL PAPER AND ITS LITERARY MAGAZINE, 270 00:15:34,087 --> 00:15:36,887 {\an1}BUT HE WAS REMEMBERED MOST BY HIS CLASSMATES 271 00:15:36,921 --> 00:15:40,687 {\an1}AS A BIG, HANDSOME, SLIGHTLY AWKWARD BOY 272 00:15:40,721 --> 00:15:44,487 {\an1}FOND OF BOXING BUT TOO NEARSIGHTED AND TOO CLUMSY 273 00:15:44,521 --> 00:15:47,021 {\an1}TO EXCEL AT TEAM SPORTS, 274 00:15:47,054 --> 00:15:50,321 {\an1}WHO WAS SHY WITH GIRLS AND PREFERRED TO HUNT 275 00:15:50,354 --> 00:15:52,521 AND HIKE AND FISH IN THE WOODS 276 00:15:52,554 --> 00:15:56,721 {\an1}OF NORTHERN MICHIGAN WHENEVER HE GOT THE CHANCE. 277 00:15:56,754 --> 00:16:00,287 {\an1}HIS SHYNESS WITH WOMEN WOULD EVENTUALLY EVAPORATE, 278 00:16:00,321 --> 00:16:02,954 {\an1}BUT HE WOULD REMAIN EAGER ALL HIS LIFE 279 00:16:02,987 --> 00:16:05,687 {\an1}FOR THE COMPANY OF MEN WHO SHARED HIS LOVE 280 00:16:05,721 --> 00:16:09,121 OF GOOD TIMES AND THE GREAT OUTDOORS. 281 00:16:12,887 --> 00:16:16,521 [EXPLOSIONS] 282 00:16:16,554 --> 00:16:24,554 ♪ 283 00:16:31,487 --> 00:16:39,487 ♪ 284 00:16:41,487 --> 00:16:45,321 {\an1}NARRATOR: ON APRIL 6, 1917, THE UNITED STATES 285 00:16:45,354 --> 00:16:48,087 {\an1}ENTERED THE GREAT WAR THAT HAD BEEN UNDERWAY 286 00:16:48,121 --> 00:16:51,921 {\an1}IN EUROPE FOR NEARLY 3 YEARS. 287 00:16:51,954 --> 00:16:55,721 {\an1}MILLIONS OF YOUNG MEN HAD ALREADY BEEN SLAUGHTERED. 288 00:16:55,754 --> 00:16:59,821 {\an1}THE WORLD ERNEST HEMINGWAY'S PARENTS HAD PREPARED HIM FOR 289 00:16:59,854 --> 00:17:03,854 HAD DISAPPEARED. 290 00:17:03,887 --> 00:17:06,021 {\an1}SEVERAL OF HIS HIGH SCHOOL CLASSMATES 291 00:17:06,054 --> 00:17:09,421 {\an1}HAD ALREADY VOLUNTEERED TO GO TO WAR. 292 00:17:09,454 --> 00:17:14,121 {\an1}HE HOPED TO GO, TOO, BUT HE WAS TOO YOUNG AT 17, 293 00:17:14,154 --> 00:17:16,454 {\an1}AND HIS PARENTS WOULD NOT SIGN THE PAPERS 294 00:17:16,487 --> 00:17:18,821 {\an1}THAT WOULD HAVE WAIVED THAT REQUIREMENT. 295 00:17:18,854 --> 00:17:21,521 {\an1}THEY WANTED HIM TO GO TO COLLEGE. 296 00:17:21,554 --> 00:17:25,821 HE REFUSED. 297 00:17:25,854 --> 00:17:28,421 A COMPROMISE WAS EVENTUALLY REACHED. 298 00:17:28,454 --> 00:17:33,454 {\an1}AN UNCLE GOT THE BOY A JOB AT A NEWSPAPER IN KANSAS CITY. 299 00:17:33,487 --> 00:17:36,654 {\an1}KANSAS CITY WAS A TOUGH, WIDE-OPEN TOWN, 300 00:17:36,687 --> 00:17:39,487 {\an1}AND THE "KANSAS CITY STAR" WAS ONE OF THE BEST PAPERS 301 00:17:39,521 --> 00:17:41,187 IN THE COUNTRY, 302 00:17:41,221 --> 00:17:46,354 {\an1}A PIONEER IN CRISP, CLEAR, IMMEDIATE REPORTING. 303 00:17:46,387 --> 00:17:49,487 {\an1}ITS STYLE-SHEET SET THE TONE. 304 00:17:49,521 --> 00:17:51,621 {\an1}MAN: USE SHORT SENTENCES. 305 00:17:51,654 --> 00:17:54,154 {\an1}USE SHORT FIRST PARAGRAPHS. 306 00:17:54,187 --> 00:17:56,454 {\an1}USE VIGOROUS ENGLISH. 307 00:17:56,487 --> 00:17:59,121 {\an1}BE POSITIVE, NOT NEGATIVE. 308 00:17:59,154 --> 00:18:02,287 {\an1}AVOID THE USE OF ADJECTIVES. 309 00:18:02,321 --> 00:18:05,054 {\an1}NARRATOR: HEMINGWAY COVERED SHOOTINGS, STABBINGS, 310 00:18:05,087 --> 00:18:08,087 LABOR TROUBLES, A SMALLPOX SCARE. 311 00:18:08,121 --> 00:18:10,854 {\an1}HE WAS FASCINATED BY ALL OF IT, 312 00:18:10,887 --> 00:18:14,487 {\an1}AND ECHOES OF WHAT HE HAD HEARD AND SEEN IN KANSAS CITY 313 00:18:14,521 --> 00:18:18,921 {\an1}WOULD APPEAR AGAIN AND AGAIN IN HIS LATER WRITING. 314 00:18:18,954 --> 00:18:20,721 {\an1}MAN, AS HEMINGWAY: DEAR DAD, WE ARE HAVING 315 00:18:20,754 --> 00:18:22,221 {\an1}A LAUNDRY STRIKE HERE, 316 00:18:22,254 --> 00:18:24,221 AND I AM HANDLING THE POLICE END. 317 00:18:24,254 --> 00:18:25,987 {\an1}THE VIOLENCE STORIES. 318 00:18:26,021 --> 00:18:28,554 WRECKING TRUCKS, RUNNING THEM OVER CLIFFS, 319 00:18:28,587 --> 00:18:31,854 {\an1}AND YESTERDAY, THEY MURDERED A NON-UNION GUARD. 320 00:18:31,887 --> 00:18:33,554 FOR OVER A MONTH I HAVE AVERAGED 321 00:18:33,587 --> 00:18:36,454 {\an1}OVER A COLUMN A DAY. 322 00:18:38,421 --> 00:18:40,421 {\an1}NARRATOR: AFTER HEMINGWAY TURNED 18, 323 00:18:40,454 --> 00:18:44,887 {\an1}HE NO LONGER NEEDED HIS PARENTS' PERMISSION TO JOIN THE ARMY, 324 00:18:44,921 --> 00:18:46,954 {\an1}BUT HE WAS CONVINCED HE WOULD BE REJECTED 325 00:18:46,987 --> 00:18:49,354 {\an1}BECAUSE HE WAS NEAR-SIGHTED AND JOINED 326 00:18:49,387 --> 00:18:53,087 THE RED CROSS AMBULANCE SERVICE INSTEAD. 327 00:18:53,121 --> 00:18:59,754 {\an1}NOTHING COULD HAVE PREPARED HIM FOR WHAT HE WAS ABOUT TO SEE. 328 00:18:59,787 --> 00:19:01,954 {\an1}HEMINGWAY WAS SENT TO ITALY, 329 00:19:01,987 --> 00:19:04,187 {\an1}WHERE HE WAS IMMEDIATELY DISPATCHED TO THE SCENE 330 00:19:04,221 --> 00:19:06,787 {\an1}OF A HORRIFIC DISASTER. 331 00:19:06,821 --> 00:19:09,721 {\an1}A MUNITIONS FACTORY HAD EXPLODED. 332 00:19:09,754 --> 00:19:14,054 35 WORKERS WERE BLOWN TO PIECES. 333 00:19:14,087 --> 00:19:17,321 {\an1}HE HELPED GATHER UP THE DEAD, INCLUDING THE CORPSE 334 00:19:17,354 --> 00:19:20,487 {\an1}OF A HEADLESS, LEGLESS WOMAN. 335 00:19:20,521 --> 00:19:22,821 {\an1}"HEMMIE AND I NEARLY PASSED OUT COLD," 336 00:19:22,854 --> 00:19:25,954 {\an1}A FRIEND REMEMBERED, "BUT GRITTED OUR TEETH 337 00:19:25,987 --> 00:19:30,421 {\an1}AND LAID THE THING ON THE STRETCHER." 338 00:19:30,454 --> 00:19:34,421 {\an1}HEMINGWAY'S RED CROSS UNIT WAS ASSIGNED TO THE ITALIAN ARMY, 339 00:19:34,454 --> 00:19:36,221 {\an1}FIGHTING THE AUSTRIANS IN THE FOOTHILLS 340 00:19:36,254 --> 00:19:39,454 {\an1}OF THE ITALIAN ALPS. 341 00:19:39,487 --> 00:19:42,487 {\an1}HE DROVE AN AMBULANCE FOR ALMOST TWO WEEKS, 342 00:19:42,521 --> 00:19:44,821 {\an1}BRINGING WOUNDED ITALIAN SOLDIERS DOWN 343 00:19:44,854 --> 00:19:47,687 {\an1}FROM THE MOUNTAINS. 344 00:19:47,721 --> 00:19:49,521 {\an1}"THERE'S NOTHING HERE BUT SCENERY 345 00:19:49,554 --> 00:19:52,454 {\an1}AND TOO DAMN MUCH OF THAT," HE TOLD A FRIEND. 346 00:19:52,487 --> 00:19:54,787 {\an1}"I'M GOING TO GET OUT OF THIS AMBULANCE SECTION 347 00:19:54,821 --> 00:20:00,321 {\an1}AND SEE IF I CAN'T FIND OUT WHERE THE WAR IS." 348 00:20:00,354 --> 00:20:03,954 {\an1}ERNEST VOLUNTEERED TO BICYCLE UP TO THE FRONTLINE TRENCHES 349 00:20:03,987 --> 00:20:06,954 {\an1}NEAR THE TOWN OF FOSSALTA AND DISTRIBUTE 350 00:20:06,987 --> 00:20:09,821 {\an1}CANDY AND CIGARETTES TO THE MEN. 351 00:20:09,854 --> 00:20:14,421 {\an1}LESS THAN A WEEK LATER, ON JULY 8, 1918, 352 00:20:14,454 --> 00:20:16,621 {\an1}HE WAS PASSING OUT CHOCOLATE BARS 353 00:20:16,654 --> 00:20:19,387 {\an1}IN A FORWARD LISTENING POST ON THE WEST BANK 354 00:20:19,421 --> 00:20:21,221 {\an1}OF THE PIAVE RIVER 355 00:20:21,254 --> 00:20:27,721 {\an1}WHEN AN ENEMY MORTAR SHELL EXPLODED JUST 3 FEET AWAY. 356 00:20:27,754 --> 00:20:29,987 {\an1}ONE SOLDIER WAS KILLED. 357 00:20:30,021 --> 00:20:33,887 {\an1}ANOTHER HAD HIS LEGS BLOWN OFF. 358 00:20:33,921 --> 00:20:38,954 {\an1}MORE THAN 220 SHARDS OF SHRAPNEL RIPPED INTO HEMINGWAY'S LEGS 359 00:20:38,987 --> 00:20:42,421 {\an1}AND LACERATED HIS SCALP, AND THE BLAST CAUSED 360 00:20:42,454 --> 00:20:45,154 {\an1}THE FIRST OF MANY SERIOUS CONCUSSIONS 361 00:20:45,187 --> 00:20:49,687 HE WOULD ENDURE DURING HIS LIFETIME. 362 00:20:49,721 --> 00:20:52,021 {\an1}MAN, AS HEMINGWAY: I DIED THEN. 363 00:20:52,054 --> 00:20:56,954 {\an1}I FELT MY SOUL OR SOMETHING COMING RIGHT OUT OF MY BODY, 364 00:20:56,987 --> 00:20:58,821 LIKE YOU'D PULL A SILK HANDKERCHIEF 365 00:20:58,854 --> 00:21:02,887 {\an1}OUT OF A POCKET BY ONE CORNER. 366 00:21:02,921 --> 00:21:05,154 IT FLEW AROUND AND THEN CAME BACK 367 00:21:05,187 --> 00:21:11,321 {\an1}AND WENT IN AGAIN, AND I WASN'T DEAD ANYMORE. 368 00:21:11,354 --> 00:21:13,687 {\an1}NARRATOR: AS STRETCHER-BEARERS STRUGGLED TO GET HEMINGWAY 369 00:21:13,721 --> 00:21:15,354 {\an1}TO AN AID STATION, 370 00:21:15,387 --> 00:21:18,187 {\an1}AN ENEMY MACHINE GUNNER OPENED UP. 371 00:21:18,221 --> 00:21:21,554 BULLETS LODGED IN HIS RIGHT KNEE AND FOOT. 372 00:21:21,587 --> 00:21:24,487 {\an1}HE REFUSED TO BE TREATED FOR A TIME BECAUSE HE SAID 373 00:21:24,521 --> 00:21:29,321 {\an1}THERE WERE OTHER MEN MORE SERIOUSLY WOUNDED THAN HE. 374 00:21:29,354 --> 00:21:31,954 {\an1}HE THEN ENDURED THE REMOVAL OF THE LARGEST PIECES 375 00:21:31,987 --> 00:21:34,954 {\an1}OF SHRAPNEL WITHOUT ANESTHETIC. 376 00:21:34,987 --> 00:21:37,487 {\an1}BECAUSE HIS WOUNDS SEEMED SO SEVERE, 377 00:21:37,521 --> 00:21:42,021 {\an1}A CATHOLIC PRIEST ADMINISTERED EXTREME UNCTION. 378 00:21:42,054 --> 00:21:45,254 {\an1}ITALY WOULD EVENTUALLY AWARD HIM ITS SILVER MEDAL 379 00:21:45,287 --> 00:21:47,354 {\an1}FOR WHAT THE CITATION CALLED 380 00:21:47,387 --> 00:21:51,554 {\an1}HIS "ADMIRABLE SPIRIT OF FRATERNITY." 381 00:21:51,587 --> 00:21:54,754 {\an1}HEMINGWAY FINALLY REACHED THE AMERICAN RED CROSS HOSPITAL 382 00:21:54,787 --> 00:21:59,021 {\an1}IN MILAN AND UNDERWENT A FURTHER SERIES OF SURGERIES 383 00:21:59,054 --> 00:22:04,187 {\an1}TO REMOVE THE REMAINING SHRAPNEL AND THE MACHINE GUN BULLETS. 384 00:22:06,187 --> 00:22:09,621 {\an1}MAN, AS HEMINGWAY: DEAR FOLKS, THIS IS A PEACH OF A HOSPITAL. 385 00:22:09,654 --> 00:22:11,921 {\an1}THERE ARE ABOUT 18 AMERICAN NURSES 386 00:22:11,954 --> 00:22:14,687 {\an1}TO TAKE CARE OF 4 PATIENTS. 387 00:22:14,721 --> 00:22:17,187 {\an1}I'M ENCLOSING A PICTURE OF ME IN BED. 388 00:22:17,221 --> 00:22:19,454 {\an1}IT LOOKS LIKE MY LEFT LEG WAS A STUMP, 389 00:22:19,487 --> 00:22:20,954 {\an1}BUT IT REALLY ISN'T, 390 00:22:20,987 --> 00:22:24,521 {\an1}JUST BENT SO IT LOOKS THAT WAY. 391 00:22:24,554 --> 00:22:26,754 {\an1}THERE IS NOTHING FOR YOU TO WORRY ABOUT 392 00:22:26,787 --> 00:22:29,421 {\an1}BECAUSE IT HAS BEEN FAIRLY CONCLUSIVELY PROVED 393 00:22:29,454 --> 00:22:32,121 {\an1}THAT I CAN'T BE BUMPED OFF, 394 00:22:32,154 --> 00:22:34,187 {\an1}AND WOUNDS DON'T MATTER. 395 00:22:34,221 --> 00:22:36,554 {\an1}I WOULDN'T MIND BEING WOUNDED AGAIN SO MUCH 396 00:22:36,587 --> 00:22:40,054 BECAUSE I KNOW JUST WHAT IT IS LIKE, 397 00:22:40,087 --> 00:22:43,187 {\an1}AND YOU CAN ONLY SUFFER SO MUCH, YOU KNOW, 398 00:22:43,221 --> 00:22:45,987 {\an1}AND IT DOES GIVE YOU AN AWFULLY SATISFACTORY FEELING 399 00:22:46,021 --> 00:22:47,554 TO BE WOUNDED. 400 00:22:47,587 --> 00:22:52,387 {\an1}IT'S GETTING BEATEN UP IN A GOOD CAUSE. 401 00:22:52,421 --> 00:22:56,087 {\an1}THERE ARE NO HEROES IN THIS WAR. 402 00:22:56,121 --> 00:22:58,221 {\an1}ALL THE HEROES ARE DEAD, 403 00:22:58,254 --> 00:23:02,121 {\an1}AND THE REAL HEROES ARE THE PARENTS. 404 00:23:02,154 --> 00:23:04,987 {\an1}DYING IS A VERY SIMPLE THING. 405 00:23:05,021 --> 00:23:08,687 {\an1}I'VE LOOKED AT DEATH, AND REALLY I KNOW. 406 00:23:08,721 --> 00:23:10,387 {\an1}IF I SHOULD HAVE DIED, IT WOULD HAVE BEEN 407 00:23:10,421 --> 00:23:13,154 VERY EASY FOR ME, 408 00:23:13,187 --> 00:23:15,821 {\an1}AND HOW MUCH BETTER TO DIE IN ALL THE HAPPY PERIOD 409 00:23:15,854 --> 00:23:18,687 {\an1}OF UNDISILLUSIONED YOUTH, 410 00:23:18,721 --> 00:23:21,187 {\an1}TO GO OUT IN A BLAZE OF LIGHT, 411 00:23:21,221 --> 00:23:23,921 {\an1}THAN TO HAVE YOUR BODY WORN OUT AND OLD 412 00:23:23,954 --> 00:23:27,521 {\an1}AND ILLUSIONS SHATTERED. 413 00:23:27,554 --> 00:23:32,021 {\an1}SO, DEAR OLD FAMILY, DON'T EVER WORRY ABOUT ME! 414 00:23:32,054 --> 00:23:34,521 {\an1}IT ISN'T BAD TO BE WOUNDED: 415 00:23:34,554 --> 00:23:37,854 I KNOW BECAUSE I'VE EXPERIENCED IT, 416 00:23:37,887 --> 00:23:41,821 {\an1}AND IF I DIE, I'M LUCKY. 417 00:23:44,987 --> 00:23:47,254 WOMAN: AUGUST 26. 418 00:23:47,287 --> 00:23:50,354 ERNEST HEMINGWAY IS GETTING EARNEST. 419 00:23:50,387 --> 00:23:52,454 {\an1}HE WAS TALKING LAST NIGHT OF WHAT MIGHT BE 420 00:23:52,487 --> 00:23:55,021 {\an1}IF HE WAS 26 OR 28. 421 00:23:55,054 --> 00:23:59,654 {\an1}IN SOME WAYS... AT SOME TIMES... I WISH VERY MUCH THAT HE WAS. 422 00:23:59,687 --> 00:24:02,054 HE IS ADORABLE, AND WE ARE VERY CONGENIAL 423 00:24:02,087 --> 00:24:05,454 IN EVERY WAY. 424 00:24:05,487 --> 00:24:08,121 {\an1}NARRATOR: AS HE WAS RECOVERING, HEMINGWAY FELL IN LOVE 425 00:24:08,154 --> 00:24:09,887 {\an1}WITH HIS NIGHT NURSE, 426 00:24:09,921 --> 00:24:13,221 AN AMERICAN NAMED AGNES VON KUROWSKY. 427 00:24:13,254 --> 00:24:16,354 {\an1}SHE WAS AUBURN-HAIRED AND 26, 428 00:24:16,387 --> 00:24:19,354 7 1/2 YEARS OLDER THAN HER PATIENT, 429 00:24:19,387 --> 00:24:23,854 {\an1}ENGAGED TO A DOCTOR BACK HOME, AND FLIRTATIOUS. 430 00:24:23,887 --> 00:24:26,154 {\an1}HE BEGAN CALLING HER "AG." 431 00:24:26,187 --> 00:24:29,354 {\an1}SHE CALLED HIM "KID," AND OVER THE WEEKS 432 00:24:29,387 --> 00:24:32,321 {\an1}THAT FOLLOWED, SHE GAVE HIM A RING TO WEAR, 433 00:24:32,354 --> 00:24:34,554 {\an1}ENJOYED WITH HIM THE WINE AND COGNAC 434 00:24:34,587 --> 00:24:37,354 {\an1}HE BRIBED THE PORTER TO SMUGGLE IN, 435 00:24:37,387 --> 00:24:39,754 TOOK WALKS AND CARRIAGE RIDES WITH HIM 436 00:24:39,787 --> 00:24:42,587 {\an1}AS SOON AS HE WAS ABLE TO LEAVE HIS ROOM, 437 00:24:42,621 --> 00:24:45,854 {\an1}AND SHE WAS ONCE REPRIMANDED BY HER SUPERIOR 438 00:24:45,887 --> 00:24:50,687 {\an1}FOR HAVING LEFT A GOLD HAIR-PIN BENEATH HIS PILLOW. 439 00:24:50,721 --> 00:24:53,221 {\an1}WHEN AGNES WAS TRANSFERRED TO AN ARMY HOSPITAL 440 00:24:53,254 --> 00:24:56,687 {\an1}IN FLORENCE, ERNEST WROTE HER SO MANY LETTERS, 441 00:24:56,721 --> 00:25:00,287 {\an1}SHE URGED HIM TO SLOW DOWN, 442 00:25:00,321 --> 00:25:03,587 {\an1}BUT SHE ALSO TOLD HIM SHE WAS LOST WITHOUT HIM, 443 00:25:03,621 --> 00:25:05,987 {\an1}WISHED SHE COULD PUT HER ARMS AROUND HIM, 444 00:25:06,021 --> 00:25:08,354 {\an1}DREAMED OF HIM EVERY NIGHT. 445 00:25:08,387 --> 00:25:12,087 {\an1}"I SOMETIMES WISH WE COULD MARRY OVER HERE," SHE WROTE, 446 00:25:12,121 --> 00:25:15,921 {\an1}AND SHE SIGNED SOME OF HER LETTERS "MRS. KID," 447 00:25:15,954 --> 00:25:22,587 {\an1}BUT SHE SIGNED OTHERS SIMPLY, "YOURS TILL THE WAR IS OVER." 448 00:25:22,621 --> 00:25:24,821 TO FILL THE HOURS WHILE SHE WAS AWAY, 449 00:25:24,854 --> 00:25:27,287 {\an1}ERNEST BEGAN TO WRITE A SHORT STORY 450 00:25:27,321 --> 00:25:30,321 {\an1}ABOUT A HIDEOUSLY WOUNDED AMERICAN SOLDIER, 451 00:25:30,354 --> 00:25:34,587 {\an1}WHO MUSES OVER THE MEDALS HE'D BEEN GIVEN FOR HIS HEROISM 452 00:25:34,621 --> 00:25:38,054 {\an1}AND THE MEANINGLESS CITATION THAT ACCOMPANIED THEM 453 00:25:38,087 --> 00:25:43,254 AND THEN DECIDES TO KILL HIMSELF. 454 00:25:43,287 --> 00:25:46,087 {\an1}BY THE TIME HEMINGWAY WAS FINALLY WELL ENOUGH TO SAIL 455 00:25:46,121 --> 00:25:50,054 {\an1}FOR HOME IN EARLY 1919, THE WAR HAD ENDED, 456 00:25:50,087 --> 00:25:53,787 {\an1}AND HE WAS DETERMINED, HE SAID, TO "MAKE THE WORLD SAFE 457 00:25:53,821 --> 00:25:56,021 {\an1}FOR ERNEST HEMINGWAY." 458 00:25:56,054 --> 00:25:58,821 {\an1}AS SOON AS HIS WRITING PROVIDED HIM WITH A LIVING, 459 00:25:58,854 --> 00:26:01,887 {\an1}HE AND AGNES WOULD MARRY. 460 00:26:01,921 --> 00:26:05,987 {\an1}NARRATOR: AS HEMINGWAY LIMPED DOWN THE GANGPLANK IN NEW YORK, 461 00:26:06,021 --> 00:26:08,021 A REPORTER FROM THE "NEW YORK SUN" 462 00:26:08,054 --> 00:26:09,854 {\an1}WAS THERE TO MEET HIM. 463 00:26:09,887 --> 00:26:11,687 HE MADE THE FIRST OF THE HUNDREDS 464 00:26:11,721 --> 00:26:15,554 {\an1}OF NATIONAL HEADLINES HE WOULD MAKE DURING HIS LIFETIME. 465 00:26:18,254 --> 00:26:21,987 {\an1}HE RETURNED TO OAK PARK TO A HERO'S WELCOME. 466 00:26:22,021 --> 00:26:25,021 {\an1}HE LOVED THE ADULATION, WAS DELIGHTED 467 00:26:25,054 --> 00:26:28,021 {\an1}WHEN AN ITALIAN-AMERICAN DELEGATION CAME OUT 468 00:26:28,054 --> 00:26:30,887 FROM CHICAGO TO HIS MOTHER'S MUSIC ROOM 469 00:26:30,921 --> 00:26:35,954 {\an1}TO HONOR HIM FOR HIS COURAGE UNTIL HIS TEETOTALING PARENTS... 470 00:26:35,987 --> 00:26:38,721 APPALLED BY THE FREE-FLOWING WINE... 471 00:26:38,754 --> 00:26:41,687 {\an1}PUT A STOP TO SUCH VISITS. 472 00:26:41,721 --> 00:26:43,554 WHENEVER HE LEFT HIS PARENTS' HOUSE, 473 00:26:43,587 --> 00:26:45,321 {\an1}HE WORE HIS UNIFORM, 474 00:26:45,354 --> 00:26:48,521 COMPLETE WITH A BLACK VELVET ITALIAN CAPE, 475 00:26:48,554 --> 00:26:50,687 AND HE APPEARED BEFORE LOCAL GROUPS, 476 00:26:50,721 --> 00:26:55,521 {\an1}RETELLING AND EMBELLISHING HIS WAR STORIES FOR A FEE, 477 00:26:55,554 --> 00:26:57,554 {\an1}THOUGH HE SAID HE HAD NOTHING BUT CONTEMPT 478 00:26:57,587 --> 00:27:02,187 {\an1}FOR THOSE WHO WANTED TO BE "VICARIOUSLY HORRIFIED." 479 00:27:05,421 --> 00:27:08,254 {\an1}BUT NOW HE CLAIMED, DESPITE HIS WOUNDS, 480 00:27:08,287 --> 00:27:11,454 {\an1}HE'D MANAGED TO CARRY AN INJURED MAN TO SAFETY 481 00:27:11,487 --> 00:27:14,787 {\an1}BEFORE COLLAPSING, AND HE LET HIS AUDIENCES BELIEVE 482 00:27:14,821 --> 00:27:17,787 {\an1}THAT, ALTHOUGH HE STILL COULD NOT WALK WITHOUT A CANE, 483 00:27:17,821 --> 00:27:20,721 {\an1}HE'D SOMEHOW BEEN ABLE TO RETURN TO THE FRONT 484 00:27:20,754 --> 00:27:24,754 {\an1}AND FIGHT ALONGSIDE AN ELITE UNIT OF THE ITALIAN ARMY 485 00:27:24,787 --> 00:27:27,487 {\an1}BEFORE THE SHOOTING STOPPED. 486 00:27:30,587 --> 00:27:32,387 {\an1}MAN, AS HEMINGWAY: TO BE LISTENED TO AT ALL HE 487 00:27:32,421 --> 00:27:34,121 HAD TO LIE, 488 00:27:34,154 --> 00:27:36,021 AND AFTER HE HAD DONE THIS TWICE, 489 00:27:36,054 --> 00:27:38,787 {\an7}HE, TOO, HAD A REACTION AGAINST THE WAR 490 00:27:38,821 --> 00:27:40,887 {\an7}AND AGAINST TALKING ABOUT IT. 491 00:27:40,921 --> 00:27:43,621 {\an7}A DISTASTE FOR EVERYTHING THAT HAD HAPPENED TO HIM 492 00:27:43,654 --> 00:27:46,187 {\an8}IN THE WAR SET IN 493 00:27:46,221 --> 00:27:50,387 {\an1}BECAUSE OF THE LIES HE HAD TOLD. 494 00:27:50,421 --> 00:27:53,454 {\an1}NARRATOR: WHEN ERNEST WAS NOT MAKING PUBLIC APPEARANCES, 495 00:27:53,487 --> 00:27:56,621 {\an1}HE WAS IN HIS THIRD-FLOOR BEDROOM UNDER THE EAVES, 496 00:27:56,654 --> 00:28:00,387 {\an1}HUNCHED OVER AN OLD TYPEWRITER, WRITING WAR STORIES 497 00:28:00,421 --> 00:28:03,187 {\an1}AND SENDING THEM OFF TO THE "SATURDAY EVENING POST" 498 00:28:03,221 --> 00:28:07,354 {\an1}AND "REDBOOK," TRYING TO SHOW AGNES AND HIS PARENTS 499 00:28:07,387 --> 00:28:10,321 THAT HE COULD MAKE IT AS A WRITER. 500 00:28:10,354 --> 00:28:13,854 {\an1}ALL THE STORIES WERE REJECTED. 501 00:28:13,887 --> 00:28:15,721 {\an1}DESPITE THE BRAVADO WITH WHICH 502 00:28:15,754 --> 00:28:18,987 {\an1}HE FACED HIS NEIGHBORS, HE HAD BEEN DEEPLY AFFECTED 503 00:28:19,021 --> 00:28:21,854 {\an1}BY THE WAR AND BY HIS WOUNDING. 504 00:28:21,887 --> 00:28:25,387 {\an1}AN OLD FRIEND WHO VISITED HIM THAT WINTER REMEMBERED 505 00:28:25,421 --> 00:28:28,921 {\an1}THAT "HE CAME BACK FIGURATIVELY AS WELL AS LITERALLY 506 00:28:28,954 --> 00:28:30,754 SHOT TO PIECES." 507 00:28:30,787 --> 00:28:32,787 {\an1}HE COULD NOT SLEEP WITHOUT A LIGHT 508 00:28:32,821 --> 00:28:34,987 {\an1}BECAUSE HE HAD BEEN WOUNDED AT NIGHT 509 00:28:35,021 --> 00:28:37,321 {\an1}AND HAD COME TO BELIEVE, HE WOULD WRITE, 510 00:28:37,354 --> 00:28:41,654 {\an1}"THAT IF I EVER SHUT MY EYES IN THE DARK AND LET MYSELF GO, 511 00:28:41,687 --> 00:28:46,021 MY SOUL WOULD GO OUT OF MY BODY." 512 00:28:46,054 --> 00:28:48,687 {\an1}HIS SISTER URSULA SOMETIMES SLEPT IN HIS ROOM 513 00:28:48,721 --> 00:28:50,787 {\an1}TO SOOTHE HIS FEARS. 514 00:28:50,821 --> 00:28:55,487 {\an1}ALL HIS LIFE, HE WOULD BE FRIGHTENED OF SLEEPING ALONE. 515 00:28:55,521 --> 00:28:59,021 {\an1}HIS GREAT CONSOLATION WAS THAT AGNES WOULD SOON 516 00:28:59,054 --> 00:29:03,521 {\an1}BE COMING HOME TO MARRY HIM. 517 00:29:03,554 --> 00:29:07,521 {\an1}WOMAN, AS AGNES: MARCH 7, 1919. 518 00:29:07,554 --> 00:29:10,521 ERNIE, DEAR BOY, I AM WRITING THIS 519 00:29:10,554 --> 00:29:13,754 {\an1}LATE AT NIGHT AFTER A LONG THINK BY MYSELF, 520 00:29:13,787 --> 00:29:16,254 {\an1}AND I AM AFRAID IT IS GOING TO HURT YOU, 521 00:29:16,287 --> 00:29:19,721 {\an1}BUT I'M SURE IT WON'T HARM YOU PERMANENTLY. 522 00:29:19,754 --> 00:29:21,687 FOR QUITE A WHILE BEFORE YOU LEFT, 523 00:29:21,721 --> 00:29:26,954 {\an1}I WAS TRYING TO CONVINCE MYSELF IT WAS A REAL LOVE-AFFAIR, 524 00:29:26,987 --> 00:29:31,054 {\an1}BUT NOW, AFTER A COUPLE OF MONTHS AWAY FROM YOU, 525 00:29:31,087 --> 00:29:33,721 {\an1}I KNOW THAT I AM STILL VERY FOND OF YOU, 526 00:29:33,754 --> 00:29:37,487 {\an1}BUT IT IS MORE AS A MOTHER THAN AS A SWEETHEART, 527 00:29:37,521 --> 00:29:39,154 {\an1}AND I CAN'T GET AWAY FROM THE FACT 528 00:29:39,187 --> 00:29:42,287 {\an1}THAT YOU'RE JUST A BOY, A KID. 529 00:29:44,387 --> 00:29:47,254 {\an1}I EXPECT TO BE MARRIED SOON. 530 00:29:47,287 --> 00:29:49,721 {\an1}AND I HOPE AND PRAY THAT AFTER YOU HAVE THOUGHT 531 00:29:49,754 --> 00:29:52,354 {\an1}THINGS OUT, YOU'LL BE ABLE TO FORGIVE ME AND START 532 00:29:52,387 --> 00:29:56,854 {\an1}A WONDERFUL CAREER AND SHOW WHAT A MAN YOU REALLY ARE. 533 00:29:56,887 --> 00:30:03,287 {\an7}EVER ADMIRINGLY AND FONDLY, YOUR FRIEND, AGGIE. 534 00:30:03,321 --> 00:30:06,054 {\an7}NARRATOR: ERNEST IMMEDIATELY WROTE TO BILL HORNE, 535 00:30:06,087 --> 00:30:08,954 A FRIEND FROM THE AMBULANCE SERVICE. 536 00:30:12,421 --> 00:30:15,287 {\an1}MAN, AS HEMINGWAY: IT HAS HIT ME SO SUDDEN. 537 00:30:15,321 --> 00:30:17,521 {\an1}SHE DOESN'T LOVE ME, BILL. 538 00:30:17,554 --> 00:30:19,554 {\an1}SHE TAKES IT ALL BACK. 539 00:30:19,587 --> 00:30:24,721 {\an1}A "MISTAKE," ONE OF THOSE LITTLE MISTAKES, YOU KNOW. 540 00:30:24,754 --> 00:30:26,521 OH, BILL, I CAN'T KID ABOUT IT 541 00:30:26,554 --> 00:30:28,754 BECAUSE I'M JUST SMASHED BY IT, 542 00:30:28,787 --> 00:30:30,354 BUT SHE DOESN'T LOVE ME NOW, BILL, 543 00:30:30,387 --> 00:30:33,721 {\an1}AND SHE IS GOING TO MARRY SOMEONE ELSE, 544 00:30:33,754 --> 00:30:36,221 {\an1}AND SHE HOPES THAT AFTER I HAVE FORGIVEN HER 545 00:30:36,254 --> 00:30:40,187 {\an1}I WILL HAVE A WONDERFUL CAREER AND EVERYTHING, 546 00:30:40,221 --> 00:30:44,187 {\an1}BUT, BILL, I DON'T WANT A WONDERFUL CAREER. 547 00:30:44,221 --> 00:30:47,687 {\an1}ALL I WANTED WAS AG AND HAPPINESS, 548 00:30:47,721 --> 00:30:52,487 {\an1}AND NOW THE BOTTOM HAS DROPPED OUT OF THE WHOLE WORLD. 549 00:30:52,521 --> 00:30:55,754 {\an1}NARRATOR: HE DEVELOPED A FEVER, REFUSED TO SEE ANYONE, 550 00:30:55,787 --> 00:30:58,721 {\an1}BEGAN DRINKING SECRETLY FROM BOTTLES OF LIQUEUR 551 00:30:58,754 --> 00:31:03,087 {\an1}HE HID IN HIS BOOKCASE, STOPPED WRITING FOR A TIME. 552 00:31:03,121 --> 00:31:07,154 {\an1}THERE SEEMED TO BE NO POINT. 553 00:31:07,187 --> 00:31:10,687 {\an7}I DON'T KNOW HOW MUCH HE TRUSTED WOMEN AFTER THAT. 554 00:31:10,721 --> 00:31:12,654 {\an8}I JUST DON'T, 555 00:31:12,687 --> 00:31:15,687 {\an1}BUT I DO KNOW HE LOVED BEING IN LOVE. 556 00:31:19,021 --> 00:31:21,487 {\an1}NARRATOR: HE'D BEEN A BIG-CITY NEWSPAPERMAN, 557 00:31:21,521 --> 00:31:25,021 {\an1}HAD EXPERIENCED WAR AND NEARLY BEEN KILLED, 558 00:31:25,054 --> 00:31:27,287 {\an1}HAD BEEN DISAPPOINTED IN LOVE 559 00:31:27,321 --> 00:31:30,754 {\an1}AND SOMEHOW NOW FOUND HIMSELF BACK HOME, 560 00:31:30,787 --> 00:31:33,521 {\an1}STILL BEING TREATED AS IF HE WERE A BOY, 561 00:31:33,554 --> 00:31:37,387 {\an1}AS IF NONE OF IT HAD HAPPENED. 562 00:31:37,421 --> 00:31:39,654 KATAKIS: THINGS WERE OUT THERE. 563 00:31:39,687 --> 00:31:44,254 {\an1}HE SEEMS TO HAVE BEEN HUNGRY FROM AN EARLY AGE, 564 00:31:44,287 --> 00:31:47,787 {\an1}AND HE COULD NEVER HAVE BEEN IN MY OPINION, 565 00:31:47,821 --> 00:31:50,454 ESPECIALLY AFTER THE FIRST WORLD WAR, 566 00:31:50,487 --> 00:31:57,654 {\an1}CONTAINED BY OAK PARK'S QUIET SUNDAYS AND PERFECT LAWNS. 567 00:31:57,687 --> 00:32:00,154 I THINK THAT WAS IMPOSSIBLE THEN. 568 00:32:00,187 --> 00:32:04,721 {\an1}SO THAT, OF COURSE, LED TO A CONFLICT WITH HIS FAMILY, 569 00:32:04,754 --> 00:32:07,854 {\an1}WHO FELT AFTER WAR YOU SHOULD BE 570 00:32:07,887 --> 00:32:10,887 {\an1}WHAT THEY PERCEIVED YOU TO BE BEFORE YOU LEFT, 571 00:32:10,921 --> 00:32:12,821 BUT YOU'RE NO LONGER THE SAME PERSON. 572 00:32:12,854 --> 00:32:16,421 HE WAS NO LONGER THE SAME PERSON. 573 00:32:16,454 --> 00:32:19,887 {\an1}NARRATOR: THE PAIN OF LOSING AGNES EVENTUALLY EASED. 574 00:32:19,921 --> 00:32:22,187 THAT SUMMER, ERNEST TOLD A FRIEND, 575 00:32:22,221 --> 00:32:26,221 {\an1}HE UNDERWENT WHAT HE CALLED A "PROCESS OF CAUTERIZATION 576 00:32:26,254 --> 00:32:30,021 {\an1}"IN WHICH COGNAC AND 2 OR 3 GIRLS I CARED NOTHING ABOUT 577 00:32:30,054 --> 00:32:34,654 {\an1}BUT VIOLENTLY RUSHED TOOK THE PLACE OF THE RED IRON." 578 00:32:38,187 --> 00:32:42,054 {\an1}HEMINGWAY EVENTUALLY RETURNED TO HIS TYPEWRITER THAT FALL, 579 00:32:42,087 --> 00:32:44,854 {\an1}FIRST WRITING MORE STORIES IN A RENTED ROOM 580 00:32:44,887 --> 00:32:48,487 {\an1}IN PETOSKEY, MICHIGAN, THEN IN TORONTO, 581 00:32:48,521 --> 00:32:51,787 {\an1}WRITING FREELANCE PIECES FOR THE "DAILY STAR" 582 00:32:51,821 --> 00:32:56,021 {\an1}AND "STAR WEEKLY" ABOUT FISHING AND CHICAGO GANGSTERS 583 00:32:56,054 --> 00:32:58,854 AND THE DANGERS OF ACCEPTING A FREE SHAVE 584 00:32:58,887 --> 00:33:01,321 {\an1}AT A BARBER'S COLLEGE. 585 00:33:04,487 --> 00:33:07,121 {\an1}BUT WHEN HE RETURNED TO HIS FAMILY AT WALLOON LAKE 586 00:33:07,154 --> 00:33:12,421 {\an1}IN THE SUMMER OF 1920, THINGS WENT FROM BAD TO WORSE. 587 00:33:12,454 --> 00:33:15,754 {\an1}HE SEEMED UNINTERESTED IN LOOKING FOR A STEADY JOB, 588 00:33:15,787 --> 00:33:17,821 SPOKE VAGUELY OF BOARDING A FREIGHTER 589 00:33:17,854 --> 00:33:19,821 {\an1}AND SAILING AROUND THE WORLD 590 00:33:19,854 --> 00:33:24,154 {\an1}AS ONE OF HIS FAVORITE WRITERS JACK LONDON HAD DONE. 591 00:33:24,187 --> 00:33:27,454 {\an1}WHEN HIS MOTHER OBJECTED, HE SNAPPED AT HER. 592 00:33:27,487 --> 00:33:30,987 {\an1}HIS FATHER EXHORTED HIM TO "SOFTEN YOUR TEMPER 593 00:33:31,021 --> 00:33:35,287 AND FEAR GOD AND RESPECT WOMAN." 594 00:33:35,321 --> 00:33:40,554 {\an1}THINGS CAME TO A HEAD 6 DAYS AFTER HIS 21st BIRTHDAY. 595 00:33:40,587 --> 00:33:43,787 {\an1}HE AND TWO OF HIS YOUNGER SISTERS JOINED FRIENDS, 596 00:33:43,821 --> 00:33:46,587 {\an1}INCLUDING THEIR NEIGHBOR'S TEENAGE DAUGHTERS, 597 00:33:46,621 --> 00:33:51,354 {\an1}AT A SECRET MOONLIGHT PARTY ACROSS THE LAKE. 598 00:33:51,387 --> 00:33:54,521 {\an1}WHEN HIS MOTHER FOUND OUT ABOUT IT, SHE WAS FURIOUS. 599 00:33:54,554 --> 00:33:57,454 {\an1}HE WAS OLD ENOUGH TO KNOW BETTER, SHE TOLD HIM. 600 00:33:57,487 --> 00:34:00,321 HE WAS CORRUPTING THE MORALS OF MINORS, 601 00:34:00,354 --> 00:34:03,854 {\an1}HE WAS A DISGRACE TO HIS FAMILY. 602 00:34:03,887 --> 00:34:05,687 SHE HANDED HIM A LETTER ADDRESSED 603 00:34:05,721 --> 00:34:09,087 {\an1}TO "MY DEAR SON ERNEST." 604 00:34:09,121 --> 00:34:11,987 {\an1}IT BEGAN WITH A CATALOGUE OF THE SACRIFICES 605 00:34:12,021 --> 00:34:16,887 {\an1}SHE SAID SHE HAD MADE FOR HIS BENEFIT. 606 00:34:16,921 --> 00:34:20,287 {\an1}"A MOTHER'S LOVE," SHE TOLD HIM, WAS "LIKE A BANK." 607 00:34:20,321 --> 00:34:23,054 SHE HAD MADE ALL THE EARLY DEPOSITS... 608 00:34:23,087 --> 00:34:26,154 {\an1}THE PAIN OF CHILDBIRTH, THE SLEEPLESS NIGHTS, 609 00:34:26,187 --> 00:34:28,521 {\an1}THE YEARS OF PATIENT UNDERSTANDING 610 00:34:28,554 --> 00:34:31,054 {\an1}AND ENCOURAGEMENT, 611 00:34:31,087 --> 00:34:33,621 {\an1}BUT NOW THAT "FULL MANHOOD" WAS HERE, 612 00:34:33,654 --> 00:34:39,554 {\an1}IT WAS HIS TURN TO MAKE "DEPOSITS" OF HIS OWN, SHE SAID. 613 00:34:39,587 --> 00:34:41,954 {\an1}WOMAN, AS GRACE: UNLESS YOU, MY SON, ERNEST, 614 00:34:41,987 --> 00:34:45,421 COME TO YOURSELF, CEASE YOUR LAZY LOAFING 615 00:34:45,454 --> 00:34:48,354 {\an1}AND PLEASURE SEEKING... BORROWING WITH NO THOUGHT 616 00:34:48,387 --> 00:34:50,087 OF RETURNING... 617 00:34:50,121 --> 00:34:52,754 {\an1}STOP TRYING TO GRAFT A LIVING OFF ANYBODY, 618 00:34:52,787 --> 00:34:56,654 {\an1}AND EVERYBODY, SPENDING ALL YOUR EARNINGS 619 00:34:56,687 --> 00:35:01,021 {\an1}LAVISHLY AND WASTEFULLY ON LUXURIES FOR YOURSELF... 620 00:35:01,054 --> 00:35:03,654 STOP TRADING ON YOUR HANDSOME FACE 621 00:35:03,687 --> 00:35:07,054 {\an1}TO FOOL LITTLE GULLIBLE GIRLS, 622 00:35:07,087 --> 00:35:09,721 {\an1}AND NEGLECTING YOUR DUTIES TO GOD 623 00:35:09,754 --> 00:35:12,321 {\an1}AND YOUR SAVIOR JESUS CHRIST, 624 00:35:12,354 --> 00:35:16,887 {\an1}UNLESS, IN OTHER WORDS, YOU COME INTO YOUR MANHOOD, 625 00:35:16,921 --> 00:35:21,354 {\an1}THERE IS NOTHING BEFORE YOU, BUT BANKRUPTCY. 626 00:35:21,387 --> 00:35:24,887 {\an1}YOU HAVE OVERDRAWN. 627 00:35:24,921 --> 00:35:27,521 {\an1}NARRATOR: ERNEST WAS TO LEAVE HOME, SHE SAID, 628 00:35:27,554 --> 00:35:30,387 {\an1}AND NOT "COME BACK UNTIL YOUR TONGUE HAS LEARNED 629 00:35:30,421 --> 00:35:34,021 NOT TO INSULT AND SHAME YOUR MOTHER." 630 00:35:34,054 --> 00:35:36,287 "MAKES A GUY FEEL KIND OF ROTTEN," 631 00:35:36,321 --> 00:35:38,354 {\an1}ERNEST TOLD A FRIEND, "TO KNOW THAT 632 00:35:38,387 --> 00:35:43,087 {\an1}HE HASN'T ANY HOME, EVEN IF HE DOESN'T USE IT." 633 00:35:43,121 --> 00:35:46,654 {\an1}HE AND HIS MOTHER WOULD EVENTUALLY RECONCILE, 634 00:35:46,687 --> 00:35:48,221 {\an1}BUT HEMINGWAY'S ANTIPATHY 635 00:35:48,254 --> 00:35:51,087 TOWARD HER WOULD NEVER DISSIPATE, 636 00:35:51,121 --> 00:35:53,754 {\an1}YET OF ALL HER CHILDREN, HE WOULD BECOME 637 00:35:53,787 --> 00:35:57,854 {\an1}THE MOST LIKE HER... OPINIONATED, JUDGMENTAL, 638 00:35:57,887 --> 00:36:02,921 {\an1}CONTROLLING, SELF-DRAMATIZING. 639 00:36:02,954 --> 00:36:06,621 {\an1}ERNEST MOVED TO CHICAGO, ROOMED WITH OLD FRIENDS, 640 00:36:06,654 --> 00:36:10,054 {\an1}AND GOT TO KNOW THE CELEBRATED WRITER SHERWOOD ANDERSON, 641 00:36:10,087 --> 00:36:12,587 {\an1}WHO BECAME SOMETHING OF A MENTOR. 642 00:36:12,621 --> 00:36:16,021 {\an1}HEMINGWAY SUPPORTED HIMSELF WRITING AD COPY 643 00:36:16,054 --> 00:36:19,454 AND WORKED AWAY AT SHORT STORIES AT NIGHT. 644 00:36:19,487 --> 00:36:22,487 {\an1}NO ONE SEEMED INTERESTED IN THEM. 645 00:36:22,521 --> 00:36:25,521 {\an1}WOMAN: ALL WRITERS ARE NARCISSISTIC. 646 00:36:25,554 --> 00:36:27,421 {\an1}THAT'S NOT THE SAME AS BEING A NARCISSIST, 647 00:36:27,454 --> 00:36:29,021 {\an7}AS BEING A SOCIOPATH, 648 00:36:29,054 --> 00:36:31,354 {\an7}BUT NO ONE CAN SIT IN A ROOM BY THEMSELVES 649 00:36:31,387 --> 00:36:34,987 {\an7}12 HOURS A DAY, THINKING ABOUT WHAT THEY'RE THINKING 650 00:36:35,021 --> 00:36:36,854 {\an1}AND NOT BE A LITTLE MORE SELF-FOCUSED 651 00:36:36,887 --> 00:36:38,621 {\an1}THAN THE NORMAL PERSON. 652 00:36:38,654 --> 00:36:41,754 {\an1}YOU'RE DEFINITELY ON THE FAR END OF THE BELL CURVE. 653 00:36:45,454 --> 00:36:48,754 {\an1}WOMAN: OH, MR. HEMINGWAY, HOW I LOVE YOU. 654 00:36:48,787 --> 00:36:50,654 {\an1}HOW EXCITING YOU ARE. 655 00:36:50,687 --> 00:36:53,254 {\an1}HOW A LOT OF THINGS HAPPEN AROUND YOU, 656 00:36:53,287 --> 00:36:58,054 {\an1}AND BESIDES ALL THAT, I LOVE YOU ANYWAY. 657 00:36:58,087 --> 00:37:00,654 HOW I LOVE THE WAY YOU LOVE ME, 658 00:37:00,687 --> 00:37:05,054 {\an1}AND YOUR FLANNEL SHIRT SEEMS A STRANGELY BEAUTIFUL THING, 659 00:37:05,087 --> 00:37:07,821 {\an1}AND IT SMELLS SO GOOD BESIDES. 660 00:37:07,854 --> 00:37:11,121 {\an1}SOME DAY, IF I DON'T WATCH OUT, THERE'LL BE A POEM 661 00:37:11,154 --> 00:37:13,121 ON THE SMELL OF A CLEAN WHITE SHIRT 662 00:37:13,154 --> 00:37:15,887 {\an1}THAT'LL RAISE UP THE HAIR ON THE DEAD. 663 00:37:15,921 --> 00:37:18,121 {\an1}HADLEY RICHARDSON. 664 00:37:22,554 --> 00:37:25,187 {\an1}NARRATOR: ONE OCTOBER EVENING IN 1920, 665 00:37:25,221 --> 00:37:28,221 {\an1}HEMINGWAY ATTENDED A PARTY AT A FRIEND'S APARTMENT 666 00:37:28,254 --> 00:37:32,521 {\an1}AND WAS INTRODUCED TO A VISITOR FROM ST. LOUIS. 667 00:37:32,554 --> 00:37:34,321 {\an1}"THE MOMENT SHE ENTERED THE ROOM, 668 00:37:34,354 --> 00:37:36,354 {\an1}AN INTENSE FEELING CAME OVER ME," 669 00:37:36,387 --> 00:37:38,987 {\an1}HEMINGWAY REMEMBERED MANY YEARS LATER. 670 00:37:39,021 --> 00:37:43,654 {\an1}"I KNEW SHE WAS THE GIRL I WAS GOING TO MARRY." 671 00:37:43,687 --> 00:37:46,854 {\an1}ELIZABETH HADLEY RICHARDSON WAS 28, 672 00:37:46,887 --> 00:37:49,654 THE SHY PRODUCT OF A WELL-TO-DO FAMILY 673 00:37:49,687 --> 00:37:53,721 {\an1}FAR MORE TENSE AND TROUBLED EVEN THAN HIS. 674 00:37:53,754 --> 00:37:57,887 {\an1}HER ALCOHOLIC FATHER HAD SHOT HIMSELF WHEN SHE WAS 13. 675 00:37:57,921 --> 00:38:00,521 A BELOVED SISTER HAD BURNED TO DEATH. 676 00:38:00,554 --> 00:38:03,054 {\an1}SHE HERSELF HAD SUFFERED A NERVOUS BREAKDOWN 677 00:38:03,087 --> 00:38:06,387 {\an1}AT BRYN MAWR AND BEEN FORCED TO SPEND THE LAST 8 YEARS 678 00:38:06,421 --> 00:38:10,921 {\an1}AT HOME, CARING FOR HER ERRATIC AND DOMINEERING MOTHER, 679 00:38:10,954 --> 00:38:14,021 {\an1}SOMETIMES DRIVEN TO SUCH DESPAIR 680 00:38:14,054 --> 00:38:17,721 {\an1}THAT HADLEY CONSIDERED SUICIDE. 681 00:38:17,754 --> 00:38:21,987 {\an1}HER MOTHER HAD DIED JUST WEEKS BEFORE SHE MET HEMINGWAY. 682 00:38:22,021 --> 00:38:25,154 {\an1}SHE WAS EAGER, SHE RECALLED, TO FIND SOMEONE 683 00:38:25,187 --> 00:38:29,487 {\an1}WITH WHOM SHE COULD BEGIN TO BUILD A LIFE OF HER OWN. 684 00:38:33,921 --> 00:38:36,921 {\an7}WOMAN, AS RICHARDSON: I NEED YOU IN EVERY PART OF MY LIFE. 685 00:38:36,954 --> 00:38:38,821 {\an7}I WANT TO BE KISSED. 686 00:38:38,854 --> 00:38:40,821 {\an1}I WANT TO PULL YOUR HEAD DOWN ON MY HEART 687 00:38:40,854 --> 00:38:43,587 {\an1}AND HOLD IT VERY CLOSE AND CRADLE YOU THERE 688 00:38:43,621 --> 00:38:47,287 FOR HOURS, YOU BLESSED THING. 689 00:38:47,321 --> 00:38:53,921 {\an1}LOVE YOU, LOVE YOU, YOUR OWNEST IN THE WORLD. 690 00:38:53,954 --> 00:38:57,054 {\an1}NARRATOR: FALLING IN LOVE WITH HEMINGWAY, HADLEY SAID, 691 00:38:57,087 --> 00:39:01,021 {\an1}WAS A "GREAT EXPLOSION INTO LIFE." 692 00:39:01,054 --> 00:39:03,954 WITHIN 6 WEEKS, HE WAS CALLING HER "HASH," 693 00:39:03,987 --> 00:39:06,821 {\an1}AND THEY WERE TALKING OF MARRIAGE. 694 00:39:06,854 --> 00:39:09,787 {\an1}THEY WOULD NOT ACTUALLY WED FOR NEARLY A YEAR 695 00:39:09,821 --> 00:39:12,487 AND WERE APART MOST OF THAT TIME, 696 00:39:12,521 --> 00:39:17,987 {\an1}BUT THEY WROTE ONE ANOTHER ALMOST DAILY. 697 00:39:18,021 --> 00:39:19,954 {\an1}MAN, AS HEMINGWAY: 'COURSE I LOVE YOU. 698 00:39:19,987 --> 00:39:22,254 {\an1}I LOVE YOU ALL THE TIME. 699 00:39:22,287 --> 00:39:24,987 {\an1}WHEN I WAKE UP IN THE MORNING AND HAVE TO CLIMB OUT OF BED 700 00:39:25,021 --> 00:39:27,987 {\an1}AND SPLASH AROUND AND SHAVE, I LOOK AT YOUR PICTURE 701 00:39:28,021 --> 00:39:30,521 {\an1}AND THINK ABOUT YOU, 702 00:39:30,554 --> 00:39:35,021 {\an1}AND IN THE EVENING, IT'S TOO MUCH TO STAND. 703 00:39:35,054 --> 00:39:37,987 {\an1}'NIGHT, MY DEAREST HASH. 704 00:39:38,021 --> 00:39:40,821 {\an1}I'D LIKE TO HOLD YOU SO AND KISS YOU SO 705 00:39:40,854 --> 00:39:44,621 {\an1}THAT YOU WOULDN'T DOUBT WHETHER I WANTED TO OR NOT. 706 00:39:44,654 --> 00:39:48,854 LOVE YOU... ERNESTO 707 00:39:48,887 --> 00:39:51,787 {\an1}NARRATOR: HIS LOVE RESTORED HER SELF-CONFIDENCE 708 00:39:51,821 --> 00:39:54,454 {\an1}AFTER YEARS OF SELF-DOUBT. 709 00:39:54,487 --> 00:39:57,121 {\an1}"WE'RE THE SAME FIRM," SHE TOLD HIM. 710 00:39:57,154 --> 00:39:58,621 {\an1}"THE WORLD'S A JAIL, 711 00:39:58,654 --> 00:40:01,321 AND WE'RE GONNA BREAK IT TOGETHER." 712 00:40:01,354 --> 00:40:06,154 {\an1}HER CONFIDENCE IN HIM WOULD HELP HIM REALIZE HIS TALENT. 713 00:40:06,187 --> 00:40:10,287 {\an1}WHEN ERNEST TOLD HADLEY HE NOW FELT READY TO START A NOVEL 714 00:40:10,321 --> 00:40:13,421 {\an1}BASED UPON HIS OWN BOYHOOD WITH "REAL PEOPLE, 715 00:40:13,454 --> 00:40:16,087 {\an1}TALKING AND SAYING WHAT THEY THINK," 716 00:40:16,121 --> 00:40:19,854 SHE SENT HIM A NEW CORONA TYPEWRITER. 717 00:40:19,887 --> 00:40:22,254 FROM THE FIRST, SHE SEEMED TO UNDERSTAND 718 00:40:22,287 --> 00:40:24,321 {\an1}WHAT HE WAS TRYING TO DO. 719 00:40:24,354 --> 00:40:27,721 {\an1}SHE LOVED IT THAT HIS STYLE "ELIMINATED EVERYTHING 720 00:40:27,754 --> 00:40:31,721 {\an1}EXCEPT WHAT IS NECESSARY AND STRENGTHENING"... 721 00:40:34,921 --> 00:40:37,187 {\an1}BUT AS THEIR WEDDING DAY APPROACHED, 722 00:40:37,221 --> 00:40:41,787 {\an1}ANXIETY AND DEPRESSION AGAIN ENVELOPED HIM. 723 00:40:41,821 --> 00:40:44,854 {\an1}HE LOST WEIGHT, WORRIED THAT MARRIED LIFE 724 00:40:44,887 --> 00:40:47,454 {\an1}MIGHT NOT BE FOR HIM AFTER ALL 725 00:40:47,487 --> 00:40:51,287 {\an1}OR THAT HADLEY WOULD BETRAY HIM THE WAY AGNES HAD. 726 00:40:51,321 --> 00:40:54,154 {\an1}HE GREW DARKER AND DARKER. 727 00:40:54,187 --> 00:41:00,387 {\an1}HE HINTED TO HADLEY THAT HE WAS CONSIDERING SUICIDE. 728 00:41:00,421 --> 00:41:02,563 {\an1}WOMAN, AS RICHARDSON: I KNOW HOW IT FEELS 'CAUSE I HAVE 729 00:41:02,587 --> 00:41:06,487 {\an1}SO VERY MANY TIMES WANTED TO GO AND COULDN'T 730 00:41:06,521 --> 00:41:10,087 {\an1}ON ACCOUNT OF THE MESS I'D LEAVE SOME OTHER PEOPLE IN, 731 00:41:10,121 --> 00:41:15,154 {\an1}BUT REMEMBER IT WOULD KILL ME TO ALL INTENTS AND PURPOSES. 732 00:41:15,187 --> 00:41:20,021 {\an1}DON'T EVER GET CONFUSED WHEN SUCH A MOMENT COMES. 733 00:41:20,054 --> 00:41:21,854 YOU GOTTA LIVE... 734 00:41:21,887 --> 00:41:26,087 {\an1}FIRST FOR YOU AND THEN FOR MY HAPPINESS. 735 00:41:26,121 --> 00:41:30,387 {\an1}YOU MUSTN'T FEEL SO HORRIBLY, DEAR ERN. 736 00:41:30,421 --> 00:41:33,587 {\an1}I'M ARRIVING SATURDAY TO LOVE YOU CLOSER. 737 00:41:35,921 --> 00:41:40,287 {\an1}NARRATOR: ON SATURDAY AFTERNOON, SEPTEMBER 3, 1921, 738 00:41:40,321 --> 00:41:43,554 {\an1}IN A METHODIST CHURCH NOT FAR FROM THE FAMILY COTTAGE 739 00:41:43,587 --> 00:41:46,621 ON WALLOON LAKE, HADLEY RICHARDSON 740 00:41:46,654 --> 00:41:52,387 {\an1}BECAME MRS. ERNEST HEMINGWAY. 741 00:41:52,421 --> 00:42:00,421 ♪ 742 00:42:07,321 --> 00:42:10,121 {\an1}MAN, AS HEMINGWAY: JANUARY 1922. 743 00:42:10,154 --> 00:42:12,754 DEAR FAMILY, HASH JUST CAME IN 744 00:42:12,787 --> 00:42:15,054 {\an1}AND SAYS TO SEND LOTS OF LOVE TO YOU 745 00:42:15,087 --> 00:42:17,287 AND TELL YOU ABOUT OUR APARTMENT. 746 00:42:17,321 --> 00:42:20,954 IT IS AT 74 RUE DU CARDINAL LEMOINE 747 00:42:20,987 --> 00:42:24,321 {\an1}AND IS THE JOLLIEST PLACE YOU EVER SAW. 748 00:42:24,354 --> 00:42:27,721 {\an1}WE RENTED IT FURNISHED FOR 250 FRANCS A MONTH, 749 00:42:27,754 --> 00:42:29,454 ABOUT $18. 750 00:42:29,487 --> 00:42:32,287 {\an1}IT IS THE MOST COMFORTABLE AND CHEAPEST WAY TO LIVE, 751 00:42:32,321 --> 00:42:35,087 {\an1}AND HASH HAS A PIANO, AND WE HAVE ALL OUR PICTURES 752 00:42:35,121 --> 00:42:38,587 UP ON THE WALLS AND AN OPEN FIREPLACE. 753 00:42:38,621 --> 00:42:40,454 {\an1}IT IS ON TOP OF A HIGH HILL 754 00:42:40,487 --> 00:42:43,787 {\an1}IN THE VERY OLDEST PART OF PARIS. 755 00:42:43,821 --> 00:42:46,921 {\an1}NARRATOR: THE NEWLY-WED HEMINGWAYS' FIRST REAL HOME 756 00:42:46,954 --> 00:42:50,487 {\an1}WAS A FOURTH-FLOOR WALKUP IN THE LATIN QUARTER. 757 00:42:50,521 --> 00:42:52,954 EACH EVENING, ACCORDION MUSIC DRIFTED UP 758 00:42:52,987 --> 00:42:56,254 {\an1}FROM THE WORKING-MAN'S DANCE-HALL NEXT DOOR. 759 00:42:56,287 --> 00:42:58,821 {\an1}HIS FRIEND AND MENTOR SHERWOOD ANDERSON 760 00:42:58,854 --> 00:43:02,121 {\an1}HAD PERSUADED ERNEST THAT FOR A YOUNG WRITER 761 00:43:02,154 --> 00:43:04,721 {\an1}PARIS WAS THE PLACE TO BE. 762 00:43:04,754 --> 00:43:08,287 {\an1}ONE COULD LIVE CHEAPLY THERE, AND THE LEFT BANK TEEMED 763 00:43:08,321 --> 00:43:12,554 {\an1}WITH REVOLUTIONARY ARTISTS AND WRITERS FROM EVERYWHERE... 764 00:43:12,587 --> 00:43:16,121 {\an1}PABLO PICASSO AND JOAN MIROÓ; 765 00:43:16,154 --> 00:43:19,387 {\an1}IGOR STRAVINSKY AND ERIK SATIE; 766 00:43:19,421 --> 00:43:24,054 {\an1}JAMES JOYCE AND GERTRUDE STEIN, WHO REMEMBERED PARIS 767 00:43:24,087 --> 00:43:29,487 {\an1}AS "THE PLACE WHERE THE 20th CENTURY WAS." 768 00:43:29,521 --> 00:43:33,554 {\an1}ERNEST WAS JUST 22 YEARS OLD, WORKING AS A CORRESPONDENT 769 00:43:33,587 --> 00:43:35,421 {\an1}FOR THE "TORONTO STAR," 770 00:43:35,454 --> 00:43:38,554 {\an1}OTHERWISE UNPUBLISHED AND UNKNOWN, 771 00:43:38,587 --> 00:43:41,687 {\an1}BUT SHERWOOD ANDERSON HAD WRITTEN LETTERS OF INTRODUCTION 772 00:43:41,721 --> 00:43:45,854 {\an1}TO 3 INFLUENTIAL FRIENDS, GENEROUSLY DESCRIBING HIM 773 00:43:45,887 --> 00:43:48,487 {\an1}AS A "QUITE WONDERFUL NEWSPAPERMAN" 774 00:43:48,521 --> 00:43:52,154 {\an1}WHOSE "EXTRAORDINARY TALENT" WAS SURE TO TAKE HIM 775 00:43:52,187 --> 00:43:55,387 {\an1}FAR BEYOND JOURNALISM. 776 00:43:55,421 --> 00:43:56,987 VAILL: HE'S TALL. 777 00:43:57,021 --> 00:43:59,187 HE IS AS HANDSOME AS A MOVIE STAR. 778 00:43:59,221 --> 00:44:01,554 HE HAS DIMPLES. 779 00:44:01,587 --> 00:44:05,887 {\an7}HE HAS A SWASHBUCKLING QUALITY TO HIM, 780 00:44:05,921 --> 00:44:08,521 {\an7}BUT HE HAS THIS KIND OF MIDWESTERN SWEETNESS 781 00:44:08,554 --> 00:44:10,254 AT THE SAME TIME. 782 00:44:10,287 --> 00:44:12,421 THE FACT IS THAT IF HE WOULD WALK INTO A ROOM 783 00:44:12,454 --> 00:44:15,787 PEOPLE LOVED HIM THE MINUTE THEY SAW HIM, 784 00:44:15,821 --> 00:44:17,854 {\an1}AND THAT GIVES YOU A KIND OF CONFIDENCE 785 00:44:17,887 --> 00:44:21,221 {\an1}THAT YOU CAN DO ANYTHING. 786 00:44:21,254 --> 00:44:23,354 {\an1}NARRATOR: SHERWOOD ANDERSON'S FRIENDS DID 787 00:44:23,387 --> 00:44:25,587 WHAT THEY COULD FOR THE NEWCOMER. 788 00:44:25,621 --> 00:44:29,621 {\an1}THE FIRST WAS THE AMERICAN EXPATRIATE POET EZRA POUND. 789 00:44:29,654 --> 00:44:33,087 {\an1}HE WAS WELL-CONNECTED IN AVANT-GARDE LITERARY CIRCLES 790 00:44:33,121 --> 00:44:37,754 {\an1}AND TALKED ERNEST UP TO EVERY MAGAZINE EDITOR HE KNEW. 791 00:44:37,787 --> 00:44:41,054 {\an1}GERTRUDE STEIN PRESIDED OVER A SALON AT THE HOME 792 00:44:41,087 --> 00:44:44,887 {\an1}SHE SHARED WITH HER PARTNER ALICE B. TOKLAS. 793 00:44:44,921 --> 00:44:47,554 ART COLLECTOR, AVANT-GARDE WRITER, 794 00:44:47,587 --> 00:44:50,587 {\an1}CHAMPION OF MODERNISM IN ALL ITS FORMS, 795 00:44:50,621 --> 00:44:52,621 SHE TOOK A LIKING TO THE HANDSOME, 796 00:44:52,654 --> 00:44:55,054 {\an1}EAGER YOUNG VISITOR WITH WHAT SHE REMEMBERED 797 00:44:55,087 --> 00:45:00,187 {\an1}AS "DARK LUMINOUS EYES" AND "A FLASHING SMILE." 798 00:45:00,221 --> 00:45:03,287 {\an1}SHE LIKED HIS TERSE, DECLARATIVE STYLE, TOO, 799 00:45:03,321 --> 00:45:07,187 {\an1}AND OFFERED ENCOURAGEMENT AND USEFUL ADVICE. 800 00:45:07,221 --> 00:45:10,654 {\an1}"MISS STEIN HAD DISCOVERED MANY TRUTHS ABOUT RHYTHMS 801 00:45:10,687 --> 00:45:13,254 {\an1}AND THE USES OF WORDS IN REPETITION," 802 00:45:13,287 --> 00:45:16,154 {\an1}HEMINGWAY REMEMBERED, THAT ECHOED THE COUNTERPOINT 803 00:45:16,187 --> 00:45:21,487 {\an1}HE'D FIRST ENCOUNTERED IN THE MUSIC OF BACH. 804 00:45:21,521 --> 00:45:26,621 {\an1}STEIN ALSO INTRODUCED HIM TO THE WORLD OF MODERN ART. 805 00:45:26,654 --> 00:45:29,987 {\an1}HE WAS ESPECIALLY DRAWN TO THE WORK OF PAUL CEÉZANNE, 806 00:45:30,021 --> 00:45:33,787 {\an1}WHO PAINTED THE SAME SUBJECTS OVER AND OVER AGAIN, 807 00:45:33,821 --> 00:45:36,421 {\an1}BUILDING UP EACH IMAGE FROM THOUSANDS 808 00:45:36,454 --> 00:45:39,554 {\an1}OF REPETITIVE BRUSH STROKES. 809 00:45:39,587 --> 00:45:42,554 {\an1}MAN: CEÉZANNE... HE'S TRYING TO BREAK DOWN 810 00:45:42,587 --> 00:45:44,454 {\an1}NORMAL HABITS OF SEEING, 811 00:45:44,487 --> 00:45:47,554 {\an1}AND I THINK THAT'S WHAT HEMINGWAY LIKED. 812 00:45:47,587 --> 00:45:53,721 {\an1}THE GREAT ENEMY FOR HEMINGWAY IS BOREDOM AND ROUTINE 813 00:45:53,754 --> 00:45:56,954 {\an1}AND ANYTHING ACCUSTOMED, 814 00:45:56,987 --> 00:46:01,087 {\an7}AND I THINK HE SAW IN CEÉZANNE A MODEL FOR TAKING 815 00:46:01,121 --> 00:46:02,787 {\an7}THE SAME THING OVER AND OVER, 816 00:46:02,821 --> 00:46:04,387 {\an7}LANDSCAPE, LANDSCAPE, LANDSCAPE, 817 00:46:04,421 --> 00:46:06,354 {\an7}THE SAME MOUNTAIN, THE SAME MOUNTAIN, 818 00:46:06,387 --> 00:46:09,921 {\an1}AND RENDERING IT NEW 819 00:46:09,954 --> 00:46:12,687 BY LOOKING AT IT IN DIFFERENT WAYS, 820 00:46:12,721 --> 00:46:16,154 {\an1}AND I THINK THAT'S THE MODEL FOR HIM. 821 00:46:16,187 --> 00:46:19,587 {\an1}NARRATOR: SYLVIA BEACH BECAME HEMINGWAY'S FRIEND, TOO. 822 00:46:19,621 --> 00:46:21,554 {\an1}SHE RAN SHAKESPEARE AND COMPANY, 823 00:46:21,587 --> 00:46:26,554 {\an1}A BOOKSTORE AND LENDING LIBRARY, AT 12 RUE DE L'ODEON. 824 00:46:26,587 --> 00:46:28,421 {\an1}SYLVIA BEACH: HE CAME INTO MY SHOP, 825 00:46:28,454 --> 00:46:31,687 {\an1}AND HE HAD AN INTRODUCTION FROM SHERWOOD ANDERSON, 826 00:46:31,721 --> 00:46:33,487 {\an7}BUT HE DIDN'T GIVE THAT. 827 00:46:33,521 --> 00:46:35,097 {\an7}HE'D FORGOTTEN TO BRING IT, AND HE DIDN'T NEED IT 828 00:46:35,121 --> 00:46:37,387 {\an8}BECAUSE I THOUGHT HE WAS SO INTERESTING, 829 00:46:37,421 --> 00:46:41,587 {\an1}AND HE SAID, "WOULD YOU LIKE TO SEE MY WOUNDS?" 830 00:46:41,621 --> 00:46:43,021 {\an1}AND I SAID, "YES, INDEED," 831 00:46:43,054 --> 00:46:45,687 {\an1}AND HE TOOK OFF HIS SHOE AND HIS SOCK 832 00:46:45,721 --> 00:46:47,687 AND SHOWED ME ALL THESE DREADFUL SCARS 833 00:46:47,721 --> 00:46:49,887 {\an1}ON HIS LEG AND FOOT, 834 00:46:49,921 --> 00:46:53,554 {\an1}AND THEN WE BECAME GREAT FRIENDS. 835 00:46:53,587 --> 00:46:55,421 {\an1}NARRATOR: SHAKESPEARE AND COMPANY WAS 836 00:46:55,454 --> 00:46:58,921 {\an1}A GATHERING PLACE FOR EXPATRIATE ARTISTS AND WRITERS. 837 00:46:58,954 --> 00:47:00,954 {\an1}HEMINGWAY CHARMED THEM ALL, 838 00:47:00,987 --> 00:47:04,754 {\an1}INCLUDING THE IRISH WRITER JAMES JOYCE, 839 00:47:04,787 --> 00:47:07,654 {\an1}WHOSE DARINGLY EXPLICIT NOVEL "ULYSSES" 840 00:47:07,687 --> 00:47:11,287 {\an1}SYLVIA BEACH HAD JUST PUBLISHED, 841 00:47:11,321 --> 00:47:14,054 AND HE SET OUT TO EDUCATE HIMSELF, 842 00:47:14,087 --> 00:47:18,387 {\an1}BORROWING BOOKS FROM HER SHOP BY D.H. LAWRENCE, TURGENEV, 843 00:47:18,421 --> 00:47:22,787 {\an1}DOSTOEVSKY, TOLSTOY. 844 00:47:22,821 --> 00:47:25,821 {\an1}MAN, AS HEMINGWAY: FEBRUARY 14, 1922. 845 00:47:25,854 --> 00:47:28,721 {\an1}WE KNOW A GOOD BATCH OF PEOPLE NOW IN PARIS 846 00:47:28,754 --> 00:47:31,121 {\an1}AND IF WE ALLOWED IT WOULD HAVE ALL OUR TIME 847 00:47:31,154 --> 00:47:34,321 {\an1}TAKEN UP SOCIALLY, BUT I AM WORKING VERY HARD, 848 00:47:34,354 --> 00:47:37,987 {\an1}AND WE KEEP PLENTY OF TIME TO OURSELVES. 849 00:47:38,021 --> 00:47:41,587 {\an1}PARIS IS SO VERY BEAUTIFUL THAT IT SATISFIES SOMETHING 850 00:47:41,621 --> 00:47:44,687 IN YOU THAT IS ALWAYS HUNGRY IN AMERICA. 851 00:47:47,554 --> 00:47:49,254 {\an1}NARRATOR: FOR THE REST OF HIS LIFE, 852 00:47:49,287 --> 00:47:51,954 {\an1}HEMINGWAY WOULD INSIST THAT HE AND HADLEY 853 00:47:51,987 --> 00:47:56,254 {\an1}HAD BEEN VIRTUALLY PENNILESS WHEN THEY LIVED IN PARIS. 854 00:47:56,287 --> 00:47:57,987 THEY WERE NOT. 855 00:47:58,021 --> 00:48:02,021 {\an1}BESIDES HIS SALARY, SHE HAD AN INHERITANCE. 856 00:48:02,054 --> 00:48:03,754 {\an1}"WE ALWAYS HAD MONEY FOR ANYTHING 857 00:48:03,787 --> 00:48:06,687 {\an1}WE REALLY WANTED TO DO," HADLEY REMEMBERED, 858 00:48:06,721 --> 00:48:11,021 {\an1}"AND WE ALWAYS HAD MONEY FOR WHISKEY." 859 00:48:11,054 --> 00:48:13,487 THE FIRST YEAR OF THEIR MARRIAGE CONSTITUTED 860 00:48:13,521 --> 00:48:18,521 {\an1}A SORT OF EXTENDED HONEYMOON... EXPLORING PARIS, TREKKING, 861 00:48:18,554 --> 00:48:24,154 FISHING, SKIING, BOBSLEDDING IN THE ALPS. 862 00:48:24,187 --> 00:48:26,121 {\an1}CUSHMAN: ONE OF THE THINGS ABOUT HIM IS THAT 863 00:48:26,154 --> 00:48:28,721 {\an1}HE'S COMMITTED TO TRAVEL. 864 00:48:28,754 --> 00:48:30,487 {\an1}HE LIKES, I THINK, MORE THAN ANYTHING, 865 00:48:30,521 --> 00:48:34,487 {\an1}TO BE A FOREIGNER, A STRANGER IN A STRANGE LAND. 866 00:48:34,521 --> 00:48:37,954 {\an1}EVERYTHING IS HEIGHTENED, AND TASTE IS HEIGHTENED, 867 00:48:37,987 --> 00:48:42,521 {\an1}VISION IS HEIGHTENED, SMELLS ARE HEIGHTENED. 868 00:48:42,554 --> 00:48:45,554 {\an1}NARRATOR: HEMINGWAY WROTE ABOUT EVERYTHING... 869 00:48:45,587 --> 00:48:48,654 PARIS NIGHTLIFE AND GERMAN MANNERS, 870 00:48:48,687 --> 00:48:53,087 {\an1}FASCISM AND COMMUNISM AND WOMEN'S HATS... 871 00:48:53,121 --> 00:48:57,354 {\an1}ALWAYS WITH A WEARY, INSIDER'S TONE REMARKABLE 872 00:48:57,387 --> 00:49:01,287 FOR A YOUNG MAN IN HIS EARLY TWENTIES, 873 00:49:01,321 --> 00:49:03,487 {\an1}AND WHENEVER HE COULD FIND THE TIME, 874 00:49:03,521 --> 00:49:05,954 {\an1}HE WORKED ON SHORT STORIES AND THE NOVEL 875 00:49:05,987 --> 00:49:09,154 {\an1}HE HAD BEGUN IN CHICAGO. 876 00:49:09,187 --> 00:49:13,254 {\an1}SOMETIMES, HE TOOK HADLEY ALONG ON ASSIGNMENT FOR THE "STAR"... 877 00:49:13,287 --> 00:49:15,087 {\an1}TO ITALY, WHERE HE SHOWED HER THE PLACE 878 00:49:15,121 --> 00:49:17,054 {\an1}WHERE HE'D BEEN WOUNDED, 879 00:49:17,087 --> 00:49:19,887 {\an1}TO THE BLACK FOREST FOR TROUT FISHING, 880 00:49:19,921 --> 00:49:22,221 {\an1}ABOARD A PIONEERING PASSENGER FLIGHT 881 00:49:22,254 --> 00:49:25,354 {\an1}FROM PARIS TO STRASBOURG... 882 00:49:25,387 --> 00:49:28,021 BUT MORE OFTEN, HE TRAVELED ALONE, 883 00:49:28,054 --> 00:49:30,754 GETTING TO KNOW HIS FELLOW REPORTERS, 884 00:49:30,787 --> 00:49:34,854 {\an1}COVERING AN INTERNATIONAL ECONOMIC CONFERENCE AT GENOA, 885 00:49:34,887 --> 00:49:37,854 RIOTS IN COLOGNE, 886 00:49:37,887 --> 00:49:41,521 {\an1}AND IN THE AUTUMN OF 1922, OPEN WARFARE 887 00:49:41,554 --> 00:49:45,954 {\an1}BETWEEN GREECE AND TURKEY THAT SEEMED FOR A TIME 888 00:49:45,987 --> 00:49:50,921 {\an1}TO THREATEN A NEW WORLD WAR. 889 00:49:50,954 --> 00:49:53,721 {\an1}HE STOOD AND WATCHED AS A 20-MILE COLUMN 890 00:49:53,754 --> 00:49:56,954 {\an1}OF GREEK REFUGEES PASSED SLOWLY BY 891 00:49:56,987 --> 00:50:01,721 {\an1}IN FLIGHT FROM THE TURKISH ARMY. 892 00:50:01,754 --> 00:50:04,254 {\an1}MAN, AS HEMINGWAY: IT IS A SILENT PROCESSION. 893 00:50:04,287 --> 00:50:06,154 {\an1}NOBODY EVEN GRUNTS. 894 00:50:06,187 --> 00:50:09,654 {\an1}IT IS ALL THEY CAN DO TO KEEP MOVING. 895 00:50:09,687 --> 00:50:13,121 {\an1}THEIR BRILLIANT PEASANT COSTUMES ARE SOAKED AND DRAGGLED. 896 00:50:13,154 --> 00:50:17,121 {\an1}CHICKENS DANGLE BY THEIR FEET FROM THE CARTS. 897 00:50:17,154 --> 00:50:19,721 {\an1}AN OLD MAN MARCHES UNDER A YOUNG PIG, 898 00:50:19,754 --> 00:50:22,454 {\an1}A SCYTHE AND A GUN, WITH A CHICKEN TIED 899 00:50:22,487 --> 00:50:24,421 TO HIS SCYTHE. 900 00:50:24,454 --> 00:50:27,454 {\an1}A HUSBAND SPREADS A BLANKET OVER A WOMAN IN LABOR 901 00:50:27,487 --> 00:50:31,087 {\an1}IN ONE OF THE CARTS TO KEEP OFF THE DRIVING RAIN. 902 00:50:31,121 --> 00:50:34,787 {\an1}SHE IS THE ONLY PERSON MAKING A SOUND. 903 00:50:34,821 --> 00:50:37,087 {\an1}HER LITTLE DAUGHTER LOOKS AT HER IN HORROR 904 00:50:37,121 --> 00:50:39,721 {\an1}AND BEGINS TO CRY. 905 00:50:39,754 --> 00:50:42,154 {\an1}AND THE PROCESSION KEEPS MOVING. 906 00:50:45,387 --> 00:50:48,121 {\an1}NARRATOR: LATER, HEMINGWAY JOINED OTHER REPORTERS 907 00:50:48,154 --> 00:50:51,654 {\an1}AT LAUSANNE, SWITZERLAND, WHERE EUROPEAN STATESMEN 908 00:50:51,687 --> 00:50:55,221 {\an1}WERE TRYING TO STOP THE FIGHTING. 909 00:50:55,254 --> 00:50:57,721 {\an1}ONE OF THE REPORTERS WITH WHOM HEMINGWAY DRANK 910 00:50:57,754 --> 00:51:02,187 {\an1}EACH EVENING WAS THE VETERAN CORRESPONDENT LINCOLN STEFFENS. 911 00:51:02,221 --> 00:51:05,121 {\an1}STEFFENS WAS IMPRESSED BY THE PIECE ERNEST HAD WRITTEN 912 00:51:05,154 --> 00:51:08,354 {\an1}ABOUT THE GREEK REFUGEES AND ASKED IF HE COULD SEE 913 00:51:08,387 --> 00:51:11,154 {\an1}MORE OF THE YOUNG MAN'S WRITING. 914 00:51:11,187 --> 00:51:14,654 {\an1}SO WHEN ERNEST ASKED HADLEY TO JOIN HIM IN SWITZERLAND, 915 00:51:14,687 --> 00:51:18,487 {\an1}SHE DECIDED TO BRING ALONG HIS WORK. 916 00:51:18,521 --> 00:51:22,587 {\an1}ON DECEMBER 2, 1922, SHE PACKED INTO A VALISE 917 00:51:22,621 --> 00:51:25,187 {\an1}ALL THE MANUSCRIPTS SHE COULD FIND AND TOOK 918 00:51:25,221 --> 00:51:28,587 {\an1}A TAXI TO THE GARE DE LYON. 919 00:51:28,621 --> 00:51:31,987 {\an1}A PORTER CARRIED THE VALISE ONTO A TRAIN. 920 00:51:32,021 --> 00:51:35,487 {\an1}WHEN SHE GOT TO HER COMPARTMENT, IT WASN'T THERE. 921 00:51:39,487 --> 00:51:43,521 {\an1}THE FIRST CHAPTERS OF HIS NOVEL WERE LOST. 922 00:51:43,554 --> 00:51:47,287 {\an1}SO WERE SEVERAL SHORT STORIES. 923 00:51:47,321 --> 00:51:49,587 {\an1}HADLEY WEPT ALL THE WAY TO LAUSANNE 924 00:51:49,621 --> 00:51:52,487 {\an1}AND WHEN SHE GOT THERE COULD BARELY BRING HERSELF 925 00:51:52,521 --> 00:51:57,654 {\an1}TO TELL HER HUSBAND WHAT HAD HAPPENED. 926 00:51:57,687 --> 00:51:59,387 {\an1}MAN, AS HEMINGWAY: SHE HAD CRIED AND CRIED 927 00:51:59,421 --> 00:52:01,387 {\an1}AND COULD NOT TELL ME. 928 00:52:01,421 --> 00:52:03,887 {\an7}I TOLD HER THAT NO MATTER WHAT THE DREADFUL THING WAS 929 00:52:03,921 --> 00:52:07,454 {\an8}THAT HAD HAPPENED NOTHING COULD BE THAT BAD, 930 00:52:07,487 --> 00:52:10,387 {\an1}AND WHATEVER IT WAS, IT WAS ALL RIGHT 931 00:52:10,421 --> 00:52:12,054 AND NOT TO WORRY. 932 00:52:12,087 --> 00:52:14,154 {\an1}WE WOULD WORK IT OUT. 933 00:52:16,321 --> 00:52:19,254 {\an1}NARRATOR: BUT THEY DID NOT REALLY WORK IT OUT. 934 00:52:19,287 --> 00:52:20,921 {\an1}HEMINGWAY WAS ANGRY. 935 00:52:20,954 --> 00:52:23,321 {\an1}HE'D LOST, HE CLAIMED TO A FRIEND, 936 00:52:23,354 --> 00:52:26,587 {\an1}"EVERYTHING I'VE DONE FOR TWO YEARS." 937 00:52:26,621 --> 00:52:29,221 {\an1}HE WOULD HAVE TO START ALL OVER AGAIN, 938 00:52:29,254 --> 00:52:32,687 THOUGH IN FACT, SOME WRITING SURVIVED. 939 00:52:32,721 --> 00:52:35,187 {\an1}HE WAS FURTHER SHAKEN SEVERAL WEEKS LATER 940 00:52:35,221 --> 00:52:37,887 {\an1}WHEN HADLEY TOLD HIM SHE WAS PREGNANT. 941 00:52:37,921 --> 00:52:40,254 HE WAS JUST 23. 942 00:52:40,287 --> 00:52:44,521 {\an1}"I AM TOO YOUNG TO BE A FATHER," HE TOLD GERTRUDE STEIN, 943 00:52:44,554 --> 00:52:48,821 {\an1}AND HE SAID IT, SHE REMEMBERED "WITH REAL BITTERNESS." 944 00:52:55,121 --> 00:52:58,021 {\an1}MAN, AS HEMINGWAY: I WAS TRYING TO LEARN TO WRITE, 945 00:52:58,054 --> 00:53:00,654 COMMENCING WITH THE SIMPLEST THINGS, 946 00:53:00,687 --> 00:53:02,754 AND ONE OF THE SIMPLEST THINGS OF ALL 947 00:53:02,787 --> 00:53:06,787 {\an7}AND THE MOST FUNDAMENTAL IS VIOLENT DEATH, 948 00:53:06,821 --> 00:53:09,487 {\an7}SO I WENT TO SPAIN TO SEE BULLFIGHTS 949 00:53:09,521 --> 00:53:12,654 {\an7}AND TO TRY TO WRITE ABOUT THEM FOR MYSELF. 950 00:53:12,687 --> 00:53:16,121 {\an1}[CROWD CHEERING, HOOFBEATS] 951 00:53:16,154 --> 00:53:20,821 {\an1}I THOUGHT THEY WOULD BE SIMPLE AND BARBAROUS AND CRUEL 952 00:53:20,854 --> 00:53:23,121 {\an1}AND THAT I WOULD NOT LIKE THEM, 953 00:53:23,154 --> 00:53:26,087 {\an1}BUT THAT I WOULD SEE CERTAIN DEFINITE ACTION 954 00:53:26,121 --> 00:53:28,887 {\an1}WHICH WOULD GIVE ME THE FEELING OF LIFE AND DEATH 955 00:53:28,921 --> 00:53:32,087 {\an1}THAT I WAS WORKING FOR. 956 00:53:32,121 --> 00:53:35,087 WOMAN: HE TALKED ABOUT SEEING HIS FIRST BULL. 957 00:53:35,121 --> 00:53:36,487 {\an1}HE HAD A FRONT-ROW SEAT. 958 00:53:36,521 --> 00:53:38,954 HE COULD SEE THE BULL VERY WELL, 959 00:53:38,987 --> 00:53:41,421 {\an1}AND HE SAID HE WAS STRUCK BY THE POWER OF IT 960 00:53:41,454 --> 00:53:44,087 {\an1}AND THE SIZE OF IT, 961 00:53:44,121 --> 00:53:47,621 {\an7}THIS NATURAL STRENGTH OF IT. 962 00:53:47,654 --> 00:53:50,554 {\an7}I THINK MAYBE SOME OF THAT SPOKE TO HIM BECAUSE 963 00:53:50,587 --> 00:53:52,621 HE HAD POWER AND NATURAL STRENGTH, 964 00:53:52,654 --> 00:53:55,921 {\an1}AND HE WAS A FORCE OF NATURE, TOO, 965 00:53:55,954 --> 00:54:00,654 {\an1}AND THAT'S WHAT AN ARTIST DOES WITH HIS SUBJECT MATTER. 966 00:54:00,687 --> 00:54:02,754 {\an1}WITH YOUR STRENGTH, WITH YOUR WILL, 967 00:54:02,787 --> 00:54:05,554 WITH YOUR SKILLS, YOU GO IN, 968 00:54:05,587 --> 00:54:07,587 AND YOU CONTROL THE SUBJECT MATTER, 969 00:54:07,621 --> 00:54:09,854 {\an1}AND YOU MAKE SOMETHING BEAUTIFUL FROM IT. 970 00:54:09,887 --> 00:54:12,754 [CROWD CHEERING] 971 00:54:12,787 --> 00:54:16,321 {\an1}NARRATOR: HEMINGWAY FELL IN LOVE WITH SPAIN. 972 00:54:16,354 --> 00:54:18,987 {\an1}HE WAS SURE, HE WROTE, THAT BULLFIGHTING 973 00:54:19,021 --> 00:54:22,387 {\an1}"WILL MAKE FINE STORIES SOMEDAY. 974 00:54:22,421 --> 00:54:25,687 {\an1}"IT'S JUST LIKE HAVING A RINGSIDE SEAT AT THE WAR 975 00:54:25,721 --> 00:54:28,987 {\an1}WITH NOTHING GOING TO HAPPEN TO YOU." 976 00:54:29,021 --> 00:54:31,654 {\an1}HADLEY REMEMBERED SITTING IN THE STANDS, 977 00:54:31,687 --> 00:54:33,554 {\an1}STITCHING BABY CLOTHES, 978 00:54:33,587 --> 00:54:38,221 {\an1}"EMBROIDERING IN THE PRESENCE OF ALL THAT BRUTALITY." 979 00:54:41,921 --> 00:54:43,454 {\an1}MAN, AS HEMINGWAY: TORONTO, CANADA, 980 00:54:43,487 --> 00:54:47,154 NOVEMBER 7, 1923. 981 00:54:47,187 --> 00:54:51,221 {\an1}THE BABY HAS TAKEN TO SQUALLING AND IS A FINE NUISANCE. 982 00:54:51,254 --> 00:54:53,054 {\an1}I SUPPOSE HE WILL YELL HIS HEAD OFF 983 00:54:53,087 --> 00:54:55,221 {\an1}FOR THE NEXT 2 OR 3 YEARS. 984 00:54:55,254 --> 00:54:58,221 {\an1}IT SEEMS HIS ONLY FORM OF ENTERTAINMENT. 985 00:54:58,254 --> 00:55:01,921 {\an1}NO ONE GETS AS MUCH PLEASURE OUT OF IT AS HE DOES. 986 00:55:01,954 --> 00:55:04,954 {\an1}NARRATOR: JOHN HADLEY NICANOR HEMINGWAY WAS BORN 987 00:55:04,987 --> 00:55:10,454 IN TORONTO ON OCTOBER 10, 1923. 988 00:55:10,487 --> 00:55:13,421 {\an1}"NICANOR" WAS IN HONOR OF A SPANISH BULLFIGHTER 989 00:55:13,454 --> 00:55:16,587 {\an1}HEMINGWAY ESPECIALLY ADMIRED. 990 00:55:16,621 --> 00:55:19,121 HADLEY NICKNAMED THE BABY "BUMBY" 991 00:55:19,154 --> 00:55:21,987 {\an1}BECAUSE, SHE SAID, "OF THE ROUND, SOLID FEEL 992 00:55:22,021 --> 00:55:25,054 {\an1}OF HIM," IN HER ARMS. 993 00:55:25,087 --> 00:55:27,221 {\an1}THE HEMINGWAYS HAD COME BACK TO NORTH AMERICA 994 00:55:27,254 --> 00:55:29,287 {\an1}EARLIER THAT YEAR. 995 00:55:29,321 --> 00:55:31,687 {\an1}ERNEST THOUGHT HE SHOULD HAVE A STEADY JOB 996 00:55:31,721 --> 00:55:34,287 {\an1}AT LEAST FOR THE BABY'S FIRST YEAR, 997 00:55:34,321 --> 00:55:36,554 {\an1}AND THE "TORONTO STAR" WAS EAGER TO HAVE 998 00:55:36,587 --> 00:55:40,921 {\an1}THEIR TALENTED CORRESPONDENT BACK IN THE HOME OFFICE, 999 00:55:40,954 --> 00:55:43,421 {\an1}BUT HE CAME TO HATE HIS EDITOR, 1000 00:55:43,454 --> 00:55:46,854 {\an1}LOATHED THE CUB REPORTER ASSIGNMENTS HE WAS GIVEN, 1001 00:55:46,887 --> 00:55:50,054 {\an1}COULD FIND NO TIME TO WRITE FOR HIMSELF, 1002 00:55:50,087 --> 00:55:53,787 {\an1}AND LONGED FOR PARIS, WHERE, HE TOLD HIS SISTER, 1003 00:55:53,821 --> 00:55:57,521 {\an1}"THERE ARE FEW BATH TUBS, NO ELECTRIC FIXTURES, 1004 00:55:57,554 --> 00:56:01,654 {\an1}"BUT VERY NEARLY ALL THE CHARM, ALL THE GOOD FOOD, 1005 00:56:01,687 --> 00:56:05,354 {\an1}AND MOST OF THE GOOD PEOPLE IN THE WORLD." 1006 00:56:07,987 --> 00:56:12,187 {\an1}IN FEBRUARY, 1924, AFTER LESS THAN 4 MONTHS, 1007 00:56:12,221 --> 00:56:16,621 {\an1}THEY RETURNED TO PARIS AND MOVED INTO A SECOND-FLOOR APARTMENT 1008 00:56:16,654 --> 00:56:23,154 {\an1}ABOVE A NOISY SAWMILL AT 113 RUE NOTRE-DAME-DES-CHAMPS. 1009 00:56:23,187 --> 00:56:26,821 {\an1}"WE LIVED AS SAVAGES AND KEPT OUR OWN TRIBAL RULES," 1010 00:56:26,854 --> 00:56:29,987 HEMINGWAY WROTE, "AND HAD OUR OWN CUSTOMS 1011 00:56:30,021 --> 00:56:35,487 {\an1}AND OUR OWN STANDARDS, SECRETS, TABOOS, AND DELIGHTS." 1012 00:56:35,521 --> 00:56:39,754 {\an1}HADLEY CUT HER HAIR SHORT, AND HE GREW HIS LONG 1013 00:56:39,787 --> 00:56:41,921 {\an1}UNTIL THEY MATCHED. 1014 00:56:44,787 --> 00:56:48,121 {\an1}ERNEST HAD ALSO DECIDED TO ABANDON JOURNALISM 1015 00:56:48,154 --> 00:56:52,021 {\an1}IN ORDER TO DO THE KIND OF WRITING HE WANTED TO DO. 1016 00:56:54,521 --> 00:56:57,754 {\an1}"IN NEWSPAPER WORK," HE WOULD EVENTUALLY EXPLAIN, 1017 00:56:57,787 --> 00:57:01,087 {\an1}"YOU HAVE TO LEARN TO FORGET EVERY DAY WHAT HAPPENED 1018 00:57:01,121 --> 00:57:02,854 "THE DAY BEFORE. 1019 00:57:02,887 --> 00:57:05,921 {\an1}"NEWSPAPER WORK IS VALUABLE UP UNTIL THE POINT 1020 00:57:05,954 --> 00:57:10,287 {\an1}THAT IT FORCIBLY BEGINS TO DESTROY YOUR MEMORY." 1021 00:57:10,321 --> 00:57:12,254 {\an1}WOLFF: WHAT DID HE SAY ONCE? 1022 00:57:12,287 --> 00:57:16,521 {\an1}A WRITER MUST COME TO HIS WORK LIKE A PRIEST TO THE ALTAR, 1023 00:57:16,554 --> 00:57:18,421 {\an7}AND HE HAD THAT SENSE OF THE SACRED 1024 00:57:18,454 --> 00:57:20,054 {\an7}ABOUT HIS VOCATION. 1025 00:57:20,087 --> 00:57:22,587 {\an8}HE REALLY DID. HE WENT TO WORK, 1026 00:57:22,621 --> 00:57:25,454 {\an1}AND I WOULD SAY THE COURAGE THAT HE SHOWED IN THE WAR 1027 00:57:25,487 --> 00:57:27,254 {\an1}DOESN'T COMPARE TO ME TO THE COURAGE 1028 00:57:27,287 --> 00:57:29,754 {\an1}HE SHOWED IN HIS WRITING LIFE. 1029 00:57:31,921 --> 00:57:34,054 {\an1}NARRATOR: WITH THE HELP OF SYMPATHETIC FRIENDS, 1030 00:57:34,087 --> 00:57:37,354 {\an1}HEMINGWAY WOULD PUBLISH TWO SLENDER BOOKS, 1031 00:57:37,387 --> 00:57:41,587 {\an1}"THREE STORIES & TEN POEMS" AND "IN OUR TIME". 1032 00:57:41,621 --> 00:57:43,521 {\an1}THEY MEANT THE WORLD TO HEMINGWAY, 1033 00:57:43,554 --> 00:57:47,021 {\an1}BUT ONLY A VERY FEW COPIES WERE PRINTED. 1034 00:57:47,054 --> 00:57:51,554 {\an1}HEMINGWAY'S PARENTS ORDERED 6 COPIES OF "IN OUR TIME." 1035 00:57:51,587 --> 00:57:54,754 {\an1}HIS SISTER REMEMBERED THAT WHEN HIS FATHER READ A STORY 1036 00:57:54,787 --> 00:57:56,921 {\an1}ABOUT A WAR VETERAN, WHO HAS BEEN JILTED 1037 00:57:56,954 --> 00:58:00,554 {\an1}BY A NURSE NAMED AG AND CONTRACTS GONORRHEA 1038 00:58:00,587 --> 00:58:03,487 FROM A SALESGIRL, HE WROTE TO HIS SON 1039 00:58:03,521 --> 00:58:05,754 {\an1}THAT THE BOOK WAS FILTH. 1040 00:58:05,787 --> 00:58:08,987 {\an1}NO GENTLEMAN EVER MENTIONED A VENEREAL DISEASE 1041 00:58:09,021 --> 00:58:12,021 {\an1}OUTSIDE A DOCTOR'S OFFICE. 1042 00:58:12,054 --> 00:58:15,687 {\an1}HIS MOTHER HAD HOPED HE MIGHT BECOME AN ARTIST 1043 00:58:15,721 --> 00:58:19,754 {\an1}BUT NOT THIS KIND. 1044 00:58:19,787 --> 00:58:23,854 {\an1}ANOTHER STORY WAS SO DARING, THAT EVEN GERTRUDE STEIN 1045 00:58:23,887 --> 00:58:28,354 {\an1}HAD TOLD HEMINGWAY IT WAS TOO OBSCENE TO BE PUBLISHED. 1046 00:58:28,387 --> 00:58:33,521 {\an1}IT WAS CALLED "UP IN MICHIGAN." 1047 00:58:33,554 --> 00:58:35,154 KATAKIS: I THINK "UP IN MICHIGAN" 1048 00:58:35,187 --> 00:58:38,621 {\an1}IS VERY IMPORTANT BECAUSE, FIRST OF ALL, 1049 00:58:38,654 --> 00:58:41,487 {\an8}HE IS SAYING THERE ARE NO BOUNDARIES. 1050 00:58:41,521 --> 00:58:44,454 {\an7}"I'M GOING TO WRITE WITH NO BOUNDARIES, NO RESTRICTIONS. 1051 00:58:44,487 --> 00:58:47,587 {\an7}"I'M NOT GOING TO LISTEN TO YOU, POLITE WORLD. 1052 00:58:47,621 --> 00:58:50,454 {\an1}"I'M GOING TO WHAT I THINK IS TRUE, 1053 00:58:50,487 --> 00:58:52,821 {\an1}"BUT I'M GOING TO SEE IT FROM THE POINT OF VIEW 1054 00:58:52,854 --> 00:58:55,721 OF THE WOMAN." 1055 00:58:55,754 --> 00:58:58,721 {\an1}NARRATOR: LIZ COATES IS A TEEN-AGED GIRL WORKING 1056 00:58:58,754 --> 00:59:01,321 {\an1}IN A BOARDING HOUSE IN THE TINY TOWN 1057 00:59:01,354 --> 00:59:03,321 OF HORTONS BAY. 1058 00:59:03,354 --> 00:59:06,121 {\an1}AMONG THE BOARDERS IS A HANDSOME YOUNG BLACKSMITH 1059 00:59:06,154 --> 00:59:09,221 {\an1}NAMED JIM GILMORE. 1060 00:59:09,254 --> 00:59:14,554 {\an1}ONE EVENING, THEY GO DOWN TO THE DOCK. 1061 00:59:14,587 --> 00:59:17,821 {\an1}MAN, AS HEMINGWAY: "DON'T, JIM," LIZ SAID. 1062 00:59:17,854 --> 00:59:20,754 {\an1}JIM SLID THE HAND FURTHER UP. 1063 00:59:20,787 --> 00:59:22,487 {\an1}"YOU MUSTN'T, JIM. 1064 00:59:22,521 --> 00:59:24,721 YOU MUSTN'T." 1065 00:59:24,754 --> 00:59:26,887 {\an1}NEITHER JIM NOR JIM'S BIG HAND PAID 1066 00:59:26,921 --> 00:59:28,721 {\an1}ANY ATTENTION TO HER. 1067 00:59:28,754 --> 00:59:30,754 {\an1}THE BOARDS WERE HARD. 1068 00:59:30,787 --> 00:59:32,721 {\an1}JIM HAD HER DRESS UP AND WAS TRYING TO DO 1069 00:59:32,754 --> 00:59:34,921 SOMETHING TO HER. 1070 00:59:34,954 --> 00:59:37,521 {\an1}SHE WAS FRIGHTENED, BUT SHE WANTED IT. 1071 00:59:37,554 --> 00:59:41,354 {\an1}SHE HAD TO HAVE IT, BUT IT FRIGHTENED HER. 1072 00:59:41,387 --> 00:59:44,154 {\an1}"YOU MUSTN'T DO IT, JIM. YOU MUSTN'T." 1073 00:59:44,187 --> 00:59:46,954 "I GOT TO. I'M GOING TO. 1074 00:59:46,987 --> 00:59:49,687 {\an1}YOU KNOW WE GOT TO." 1075 00:59:49,721 --> 00:59:53,187 {\an1}"NO WE HAVEN'T, JIM. WE AIN'T GOT TO. 1076 00:59:53,221 --> 00:59:54,854 {\an1}"OH, IT ISN'T RIGHT. 1077 00:59:54,887 --> 00:59:57,521 "OH, IT'S SO BIG, AND IT HURTS SO. 1078 00:59:57,554 --> 00:59:59,154 "YOU CAN'T. 1079 00:59:59,187 --> 01:00:00,621 "OH, JIM. 1080 01:00:00,654 --> 01:00:03,387 JIM. OH." 1081 01:00:06,387 --> 01:00:12,087 {\an7}O'BRIEN: I THINK MANY WOMEN FEEL, AND, INDEED, 1082 01:00:12,121 --> 01:00:19,754 {\an7}UM, BROADCAST THE IDEA THAT HEMINGWAY HATED WOMEN 1083 01:00:19,787 --> 01:00:24,154 {\an1}AND WROTE ADVERSELY ALWAYS ABOUT THEM. 1084 01:00:24,187 --> 01:00:26,587 THIS ISN'T TRUE. 1085 01:00:26,621 --> 01:00:28,987 {\an1}"THE HEMLOCK PLANKS OF THE DOCK WERE HARD 1086 01:00:29,021 --> 01:00:31,254 {\an1}"AND SPLINTERY AND COLD, 1087 01:00:31,287 --> 01:00:35,187 {\an1}"AND JIM WAS HEAVY ON HER, AND HE HAD HURT HER. 1088 01:00:35,221 --> 01:00:36,754 "LIZ PUSHED HIM. 1089 01:00:36,787 --> 01:00:39,354 {\an1}"SHE WAS SO UNCOMFORTABLE AND CRAMPED. 1090 01:00:39,387 --> 01:00:41,887 "JIM WAS ASLEEP. HE WOULDN'T MOVE. 1091 01:00:41,921 --> 01:00:44,287 {\an1}"SHE WORKED OUT FROM UNDER HIM 1092 01:00:44,321 --> 01:00:48,321 {\an1}"AND SAT UP AND STRAIGHTENED HER SKIRT AND COAT 1093 01:00:48,354 --> 01:00:51,821 {\an1}"AND TRIED TO DO SOMETHING WITH HER HAIR. 1094 01:00:51,854 --> 01:00:55,054 "JIM WAS SLEEPING WITH HIS MOUTH A LITTLE OPEN. 1095 01:00:55,087 --> 01:00:58,354 "LIZ LEANED OVER AND KISSED HIM ON THE CHEEK. 1096 01:00:58,387 --> 01:00:59,987 {\an1}"HE WAS STILL ASLEEP. 1097 01:01:00,021 --> 01:01:03,687 {\an1}"SHE LIFTED HIS HEAD A LITTLE AND SHOOK IT. 1098 01:01:03,721 --> 01:01:06,287 {\an1}"HE ROLLED HIS HEAD OVER AND SWALLOWED. 1099 01:01:06,321 --> 01:01:08,687 {\an1}"LIZ STARTED TO CRY. 1100 01:01:08,721 --> 01:01:10,954 "SHE WALKED OVER TO THE EDGE OF THE DOCK 1101 01:01:10,987 --> 01:01:13,754 {\an1}"AND LOOKED DOWN TO THE WATER. 1102 01:01:13,787 --> 01:01:16,621 {\an1}"THERE WAS A MIST COMING UP FROM THE BAY. 1103 01:01:16,654 --> 01:01:23,787 {\an1}SHE WAS COLD AND MISERABLE AND EVERYTHING FELT GONE." 1104 01:01:23,821 --> 01:01:29,321 NOW, I WOULD ASK, UM, HIS DETRACTORS, 1105 01:01:29,354 --> 01:01:33,621 FEMALE OR MALE, JUST TO READ THAT STORY, 1106 01:01:33,654 --> 01:01:38,821 {\an1}AND COULD YOU IN ALL HONOR SAY THAT THIS WAS A WRITER 1107 01:01:38,854 --> 01:01:42,721 {\an1}WHO DIDN'T UNDERSTAND WOMEN'S EMOTIONS 1108 01:01:42,754 --> 01:01:44,087 {\an1}AND WHO HATED WOMEN? 1109 01:01:44,121 --> 01:01:47,054 YOU COULDN'T. NOBODY COULD. 1110 01:01:47,087 --> 01:01:49,687 KATAKIS: THIS IS ABOUT DATE RAPE. 1111 01:01:49,721 --> 01:01:54,854 {\an1}HE WAS DRILLING DOWN DEEPER INTO THOSE DARK SIDES OF US, 1112 01:01:54,887 --> 01:01:58,787 {\an1}AND MANY PEOPLE DIDN'T WANT TO SEE THAT, 1113 01:01:58,821 --> 01:02:01,354 LIKE HIS PARENTS, LIKE MS. STEIN, 1114 01:02:01,387 --> 01:02:04,421 {\an1}LIKE SO MANY OTHER PEOPLE. 1115 01:02:04,454 --> 01:02:07,421 {\an1}HE WAS UNCONCERNED WITH THAT, 1116 01:02:07,454 --> 01:02:12,487 {\an1}AND I THINK AT THE END THAT'S WHAT MAKES HIM AN ARTIST. 1117 01:02:12,521 --> 01:02:14,621 {\an1}NARRATOR: THE CRITIC EDMUND WILSON 1118 01:02:14,654 --> 01:02:17,121 PRAISED HEMINGWAY FOR WRITING PROSE 1119 01:02:17,154 --> 01:02:20,121 {\an1}OF "THE FIRST DISTINCTION" AND FOR PROVIDING 1120 01:02:20,154 --> 01:02:22,821 {\an1}"A HARROWING RECORD OF THE BARBARITIES 1121 01:02:22,854 --> 01:02:27,287 OF THE PERIOD IN WHICH WE LIVE." 1122 01:02:27,321 --> 01:02:29,987 {\an1}FULL-TIME WRITING WASN'T EASY. 1123 01:02:30,021 --> 01:02:31,621 THE BABY CRIED. 1124 01:02:31,654 --> 01:02:34,887 {\an1}FRIENDS DROPPED IN, DAY AND NIGHT. 1125 01:02:34,921 --> 01:02:37,554 {\an1}MAN, AS HEMINGWAY: SOMETIMES WHEN I WAS STARTING A NEW STORY 1126 01:02:37,587 --> 01:02:41,354 {\an7}AND I COULD NOT GET IT GOING, I WOULD STAND AND LOOK OUT 1127 01:02:41,387 --> 01:02:45,821 {\an7}OVER THE ROOFS OF PARIS AND THINK, "DO NOT WORRY. 1128 01:02:45,854 --> 01:02:50,854 {\an1}"YOU HAVE ALWAYS WRITTEN BEFORE, AND YOU WILL WRITE NOW. 1129 01:02:50,887 --> 01:02:54,387 {\an1}"ALL YOU HAVE TO DO IS WRITE ONE TRUE SENTENCE. 1130 01:02:56,221 --> 01:03:00,521 {\an1}WRITE THE TRUEST SENTENCE THAT YOU KNOW." 1131 01:03:00,554 --> 01:03:03,654 {\an1}SO FINALLY I WOULD WRITE ONE TRUE SENTENCE 1132 01:03:03,687 --> 01:03:07,254 {\an1}AND THEN GO ON FROM THERE. 1133 01:03:07,287 --> 01:03:10,687 {\an1}IT WAS EASY THEN BECAUSE THERE WAS ALWAYS ONE TRUE SENTENCE 1134 01:03:10,721 --> 01:03:15,521 {\an1}THAT YOU KNEW OR HAD SEEN OR HEARD SOMEONE SAY. 1135 01:03:15,554 --> 01:03:18,187 IF I STARTED TO WRITE ELABORATELY 1136 01:03:18,221 --> 01:03:21,587 {\an1}OR LIKE SOMEONE INTRODUCING OR PRESENTING SOMETHING, 1137 01:03:21,621 --> 01:03:24,721 {\an1}I FOUND THAT I COULD CUT THAT SCROLLWORK OR ORNAMENT OUT 1138 01:03:24,754 --> 01:03:27,721 {\an1}AND THROW IT AWAY AND START WITH THE FIRST TRUE, 1139 01:03:27,754 --> 01:03:31,287 {\an1}SIMPLE DECLARATIVE SENTENCE I HAD WRITTEN 1140 01:03:31,321 --> 01:03:34,854 {\an1}AND THEN GO ON FROM THERE. 1141 01:03:34,887 --> 01:03:38,754 {\an1}KATAKIS: THE SHORT STORIES MEAN MORE TO ME NOW 1142 01:03:38,787 --> 01:03:41,387 {\an1}BECAUSE IT IS A YOUNG MAN 1143 01:03:41,421 --> 01:03:45,187 AT THE BEGINNING OF HIS ADVENTURE. 1144 01:03:45,221 --> 01:03:48,754 {\an1}HE'S HUNGRY, HE'S EXCITED, HIS OBSERVATIONS 1145 01:03:48,787 --> 01:03:51,921 ARE LIKE A HAWK. 1146 01:03:51,954 --> 01:03:54,154 {\an1}HE'S FEELING EVERYTHING. 1147 01:03:54,187 --> 01:03:56,587 {\an1}HE'S ANTICIPATING EVERYTHING. 1148 01:03:56,621 --> 01:04:00,821 {\an1}HE'S TRYING TO MAKE EVERYTHING GO HIS WAY. 1149 01:04:00,854 --> 01:04:04,654 {\an1}IT'S TERRIBLY EXCITING. 1150 01:04:04,687 --> 01:04:07,387 {\an1}VAILL: IF HE WERE A CAMERA, HE WOULD BE COMING IN 1151 01:04:07,421 --> 01:04:09,454 {\an1}FOR EXTREME CLOSEUP ALL THE TIME. 1152 01:04:09,487 --> 01:04:12,321 {\an1}HE'S COMING IN, IN, IN AT IT, 1153 01:04:12,354 --> 01:04:17,121 {\an1}AND EVERY LITTLE DETAIL SUDDENLY IS VERY, VERY BIG. 1154 01:04:17,154 --> 01:04:19,921 {\an1}IT'S NOT LIKE THE WAY 19th CENTURY WRITERS 1155 01:04:19,954 --> 01:04:21,787 {\an1}WOULD WRITE, WHICH WAS VERY PANORAMIC, 1156 01:04:21,821 --> 01:04:23,821 {\an1}WHERE THE CAMERA IS SET WAY, WAY BACK, 1157 01:04:23,854 --> 01:04:27,454 {\an1}AND YOU SEE A GIANT EXPANSE OF EXPERIENCE, 1158 01:04:27,487 --> 01:04:30,754 {\an1}AND YET HE'S REALLY UP CLOSE AT IT. 1159 01:04:30,787 --> 01:04:33,587 {\an7}YOU CAN SEE EVERY PORE IN EVERYBODY'S SKIN 1160 01:04:33,621 --> 01:04:38,754 {\an7}WHEN HE'S WRITING, AND THIS IS EXTREMELY EXCITING. 1161 01:04:38,787 --> 01:04:41,821 {\an1}NARRATOR: DURING THE FIRST 6 MONTHS OF 1924, 1162 01:04:41,854 --> 01:04:45,287 {\an1}HEMINGWAY WROTE MORE STORIES, HOPING TO INCLUDE THEM 1163 01:04:45,321 --> 01:04:50,587 {\an1}IN A NEW AND EXPANDED COLLECTION OF "IN OUR TIME." 1164 01:04:50,621 --> 01:04:55,121 {\an7}CUSHMAN: "IN OUR TIME" JUST REARRANGED THE GEOGRAPHY 1165 01:04:55,154 --> 01:04:59,121 {\an7}OF WHAT WAS POSSIBLE FOR A LOT OF PEOPLE WRITING IN ENGLISH. 1166 01:04:59,154 --> 01:05:02,654 {\an1}WHEN I GO BACK TO THAT BOOK AND TRY TO FORGET ABOUT 1167 01:05:02,687 --> 01:05:06,221 WHO HE BECAME, I'M JUST BLOWN AWAY. 1168 01:05:06,254 --> 01:05:09,421 {\an1}THAT BOOK, IT TAKES THE TOP OF YOUR HEAD OFF. 1169 01:05:11,687 --> 01:05:14,954 {\an1}NARRATOR: HALF THE STORIES IN "IN OUR TIME" FEATURE 1170 01:05:14,987 --> 01:05:20,554 {\an1}NICK ADAMS, A CHARACTER WHO IS VERY LIKE THE YOUNG HEMINGWAY. 1171 01:05:20,587 --> 01:05:24,287 {\an1}IN "INDIAN CAMP," HE IS A LITTLE BOY WHO ACCOMPANIES 1172 01:05:24,321 --> 01:05:27,187 {\an1}HIS PHYSICIAN FATHER ACROSS A LAKE 1173 01:05:27,221 --> 01:05:29,287 TO AN ENCAMPMENT, WHERE A WOMAN 1174 01:05:29,321 --> 01:05:32,954 HAS BEEN IN LABOR FOR TWO DAYS. 1175 01:05:32,987 --> 01:05:36,021 {\an1}PURE HORROR FOLLOWS. 1176 01:05:36,054 --> 01:05:38,787 {\an1}AS THE BOY LOOKS ON, HIS FATHER PERFORMS 1177 01:05:38,821 --> 01:05:42,421 {\an1}AN EMERGENCY CAESARIAN SECTION BY LAMP LIGHT, 1178 01:05:42,454 --> 01:05:45,487 USING A JACKKNIFE AND SUTURING THE WOUND 1179 01:05:45,521 --> 01:05:50,521 {\an1}WITH FISHING LINE, ALL WITHOUT ANESTHETIC. 1180 01:05:50,554 --> 01:05:53,287 {\an1}WHEN NICK ASKS HIS FATHER IF HE CAN'T DO SOMETHING 1181 01:05:53,321 --> 01:06:00,154 {\an1}ABOUT HER SCREAMS, HE ANSWERS "THEY ARE NOT IMPORTANT." 1182 01:06:00,187 --> 01:06:02,787 {\an1}AFTERWARDS, THE FATHER OF THE CHILD, 1183 01:06:02,821 --> 01:06:05,821 {\an1}APPARENTLY UNABLE TO ENDURE HIS HELPLESSNESS 1184 01:06:05,854 --> 01:06:08,454 {\an1}DURING HIS WIFE'S ORDEAL, IS FOUND 1185 01:06:08,487 --> 01:06:11,421 {\an1}TO HAVE SLIT HIS OWN THROAT. 1186 01:06:14,187 --> 01:06:15,821 {\an1}MAN, AS HEMINGWAY: "DO LADIES ALWAYS HAVE 1187 01:06:15,854 --> 01:06:19,354 {\an1}SUCH A HARD TIME HAVING BABIES?" NICK ASKED. 1188 01:06:19,387 --> 01:06:23,387 {\an1}"NO, THAT WAS VERY, VERY EXCEPTIONAL." 1189 01:06:23,421 --> 01:06:26,587 {\an1}"WHY DID HE KILL HIMSELF, DADDY?" 1190 01:06:26,621 --> 01:06:28,354 {\an1}"I DON'T KNOW, NICK. 1191 01:06:28,387 --> 01:06:31,521 {\an1}HE COULDN'T STAND THINGS, I GUESS." 1192 01:06:31,554 --> 01:06:34,521 "DO MANY MEN KILL THEMSELVES, DADDY?" 1193 01:06:34,554 --> 01:06:36,554 {\an1}"NOT VERY MANY, NICK." 1194 01:06:36,587 --> 01:06:38,421 "DO MANY WOMEN?" 1195 01:06:38,454 --> 01:06:40,421 "HARDLY EVER." 1196 01:06:40,454 --> 01:06:42,254 {\an1}"DON'T THEY EVER?" 1197 01:06:42,287 --> 01:06:45,554 "OH, YES. THEY DO SOMETIMES." 1198 01:06:45,587 --> 01:06:48,421 {\an1}"IS DYING HARD, DADDY?" 1199 01:06:48,454 --> 01:06:51,721 "NO, I THINK IT'S PRETTY EASY, NICK. 1200 01:06:51,754 --> 01:06:53,954 IT ALL DEPENDS." 1201 01:06:56,687 --> 01:06:59,654 {\an1}THEY WERE SEATED IN THE BOAT, NICK IN THE STERN, 1202 01:06:59,687 --> 01:07:02,354 {\an1}HIS FATHER ROWING. 1203 01:07:02,387 --> 01:07:05,421 {\an1}THE SUN WAS COMING UP OVER THE HILLS. 1204 01:07:05,454 --> 01:07:09,287 {\an1}A BASS JUMPED, MAKING A CIRCLE IN THE WATER. 1205 01:07:09,321 --> 01:07:11,854 {\an1}NICK TRAILED HIS HAND IN THE WATER. 1206 01:07:11,887 --> 01:07:14,954 {\an1}IT FELT WARM IN THE SHARP CHILL OF THE MORNING. 1207 01:07:16,954 --> 01:07:18,787 {\an1}IN THE EARLY MORNING ON THE LAKE, 1208 01:07:18,821 --> 01:07:22,721 {\an1}SITTING IN THE STERN OF THE BOAT WITH HIS FATHER ROWING, 1209 01:07:22,754 --> 01:07:26,287 {\an1}HE FELT QUITE SURE THAT HE WOULD NEVER DIE. 1210 01:07:29,087 --> 01:07:32,487 {\an1}WOLFF: "INDIAN CAMP," THAT'S ONE 1211 01:07:32,521 --> 01:07:35,487 {\an1}OF MY FAVORITE STORIES IN THE WORLD, 1212 01:07:35,521 --> 01:07:38,221 {\an8}AND HE WAS A BABY WHEN HE WROTE IT, 1213 01:07:38,254 --> 01:07:42,087 {\an7}BUT IT IS COMPL... IT IS A WORK OF GREAT SOPHISTICATION, 1214 01:07:42,121 --> 01:07:45,587 {\an8}AND IT HANDLES VERY SENSATIONAL MATERIAL 1215 01:07:45,621 --> 01:07:48,721 IN AN ABSOLUTELY UNSENSATIONAL WAY. 1216 01:07:48,754 --> 01:07:53,621 {\an1}AND WHAT IT ALL COMES DOWN TO IS "YOU'RE GOING TO DIE." 1217 01:07:53,654 --> 01:07:56,487 {\an1}HE KNOWS HE'S GOING TO DIE. HE'S SEEN IT, 1218 01:07:56,521 --> 01:08:00,287 {\an1}BUT THERE'S THIS FEELING, BEING WITH HIS FATHER, 1219 01:08:00,321 --> 01:08:04,287 {\an1}BEING OUTDOORS IN THE DAWN, 1220 01:08:04,321 --> 01:08:10,154 {\an1}THAT IT'S POSSIBLE TO HOPE OR DENY OR EVADE THAT TRUTH 1221 01:08:10,187 --> 01:08:12,321 {\an1}FOR A LITTLE WHILE. 1222 01:08:14,687 --> 01:08:17,087 {\an1}NARRATOR: THE LAST STORIES IN THE COLLECTION 1223 01:08:17,121 --> 01:08:21,421 {\an1}ARE "BIG TWO-HEARTED RIVER, PARTS I AND II." 1224 01:08:21,454 --> 01:08:24,021 {\an1}THEY ARE ABOUT A NOW OLDER NICK ADAMS, 1225 01:08:24,054 --> 01:08:26,621 {\an1}A WRITER WHO HAD BEEN WOUNDED AND TRAUMATIZED 1226 01:08:26,654 --> 01:08:28,854 {\an1}FROM THE GREAT WAR. 1227 01:08:28,887 --> 01:08:31,987 {\an1}"IT WAS ABOUT THE WAR," HEMINGWAY LATER RECALLED, 1228 01:08:32,021 --> 01:08:35,121 {\an1}"BUT THERE WAS NO MENTION OF THE WAR IN IT." 1229 01:08:37,821 --> 01:08:39,287 {\an1}NICK JOURNEYS ALONE 1230 01:08:39,321 --> 01:08:41,721 {\an1}TO THE UPPER PENINSULA OF MICHIGAN, 1231 01:08:41,754 --> 01:08:46,454 {\an1}WHERE HE HAD FREQUENTLY FISHED FOR TROUT BEFORE THE WAR. 1232 01:08:46,487 --> 01:08:50,187 {\an1}A FOREST FIRE HAS DESTROYED THE TOWN HE HAD KNOWN. 1233 01:08:50,221 --> 01:08:52,821 {\an1}HE FEARS THE RIVER AND THE LIFE HE KNEW 1234 01:08:52,854 --> 01:08:55,754 BEFORE THE WAR HAD BEEN RUINED, TOO. 1235 01:08:59,821 --> 01:09:02,487 {\an1}MAN, AS HEMINGWAY: THE RIVER WAS THERE. 1236 01:09:02,521 --> 01:09:06,687 {\an1}IT SWIRLED AGAINST THE LOG PILES OF THE BRIDGE. 1237 01:09:06,721 --> 01:09:09,321 NICK LOOKED DOWN INTO THE CLEAR, BROWN WATER, 1238 01:09:09,354 --> 01:09:13,154 {\an1}COLORED FROM THE PEBBLY BOTTOM, AND WATCHED THE TROUT 1239 01:09:13,187 --> 01:09:15,187 {\an1}KEEPING THEMSELVES STEADY IN THE CURRENT 1240 01:09:15,221 --> 01:09:17,387 {\an1}WITH WAVERING FINS. 1241 01:09:20,054 --> 01:09:22,487 {\an1}AS HE WATCHED THEM, THEY CHANGED THEIR POSITIONS 1242 01:09:22,521 --> 01:09:25,254 BY QUICK ANGLES, ONLY TO HOLD STEADY 1243 01:09:25,287 --> 01:09:28,021 {\an1}IN THE FAST WATER AGAIN. 1244 01:09:28,054 --> 01:09:30,787 {\an1}NICK WATCHED THEM A LONG TIME. 1245 01:09:32,587 --> 01:09:34,521 IT WAS A HOT DAY. 1246 01:09:34,554 --> 01:09:37,554 {\an1}A KINGFISHER FLEW UP THE STREAM. 1247 01:09:37,587 --> 01:09:40,454 {\an1}IT WAS A LONG TIME SINCE NICK HAD LOOKED INTO A STREAM 1248 01:09:40,487 --> 01:09:42,687 AND SEEN TROUT. 1249 01:09:42,721 --> 01:09:46,454 {\an1}THEY WERE VERY SATISFACTORY. 1250 01:09:46,487 --> 01:09:49,021 {\an1}WOMAN: I LOVED IT. 1251 01:09:49,054 --> 01:09:52,421 {\an1}I LOVED THE DESCRIPTION OF THE SCENERY 1252 01:09:52,454 --> 01:09:58,254 {\an1}WITHOUT SAYING ANYTHING ABOUT HIS INNER SITUATION. 1253 01:09:58,287 --> 01:10:00,887 {\an8}HE HAD SOME HURT, OR SOMETHING BAD, 1254 01:10:00,921 --> 01:10:03,387 {\an7}IT WAS INSIDE OF HIMSELF. 1255 01:10:03,421 --> 01:10:07,554 {\an1}BY FOLLOWING HIS DESCRIPTION OF THE LANDSCAPE 1256 01:10:07,587 --> 01:10:14,054 {\an1}AND WHAT HE DOES, WE FEEL HE IS CURED, HEALED. 1257 01:10:17,254 --> 01:10:21,387 {\an1}NARRATOR: IN 1925, THE NEW YORK PUBLISHER HORACE LIVERIGHT 1258 01:10:21,421 --> 01:10:25,321 {\an1}BROUGHT OUT THE EXPANDED EDITION OF "IN OUR TIME," 1259 01:10:25,354 --> 01:10:28,154 {\an1}BUT HE REFUSED TO INCLUDE "UP IN MICHIGAN," 1260 01:10:28,187 --> 01:10:32,821 {\an1}THE STORY GERTRUDE STEIN HAD SAID WAS UNPUBLISHABLE. 1261 01:10:32,854 --> 01:10:36,187 {\an1}HEMINGWAY WAS DISAPPOINTED BUT SAID HE HOPED THE BOOK 1262 01:10:36,221 --> 01:10:41,221 {\an1}WOULD BE "PRAISED BY HIGHBROWS AND CAN BE READ BY LOWBROWS. 1263 01:10:41,254 --> 01:10:43,521 {\an1}"THERE IS NO WRITING IN IT THAT ANYBODY 1264 01:10:43,554 --> 01:10:47,521 {\an1}WITH A HIGH SCHOOL EDUCATION CANNOT READ." 1265 01:10:47,554 --> 01:10:48,963 {\an1}CUSHMAN: ONE OF THE THINGS TO THINK ABOUT, 1266 01:10:48,987 --> 01:10:51,087 {\an1}WHEN YOU THINK ABOUT MODERNISM, 1267 01:10:51,121 --> 01:10:54,754 {\an7}AT LEAST ANGLO-IRISH, AMERICAN, HIGH MODERNISM, 1268 01:10:54,787 --> 01:10:59,421 {\an7}IS THERE WAS A CULT OF DIFFICULTY: 1269 01:10:59,454 --> 01:11:03,021 JOYCE, DIFFICULT; GERTRUDE STEIN, DIFFICULT; 1270 01:11:03,054 --> 01:11:07,254 {\an1}FAULKNER, DIFFICULT; E.E. CUMMINGS, DIFFICULT. 1271 01:11:07,287 --> 01:11:11,154 {\an1}AND HEMINGWAY JUST WENT AGAINST THE GRAIN ON THAT. 1272 01:11:11,187 --> 01:11:13,621 {\an1}HE DARED TO BE STRAIGHTFORWARD 1273 01:11:13,654 --> 01:11:15,621 {\an1}OR APPARENTLY STRAIGHTFORWARD. 1274 01:11:15,654 --> 01:11:20,054 HE DARED TO IMPERSONATE SIMPLICITY. 1275 01:11:20,087 --> 01:11:23,287 HE HOOKS YOU WITH THE LOWBROW APPEARANCE. 1276 01:11:23,321 --> 01:11:30,287 {\an1}THEN, HE PLAYS YOU, AND THEN, YOU'RE HIS TROPHY. 1277 01:11:30,321 --> 01:11:33,587 {\an1}NARRATOR: THE BOOK WAS A CRITICAL SENSATION. 1278 01:11:33,621 --> 01:11:36,487 {\an1}THE "NEW YORK TIMES" SAID THAT HEMINGWAY PACKED 1279 01:11:36,521 --> 01:11:39,187 {\an1}"A WHOLE CHARACTER INTO A PHRASE, 1280 01:11:39,221 --> 01:11:42,921 {\an1}AN ENTIRE SITUATION INTO A SENTENCE OR TWO" 1281 01:11:42,954 --> 01:11:47,354 {\an1}AND MADE "EACH WORD COUNT 3 OR 4 WAYS." 1282 01:11:47,387 --> 01:11:50,821 {\an1}"ERNEST HEMINGWAY IS SOMEBODY," SAID "TIME," 1283 01:11:50,854 --> 01:11:58,854 {\an1}"A NEW, HONEST, UNLITERARY TRANSCRIBER OF LIFE, A WRITER." 1284 01:11:59,787 --> 01:12:02,821 CUSHMAN: HE WAS VERY RESTLESS AND AMBITIOUS, 1285 01:12:02,854 --> 01:12:04,854 VERY COMPETITIVE, 1286 01:12:04,887 --> 01:12:11,321 {\an1}AND FAULKNER'S GETTING GOING, FITZGERALD'S GETTING GOING, 1287 01:12:11,354 --> 01:12:14,187 {\an1}JOYCE IS KING OF THE MOUNTAIN, 1288 01:12:14,221 --> 01:12:18,787 {\an1}AND HE KNEW THAT A NOVEL HAD TO HAPPEN. 1289 01:12:18,821 --> 01:12:23,654 HOW DOES ONE GO FROM THE MICROSTITCHING 1290 01:12:23,687 --> 01:12:26,487 {\an1}OF SENTENCE TO SENTENCE TO SENTENCE AND, 1291 01:12:26,521 --> 01:12:28,787 {\an1}"OH, MY GOODNESS, A PARAGRAPH! 1292 01:12:28,821 --> 01:12:31,354 {\an1}IT ONLY TOOK ME A MORNING"... 1293 01:12:31,387 --> 01:12:33,587 {\an1}HOW DO YOU GO FROM THAT TO A LONGER FORM? 1294 01:12:39,754 --> 01:12:42,821 {\an7}I STARTED IN VALENCIA ON MY 26th BIRTHDAY, 1295 01:12:42,854 --> 01:12:45,487 {\an8}JULY 21st. 1296 01:12:45,521 --> 01:12:48,021 {\an1}EVERYBODY MY AGE HAD WRITTEN A NOVEL, 1297 01:12:48,054 --> 01:12:49,854 {\an1}AND I WAS STILL HAVING A DIFFICULT TIME 1298 01:12:49,887 --> 01:12:52,521 {\an1}WRITING A PARAGRAPH, 1299 01:12:52,554 --> 01:12:55,254 {\an1}SO I STARTED THE BOOK ON MY BIRTHDAY, 1300 01:12:55,287 --> 01:12:59,087 {\an1}WROTE ALL THROUGH THE FERIA, IN BED IN THE MORNING, 1301 01:12:59,121 --> 01:13:02,987 WENT ON TO MADRID AND WROTE THERE. 1302 01:13:03,021 --> 01:13:06,221 {\an1}WE HAD A ROOM WITH A TABLE, AND I WROTE IN GREAT LUXURY 1303 01:13:06,254 --> 01:13:08,954 ON THE TABLE AND AROUND THE CORNER 1304 01:13:08,987 --> 01:13:12,287 {\an1}FROM THE HOTEL IN A BEER PLACE, WHERE IT WAS COOL. 1305 01:13:12,321 --> 01:13:20,321 ♪ 1306 01:13:27,254 --> 01:13:28,487 ♪ 1307 01:13:28,521 --> 01:13:32,921 {\an1}NARRATOR: IN THE SUMMER OF 1925, LEAVING BUMBY WITH A NANNY, 1308 01:13:32,954 --> 01:13:35,121 {\an1}THE HEMINGWAYS RETURNED TO PAMPLONA 1309 01:13:35,154 --> 01:13:39,054 {\an1}FOR THE ANNUAL RUNNING OF THE BULLS. 1310 01:13:39,087 --> 01:13:43,321 {\an1}WITH THEM WENT A GROUP OF 5 AMERICAN AND BRITISH FRIENDS, 1311 01:13:43,354 --> 01:13:47,721 {\an1}INCLUDING THE SEDUCTIVE LADY DUFF TWYSDEN. 1312 01:13:47,754 --> 01:13:50,221 {\an1}"EVERYBODY WAS DRINKING ALL THE TIME, 1313 01:13:50,254 --> 01:13:52,821 {\an1}AND EVERYBODY WAS HAVING AFFAIRS ALL THE TIME," 1314 01:13:52,854 --> 01:13:54,721 {\an1}HADLEY REMEMBERED. 1315 01:13:54,754 --> 01:13:58,221 {\an1}"I FOUND IT SORT OF UPSETTING." 1316 01:13:58,254 --> 01:14:01,487 {\an1}AFTERWARDS, ERNEST AND HADLEY CONTINUED TO FOLLOW 1317 01:14:01,521 --> 01:14:09,121 {\an1}THE BULLFIGHTS ACROSS SPAIN... VALENCIA, MADRID, SAN SEBASTIAN, 1318 01:14:09,154 --> 01:14:12,954 {\an1}AND AS THEY TRAVELED ABOARD TRAINS AND BUSES, 1319 01:14:12,987 --> 01:14:16,854 {\an1}ON RESTAURANT TABLES AND IN HOTEL ROOMS AT NIGHT, 1320 01:14:16,887 --> 01:14:19,487 {\an1}HE WORKED FEVERISHLY ON A NOVEL, 1321 01:14:19,521 --> 01:14:22,187 INSPIRED BY THE TURBULENT TIME THEY'D HAD 1322 01:14:22,221 --> 01:14:24,687 {\an1}WITH THEIR FRIENDS IN PAMPLONA. 1323 01:14:24,721 --> 01:14:30,021 {\an1}IT WOULD BE CALLED "THE SUN ALSO RISES." 1324 01:14:30,054 --> 01:14:34,254 {\an1}THE FIRST DRAFT WAS FINISHED IN JUST 8 WEEKS. 1325 01:14:34,287 --> 01:14:37,021 {\an1}IT WOULD BE A CLEAR-EYED AND SARDONIC PORTRAIT 1326 01:14:37,054 --> 01:14:41,454 {\an1}OF WHAT GERTRUDE STEIN CALLED, "THE LOST GENERATION," 1327 01:14:41,487 --> 01:14:44,354 {\an1}MEN AND WOMEN SCARRED BY THE GREAT WAR, 1328 01:14:44,387 --> 01:14:49,187 {\an1}WHO DID THEIR BEST TO ERASE ITS MEMORY. 1329 01:14:49,221 --> 01:14:52,654 {\an1}THE NARRATOR, A NEWSPAPERMAN FROM KANSAS CITY, 1330 01:14:52,687 --> 01:14:58,554 {\an1}WAS FIRST NAMED "HEM" BEFORE HE BECAME JAKE BARNES. 1331 01:14:58,587 --> 01:15:01,421 {\an1}BARNES IS A WAR VETERAN WITH A MYSTERIOUS 1332 01:15:01,454 --> 01:15:06,521 {\an7}AND UNEXPLAINED WOUND THAT HAS MADE HIM IMPOTENT. 1333 01:15:06,554 --> 01:15:08,587 {\an7}[MAN SPEAKING SPANISH] 1334 01:15:20,287 --> 01:15:22,387 {\an1}MAN, AS HEMINGWAY: OUTSIDE A NIGHT TRAIN, 1335 01:15:22,421 --> 01:15:24,154 {\an1}RUNNING ON THE STREETCAR TRACKS, 1336 01:15:24,187 --> 01:15:27,221 {\an1}WENT BY CARRYING VEGETABLES TO THE MARKETS. 1337 01:15:27,254 --> 01:15:31,354 {\an1}THEY WERE NOISY AT NIGHT WHEN YOU COULD NOT SLEEP. 1338 01:15:31,387 --> 01:15:34,054 {\an1}UNDRESSING, I LOOKED AT MYSELF IN THE MIRROR 1339 01:15:34,087 --> 01:15:38,321 {\an1}OF THE BIG ARMOIRE BESIDE THE BED. 1340 01:15:38,354 --> 01:15:40,887 {\an1}OF ALL THE WAYS TO BE WOUNDED. 1341 01:15:42,621 --> 01:15:44,787 {\an7}[VARGAS LLOSA SPEAKING SPANISH] 1342 01:16:07,554 --> 01:16:09,854 {\an1}NARRATOR: IN THE EARLY DRAFTS, HEMINGWAY HAD USED 1343 01:16:09,887 --> 01:16:11,821 {\an1}THE REAL NAMES OF HIS FRIENDS 1344 01:16:11,854 --> 01:16:15,321 {\an1}FROM THEIR RECKLESS, DRUNKEN TIME IN PAMPLONA. 1345 01:16:15,354 --> 01:16:19,821 {\an1}FOR FEAR OF BEING SUED, HE LATER CHANGED THEM. 1346 01:16:19,854 --> 01:16:23,187 {\an1}LADY DUFF TWYSDEN, WHO HAD CAPTIVATED HEMINGWAY 1347 01:16:23,221 --> 01:16:24,954 {\an1}AND HAD WORRIED HADLEY, 1348 01:16:24,987 --> 01:16:27,654 {\an1}WOULD EVENTUALLY BECOME THE THINLY DISGUISED 1349 01:16:27,687 --> 01:16:30,921 {\an7}LADY BRETT ASHLEY, THE PROMISCUOUS WOMAN 1350 01:16:30,954 --> 01:16:35,921 {\an7}JAKE BARNES LONGS FOR BUT CAN NEVER HAVE. 1351 01:16:35,954 --> 01:16:38,821 {\an1}MAN, AS HEMINGWAY: BRETT WAS DAMNED GOOD-LOOKING. 1352 01:16:38,854 --> 01:16:40,854 {\an1}SHE WORE A SLIPOVER JERSEY SWEATER 1353 01:16:40,887 --> 01:16:42,621 {\an1}AND A TWEED SKIRT, 1354 01:16:42,654 --> 01:16:46,121 {\an1}AND HER HAIR WAS BRUSHED BACK LIKE A BOY'S. 1355 01:16:46,154 --> 01:16:48,954 {\an1}SHE STARTED ALL THAT. 1356 01:16:48,987 --> 01:16:52,254 {\an1}SHE WAS BUILT WITH CURVES LIKE THE HULL OF A RACING YACHT, 1357 01:16:52,287 --> 01:16:56,254 {\an1}AND YOU MISSED NONE OF IT WITH THAT WOOL JERSEY. 1358 01:16:56,287 --> 01:16:59,054 {\an1}MAN: SOMEBODY LIKE LADY BRETT IS EFFECTIVELY 1359 01:16:59,087 --> 01:17:01,187 {\an1}A VERY STRONG CHARACTER. 1360 01:17:01,221 --> 01:17:03,987 {\an7}SHE ACTIVELY GOES OUT OF HER WAY TO DRESS LIKE A MAN, 1361 01:17:04,021 --> 01:17:05,687 {\an8}DRESS LIKE A BOY. 1362 01:17:05,721 --> 01:17:08,054 {\an7}SHE WEARS A RUGBY SWEATER, CUTS HER HAIR SHORT, 1363 01:17:08,087 --> 01:17:12,487 {\an1}AND CHOOSES TO LIVE HER LIFE AS A MAN WOULD IN THAT MOMENT. 1364 01:17:12,521 --> 01:17:17,521 {\an1}THAT'S HIGHLY PROVOCATIVE FOR A 1926 TEXT. 1365 01:17:17,554 --> 01:17:20,487 {\an7}NARRATOR: ANOTHER MEMBER OF THE PARTY HAROLD LOEB, 1366 01:17:20,521 --> 01:17:25,054 {\an7}HANDSOME, ATHLETIC, AND JEWISH, BECAME ROBERT COHN, 1367 01:17:25,087 --> 01:17:27,054 {\an7}WEAK AND OBNOXIOUS, 1368 01:17:27,087 --> 01:17:31,987 {\an7}SCORNED BY SOME IN THE GROUP BECAUSE HE WAS A JEW. 1369 01:17:32,021 --> 01:17:34,154 {\an1}MAN, AS HEMINGWAY: BILL LOOKED AROUND, HALF-SHAVED, 1370 01:17:34,187 --> 01:17:35,787 {\an1}AND THEN WENT ON TALKING INTO THE MIRROR 1371 01:17:35,821 --> 01:17:38,521 {\an1}WHILE HE LATHERED HIS FACE. 1372 01:17:38,554 --> 01:17:40,154 "HAVEN'T YOU GOT SOME MORE JEWISH FRIENDS 1373 01:17:40,187 --> 01:17:42,321 {\an1}YOU COULD BRING ALONG?" 1374 01:17:42,354 --> 01:17:44,854 {\an1}HE RUBBED HIS CHIN WITH HIS THUMB, LOOKED AT IT, 1375 01:17:44,887 --> 01:17:47,521 {\an1}AND THEN STARTED SCRAPING AGAIN. 1376 01:17:47,554 --> 01:17:50,354 "YOU'VE GOT SOME FINE ONES YOURSELF." 1377 01:17:50,387 --> 01:17:53,154 "OH, YES. I'VE GOT SOME DARBS. 1378 01:17:53,187 --> 01:17:56,021 {\an1}"BUT NOT ALONGSIDE OF THIS ROBERT COHN. 1379 01:17:56,054 --> 01:17:58,487 {\an1}"THE FUNNY THING IS HE'S NICE, TOO. 1380 01:17:58,521 --> 01:18:00,154 "I LIKE HIM. 1381 01:18:00,187 --> 01:18:02,887 {\an1}BUT HE'S JUST SO AWFUL." 1382 01:18:02,921 --> 01:18:05,221 {\an1}"HE CAN BE DAMNED NICE." 1383 01:18:05,254 --> 01:18:07,054 "I KNOW IT. 1384 01:18:07,087 --> 01:18:10,154 {\an1}THAT'S THE TERRIBLE PART." 1385 01:18:10,187 --> 01:18:12,887 DEARBORN: I LOVE "THE SUN ALSO RISES" 1386 01:18:12,921 --> 01:18:15,887 BUT IT'S TRAGIC THAT HE MAKES HAROLD LOEB 1387 01:18:15,921 --> 01:18:19,254 {\an1}INTO THIS DESPICABLE JEW. 1388 01:18:19,287 --> 01:18:23,887 {\an7}IT'S JUST, UM, STUNNING. 1389 01:18:23,921 --> 01:18:26,387 {\an7}IT'S JUST STUNNING, 1390 01:18:26,421 --> 01:18:29,321 {\an8}AND HAROLD LOEB COULD NOT BELIEVE IT. 1391 01:18:29,354 --> 01:18:31,554 {\an7}YOU KNOW, HE THOUGHT THEY WERE SO CLOSE. 1392 01:18:31,587 --> 01:18:33,287 THEY WERE CLOSE, 1393 01:18:33,321 --> 01:18:36,287 {\an1}AND HE JUST SAID, "I STILL DON'T UNDERSTAND HIM. 1394 01:18:36,321 --> 01:18:38,654 {\an1}HE WAS MY FRIEND." 1395 01:18:41,487 --> 01:18:44,287 {\an1}NARRATOR: HEMINGWAY'S PROTAGONIST JAKE BARNES 1396 01:18:44,321 --> 01:18:47,287 {\an1}IS A JADED INSIDER AT PAMPLONA. 1397 01:18:47,321 --> 01:18:49,587 HE SEEMS TO KNOW EVERYTHING THERE IS TO KNOW 1398 01:18:49,621 --> 01:18:52,121 {\an1}ABOUT BULLFIGHTING. 1399 01:18:52,154 --> 01:18:56,387 {\an1}THE STAR OF THE FIESTA IS A MATADOR NAMED PEDRO ROMERO, 1400 01:18:56,421 --> 01:19:00,354 {\an1}JUST 19, INNOCENT, AND UNSPOILED. 1401 01:19:00,387 --> 01:19:04,254 {\an1}THE BULLFIGHTING WORLD HOPES TO KEEP HIM THAT WAY, 1402 01:19:04,287 --> 01:19:06,321 {\an1}BUT JAKE BREAKS THE RULES 1403 01:19:06,354 --> 01:19:09,154 {\an1}AND INTRODUCES HIM TO BRETT ASHLEY, 1404 01:19:09,187 --> 01:19:14,121 {\an1}THE WOMAN HE CAN NEVER BE WITH HIMSELF. 1405 01:19:14,154 --> 01:19:16,421 {\an1}MANDEL: JAKE BARNES SHOULDN'T HAVE DONE THAT. 1406 01:19:16,454 --> 01:19:19,487 {\an1}SHE'S NOT A SERIOUS, COMMITTED PERSON. 1407 01:19:19,521 --> 01:19:21,787 {\an7}SHE'S A FREE WOMAN. SHE'S A FREE WOMAN. 1408 01:19:21,821 --> 01:19:23,854 {\an7}SHE INDULGES HERSELF, 1409 01:19:23,887 --> 01:19:26,287 {\an7}AND SHE WANTS TO INDULGE HERSELF WITH THE BULLFIGHTER. 1410 01:19:26,321 --> 01:19:28,421 JAKE BARNES SHOULD HAVE PROTECTED 1411 01:19:28,454 --> 01:19:32,587 {\an1}THIS YOUNG, VULNERABLE, ETHICAL FIGURE, 1412 01:19:32,621 --> 01:19:35,787 {\an1}AND AFTER THAT, THE PEOPLE IN THE KNOW IN PAMPLONA 1413 01:19:35,821 --> 01:19:37,954 {\an1}TURN AGAINST JAKE. 1414 01:19:37,987 --> 01:19:40,987 {\an1}THEY BARELY TALK TO HIM. THEY AVOID HIM, 1415 01:19:41,021 --> 01:19:44,854 {\an1}AND THAT'S A BIG TURNING POINT IN THIS CHARACTER. 1416 01:19:44,887 --> 01:19:48,854 OF COURSE, HE KNOWS WHAT HE DID. 1417 01:19:48,887 --> 01:19:50,454 {\an1}NARRATOR: AT THE END OF THE NOVEL, 1418 01:19:50,487 --> 01:19:54,421 {\an1}JAKE AND BRETT SHARE A TAXI IN MADRID. 1419 01:19:56,721 --> 01:19:59,221 {\an1}MAN, AS HEMINGWAY: THE DRIVER STARTED UP THE STREET. 1420 01:19:59,254 --> 01:20:00,787 I SETTLED BACK. 1421 01:20:00,821 --> 01:20:03,221 {\an1}BRETT MOVED CLOSE TO ME. 1422 01:20:03,254 --> 01:20:05,887 {\an1}WE SAT CLOSE AGAINST EACH OTHER. 1423 01:20:05,921 --> 01:20:07,521 {\an1}I PUT MY ARM AROUND HER, 1424 01:20:07,554 --> 01:20:10,554 AND SHE RESTED AGAINST ME COMFORTABLY. 1425 01:20:10,587 --> 01:20:12,721 {\an1}IT WAS VERY HOT AND BRIGHT, 1426 01:20:12,754 --> 01:20:15,887 {\an1}AND THE HOUSES LOOKED SHARPLY WHITE. 1427 01:20:15,921 --> 01:20:19,154 WE TURNED OUT ONTO THE GRAN VIA. 1428 01:20:19,187 --> 01:20:21,287 {\an1}"OH, JAKE," BRETT SAID, 1429 01:20:21,321 --> 01:20:25,154 {\an1}"WE COULD HAVE HAD SUCH A DAMNED GOOD TIME TOGETHER." 1430 01:20:25,187 --> 01:20:29,787 {\an1}AHEAD WAS A MOUNTED POLICEMAN IN KHAKI DIRECTING TRAFFIC. 1431 01:20:29,821 --> 01:20:31,854 {\an1}HE RAISED HIS BATON. 1432 01:20:31,887 --> 01:20:36,054 {\an1}THE CAR SLOWED, SUDDENLY PRESSING BRETT AGAINST ME. 1433 01:20:36,087 --> 01:20:38,821 "YES," I SAID. 1434 01:20:38,854 --> 01:20:42,154 {\an1}ISN'T IT PRETTY TO THINK SO?" 1435 01:20:42,187 --> 01:20:44,821 {\an1}TIM O'BRIEN: "ISN'T IT PRETTY TO THINK SO?" 1436 01:20:44,854 --> 01:20:48,554 {\an1}IT'S THE WISTFULNESS OF WHAT WE BOTH LOSE 1437 01:20:48,587 --> 01:20:51,654 {\an8}AND NEVER HAD, A WISTFULNESS. 1438 01:20:51,687 --> 01:20:53,821 {\an7}"ISN'T IT PRETTY TO THINK THAT MY DAD AND I 1439 01:20:53,854 --> 01:20:58,054 {\an7}"COULD HAVE TALKED ABOUT VIRTUALLY ANYTHING? 1440 01:20:58,087 --> 01:21:00,921 {\an1}IT'S PRETTY TO THINK SO," 1441 01:21:00,954 --> 01:21:03,687 {\an1}BUT IT DIDN'T HAPPEN, AND IT WON'T HAPPEN, 1442 01:21:03,721 --> 01:21:07,721 {\an1}AND SO THERE'S A SADNESS TO IT THAT FEELS TO ME FULLY HUMAN. 1443 01:21:07,754 --> 01:21:10,487 {\an1}"ALL THAT WILL NOT BE," WHICH IS GOING TO BE TRUE 1444 01:21:10,521 --> 01:21:13,187 {\an1}FOR EVERY HUMAN BEING IN SOME WAY OR ANOTHER 1445 01:21:13,221 --> 01:21:16,154 ON THIS PLANET, "ALL THAT WILL NEVER BE." 1446 01:21:16,187 --> 01:21:19,054 {\an1}IT HAS A UNIVERSALITY TO IT. 1447 01:21:19,087 --> 01:21:22,054 {\an1}"ISN'T IT PRETTY TO THINK SO?" 1448 01:21:24,254 --> 01:21:26,821 {\an1}NARRATOR: THE WAR HAD OBLITERATED ANY ILLUSIONS 1449 01:21:26,854 --> 01:21:29,754 ABOUT THE FUTURE, BUT HEMINGWAY SEEMED 1450 01:21:29,787 --> 01:21:33,821 {\an1}TO BE SUGGESTING THAT EVEN IN THE MOST DAMAGED LIVES, 1451 01:21:33,854 --> 01:21:36,887 {\an1}DESPITE THE INDIGNITIES MEN AND WOMEN INFLICT 1452 01:21:36,921 --> 01:21:43,054 {\an1}UPON EACH OTHER, SOME HOPE, SOME SWEETNESS COULD BE FOUND. 1453 01:21:43,087 --> 01:21:45,921 {\an1}EDNA O'BRIEN: I LOVE "THE SUN ALSO RISES." 1454 01:21:45,954 --> 01:21:49,821 {\an7}THE PITH OF IT, FOR ME. 1455 01:21:49,854 --> 01:21:53,321 {\an7}THERE'S ALL THE HOTELS AND THE DRINK 1456 01:21:53,354 --> 01:21:55,587 {\an7}AND THE BULLFIGHTING AND THE FISHING 1457 01:21:55,621 --> 01:21:57,987 AND THE MOUNTAINS AND THEIR KNAPSACKS, 1458 01:21:58,021 --> 01:21:59,821 {\an1}"THAT'S A DAMN FINE WINE," 1459 01:21:59,854 --> 01:22:03,321 {\an1}AND THERE'S ALL THAT BLUSTER, 1460 01:22:03,354 --> 01:22:06,021 {\an1}AND THERE'S IMPOTENCE. 1461 01:22:06,054 --> 01:22:08,987 {\an1}WHAT IT DID FOR ME, WHEN I READ IT, 1462 01:22:09,021 --> 01:22:16,921 {\an1}WAS TO INTRODUCE ME TO AN EXOTICA, A GLAMOUR, 1463 01:22:16,954 --> 01:22:22,521 {\an1}A LIFE THAT, COMING FROM COUNTY CLARE IN IRELAND, 1464 01:22:22,554 --> 01:22:23,987 {\an1}I COULDN'T BELIEVE IT. 1465 01:22:24,021 --> 01:22:25,287 {\an1}I WAS SEDUCED BY IT. 1466 01:22:25,321 --> 01:22:28,087 THAT IS THE WORD I'M LOOKING FOR. 1467 01:22:28,121 --> 01:22:31,454 {\an1}MAN, AS HEMINGWAY: AUGUST 23, 1925. 1468 01:22:31,487 --> 01:22:33,787 {\an1}IT IS A HELL OF A FINE NOVEL. 1469 01:22:33,821 --> 01:22:36,621 {\an1}WRITTEN VERY SIMPLY AND FULL OF THINGS HAPPENING 1470 01:22:36,654 --> 01:22:39,454 {\an1}AND PEOPLE AND PLACES AND EXCITING AS HELL 1471 01:22:39,487 --> 01:22:42,521 {\an1}AND NO AUTOBIOGRAPHICAL FIRST NOVEL STUFF. 1472 01:22:42,554 --> 01:22:44,487 {\an1}I THINK IT WILL BE A KNOCKOUT 1473 01:22:44,521 --> 01:22:46,354 {\an1}AND WILL LET THESE BASTARDS WHO SAY, 1474 01:22:46,387 --> 01:22:48,654 {\an1}"YES, HE CAN WRITE VERY BEAUTIFUL LITTLE PARAGRAPHS KNOW 1475 01:22:48,687 --> 01:22:50,954 {\an1}WHERE THEY GET OFF AT." 1476 01:22:50,987 --> 01:22:52,787 {\an1}I'VE TRIED TO WRITE A HELL OF A GOOD STORY 1477 01:22:52,821 --> 01:22:57,521 {\an1}ABOUT PEOPLE WITHOUT FAKING, PRECIOSITY, OR HORSE... 1478 01:22:57,554 --> 01:23:00,321 {\an1}EVERYBODY KNOWS LIFE IS A TRAGIC SHOW, 1479 01:23:00,354 --> 01:23:04,054 {\an1}I.E. BORN HERE, DIE THERE. 1480 01:23:04,087 --> 01:23:08,021 EVERYBODY DIES, EVERYBODY GETS BITCHED. 1481 01:23:10,687 --> 01:23:13,321 {\an1}NARRATOR: ERNEST WAS HAPPY WITH HIS MANUSCRIPT 1482 01:23:13,354 --> 01:23:17,487 {\an1}BUT UNHAPPY WITH HIS PUBLISHER HORACE LIVERIGHT. 1483 01:23:17,521 --> 01:23:21,521 {\an1}HIS LAST BOOK "IN OUR TIME" HAD BEEN A CRITICAL SUCCESS, 1484 01:23:21,554 --> 01:23:23,621 {\an1}BUT IT HADN'T SOLD. 1485 01:23:23,654 --> 01:23:26,787 {\an1}BY CONTRACT, LIVERIGHT HAD THE RIGHT TO PUBLISH 1486 01:23:26,821 --> 01:23:30,687 {\an1}HIS NEXT TWO BOOKS PROVIDED HE ACCEPTED THE FIRST ONE 1487 01:23:30,721 --> 01:23:33,987 WITHIN 60 DAYS OF ITS SUBMISSION. 1488 01:23:34,021 --> 01:23:38,054 {\an1}BY THIS TIME, THE CELEBRATED NOVELIST F. SCOTT FITZGERALD 1489 01:23:38,087 --> 01:23:41,454 {\an1}HAD BECOME A GOOD FRIEND AND HAD ALERTED HIS OWN EDITOR 1490 01:23:41,487 --> 01:23:47,154 {\an1}MAXWELL PERKINS OF SCRIBNER'S, TO HEMINGWAY'S GREAT PROMISE. 1491 01:23:47,187 --> 01:23:49,554 {\an1}MAN AS FITZGERALD: DEAR MAX, THIS IS TO TELL YOU 1492 01:23:49,587 --> 01:23:52,187 {\an1}ABOUT A YOUNG MAN NAMED ERNEST HEMINGWAY, 1493 01:23:52,221 --> 01:23:54,054 {\an1}WHO LIVES IN PARIS, 1494 01:23:54,087 --> 01:23:57,454 {\an1}AN AMERICAN, WRITES FOR THE "TRANSATLANTIC REVIEW," 1495 01:23:57,487 --> 01:23:59,987 {\an1}AND HAS A BRILLIANT FUTURE. 1496 01:24:00,021 --> 01:24:01,721 {\an1}EZRA POUND PUBLISHED A COLLECTION 1497 01:24:01,754 --> 01:24:03,454 {\an1}OF HIS SHORT PIECES. 1498 01:24:03,487 --> 01:24:05,987 {\an1}I HAVEN'T IT HERE NOW, BUT IT'S REMARKABLE, 1499 01:24:06,021 --> 01:24:08,087 {\an1}AND I'D LOOK HIM UP RIGHT AWAY. 1500 01:24:08,121 --> 01:24:09,954 {\an1}HE'S THE REAL THING. 1501 01:24:09,987 --> 01:24:11,787 SCOTT. 1502 01:24:11,821 --> 01:24:14,821 {\an1}NARRATOR: FITZGERALD WOULD EVENTUALLY PERSUADE ERNEST 1503 01:24:14,854 --> 01:24:17,754 TO JETTISON THE FIRST TWO CLUMSY CHAPTERS 1504 01:24:17,787 --> 01:24:20,454 {\an1}OF "THE SUN ALSO RISES," THOUGH HEMINGWAY 1505 01:24:20,487 --> 01:24:25,387 {\an1}WOULD LATER CLAIM IT HAD BEEN HIS IDEA ALL ALONG. 1506 01:24:25,421 --> 01:24:28,454 {\an1}NOW, FITZGERALD SUGGESTED A WAY HEMINGWAY COULD GET 1507 01:24:28,487 --> 01:24:31,154 {\an1}OUT OF HIS CONTRACT... WRITE SOMETHING 1508 01:24:31,187 --> 01:24:35,154 HORACE LIVERIGHT WOULD HAVE TO REJECT. 1509 01:24:37,287 --> 01:24:41,921 {\an1}IN JUST 10 DAYS, ERNEST BANGED OUT "THE TORRENTS OF SPRING," 1510 01:24:41,954 --> 01:24:44,254 {\an1}A CRUEL LAMPOON OF HIS FRIEND 1511 01:24:44,287 --> 01:24:45,821 {\an1}SHERWOOD ANDERSON, 1512 01:24:45,854 --> 01:24:47,487 {\an1}WHO HAD BEEN ESPECIALLY KIND 1513 01:24:47,521 --> 01:24:48,621 TO HEMINGWAY 1514 01:24:48,654 --> 01:24:49,987 {\an1}AND WAS ONE OF LIVERIGHT'S 1515 01:24:50,021 --> 01:24:52,721 {\an1}BEST-SELLING AUTHORS. 1516 01:24:52,754 --> 01:24:56,754 {\an1}HADLEY THOUGHT THE PARODY OF ANDERSON "DETESTABLE," 1517 01:24:56,787 --> 01:24:59,654 {\an1}BUT ANOTHER WOMAN'S OPINION HAD BEGUN TO MATTER 1518 01:24:59,687 --> 01:25:03,221 {\an1}MORE TO HIM THAN HADLEY'S. 1519 01:25:03,254 --> 01:25:07,054 {\an1}PAULINE PFEIFFER THOUGHT THE MANUSCRIPT WAS HILARIOUS, 1520 01:25:07,087 --> 01:25:10,487 FURTHER EVIDENCE OF ERNEST'S GENIUS. 1521 01:25:10,521 --> 01:25:14,187 {\an1}SHE WAS WITTY, WEALTHY, WELL-READ, 1522 01:25:14,221 --> 01:25:17,154 {\an1}A REPORTER COVERING PARIS FASHION FOR "VOGUE," 1523 01:25:17,187 --> 01:25:19,421 {\an1}AND A PRACTICING CATHOLIC. 1524 01:25:19,454 --> 01:25:22,154 SHE HAD BECOME HADLEY'S FRIEND FIRST, 1525 01:25:22,187 --> 01:25:24,154 {\an1}A FREQUENT VISITOR AT THE APARTMENT 1526 01:25:24,187 --> 01:25:26,854 {\an1}ABOVE THE SAWMILL. 1527 01:25:26,887 --> 01:25:29,787 {\an1}ERNEST INVITED PAULINE TO JOIN HIM AND HADLEY 1528 01:25:29,821 --> 01:25:32,321 {\an1}FOR CHRISTMAS IN AUSTRIA. 1529 01:25:32,354 --> 01:25:34,854 {\an1}"PAULINE WAS NICE TO ME," HADLEY RECALLED. 1530 01:25:34,887 --> 01:25:37,354 {\an1}"SHE WANTED TO BE FRIENDS." 1531 01:25:37,387 --> 01:25:39,654 {\an1}THEY TOOK TURNS PLAYING WITH BUMBY, 1532 01:25:39,687 --> 01:25:44,787 {\an1}SKIED AND DRANK AND PLAYED BRIDGE TOGETHER EVERY EVENING, 1533 01:25:44,821 --> 01:25:48,454 {\an1}BUT IN THE AFTERNOONS, IT WAS PAULINE, NOT HADLEY, 1534 01:25:48,487 --> 01:25:53,487 {\an1}WHOM ERNEST TOOK FOR LONG WALKS THROUGH THE SNOW. 1535 01:25:53,521 --> 01:25:55,787 {\an1}"SHE DIDN'T GO STRAIGHT FOR MY HUSBAND," 1536 01:25:55,821 --> 01:25:58,287 {\an1}HADLEY RECALLED YEARS LATER, 1537 01:25:58,321 --> 01:26:01,821 {\an1}"BUT ONCE SHE MADE UP HER MIND THAT HE WAS WHAT SHE WANTED, 1538 01:26:01,854 --> 01:26:04,654 {\an1}"SHE WAS VERY AGGRESSIVE. 1539 01:26:04,687 --> 01:26:06,821 {\an1}HE COULDN'T HELP HIMSELF." 1540 01:26:11,087 --> 01:26:14,421 {\an1}MAN, AS HEMINGWAY: TO REALLY LOVE TWO WOMEN AT THE SAME TIME, 1541 01:26:14,454 --> 01:26:18,921 {\an7}TRULY LOVE THEM, IS THE MOST DESTRUCTIVE AND TERRIBLE THING 1542 01:26:18,954 --> 01:26:21,521 {\an7}THAT CAN HAPPEN TO A MAN. 1543 01:26:21,554 --> 01:26:23,887 {\an7}YOU DO THINGS THAT ARE IMPOSSIBLE, 1544 01:26:23,921 --> 01:26:26,621 {\an1}AND WHEN YOU ARE WITH ONE, YOU LOVE HER, 1545 01:26:26,654 --> 01:26:29,587 {\an1}AND WITH THE OTHER, YOU LOVE HER, 1546 01:26:29,621 --> 01:26:32,554 AND TOGETHER, YOU LOVE THEM BOTH. 1547 01:26:32,587 --> 01:26:35,887 {\an1}YOU BREAK ALL PROMISES, AND YOU DO EVERYTHING YOU KNEW 1548 01:26:35,921 --> 01:26:39,687 {\an1}THAT YOU COULD NEVER DO NOR WOULD WANT TO DO. 1549 01:26:39,721 --> 01:26:43,854 {\an1}YOU LIE AND HATE IT, AND IT DESTROYS YOU, 1550 01:26:43,887 --> 01:26:46,687 {\an1}AND EVERY DAY IS MORE DANGEROUS. 1551 01:26:46,721 --> 01:26:49,187 {\an1}EVERYTHING IS SPLIT INSIDE OF YOU, 1552 01:26:49,221 --> 01:26:53,087 {\an1}AND YOU LOVE TWO PEOPLE NOW INSTEAD OF ONE, 1553 01:26:53,121 --> 01:26:56,987 {\an1}AND THE STRANGE PART IS THAT YOU ARE HAPPY. 1554 01:26:58,787 --> 01:27:00,421 {\an1}NARRATOR: WHEN HEMINGWAY SUBMITTED 1555 01:27:00,454 --> 01:27:03,021 {\an1}"THE TORRENTS OF SPRING" TO HORACE LIVERIGHT, 1556 01:27:03,054 --> 01:27:08,621 {\an1}THE PUBLISHER REJECTED IT RIGHT AWAY JUST AS ERNEST HAD HOPED. 1557 01:27:08,654 --> 01:27:12,354 {\an1}HE WAS NOW FREE TO BRING IT AND "THE SUN ALSO RISES" 1558 01:27:12,387 --> 01:27:14,287 TO SCRIBNER'S. 1559 01:27:14,321 --> 01:27:19,754 {\an1}IN JANUARY 1926, ERNEST MADE A 3-WEEK TRIP TO NEW YORK 1560 01:27:19,787 --> 01:27:24,254 {\an1}TO MEET WITH HIS NEW EDITOR MAX PERKINS. 1561 01:27:24,287 --> 01:27:27,487 {\an1}HADLEY AND BUMBY STAYED ON IN AUSTRIA. 1562 01:27:27,521 --> 01:27:30,054 {\an1}AS SOON AS HER HUSBAND RETURNED TO FRANCE, 1563 01:27:30,087 --> 01:27:32,954 {\an1}HADLEY EXPECTED HIM TO BOARD THE TRAIN 1564 01:27:32,987 --> 01:27:35,321 {\an1}AND COME TO HER IN THE ALPS. 1565 01:27:35,354 --> 01:27:39,087 {\an1}INSTEAD, HE WENT TO PARIS, TO PAULINE'S APARTMENT, 1566 01:27:39,121 --> 01:27:42,654 {\an1}A DECISION THAT WOULD ONE DAY COME TO HAUNT HIM. 1567 01:27:47,154 --> 01:27:48,897 {\an1}MAN, AS HEMINGWAY: THE GIRL I WAS IN LOVE WITH 1568 01:27:48,921 --> 01:27:51,154 {\an8}WAS IN PARIS NOW, AND I DID NOT TAKE 1569 01:27:51,187 --> 01:27:55,054 {\an8}THE FIRST TRAIN OR THE SECOND OR THE THIRD, 1570 01:27:55,087 --> 01:27:57,621 {\an8}AND WHERE WE WENT AND WHAT WE DID 1571 01:27:57,654 --> 01:28:02,021 {\an1}AND THE UNBELIEVABLE WRENCHING, KICKING HAPPINESS, 1572 01:28:02,054 --> 01:28:05,487 {\an1}THE SELFISHNESS AND TREACHERY OF EVERYTHING WE DID, 1573 01:28:05,521 --> 01:28:07,354 {\an1}GAVE ME SUCH HAPPINESS 1574 01:28:07,387 --> 01:28:12,187 {\an1}AND UNKILLABLE DREADFUL HAPPINESS 1575 01:28:12,221 --> 01:28:14,521 {\an1}SO THAT THE BLACK REMORSE CAME 1576 01:28:14,554 --> 01:28:17,654 {\an1}AND HATRED OF THE SIN AND NO CONTRITION, 1577 01:28:17,687 --> 01:28:21,354 {\an1}ONLY A TERRIBLE REMORSE. 1578 01:28:21,387 --> 01:28:26,521 {\an1}NARRATOR: HE DID NOT GET TO HADLEY FOR 3 DAYS. 1579 01:28:26,554 --> 01:28:28,230 {\an1}MAN, AS HEMINGWAY: WHEN I SAW MY WIFE AGAIN 1580 01:28:28,254 --> 01:28:30,887 {\an1}STANDING BY THE TRACKS AS THE TRAIN CAME IN 1581 01:28:30,921 --> 01:28:33,254 BY THE PILED LOGS AT THE STATION, 1582 01:28:33,287 --> 01:28:35,521 {\an1}I WISHED I HAD DIED BEFORE I EVER LOVED 1583 01:28:35,554 --> 01:28:37,521 ANYONE BUT HER. 1584 01:28:37,554 --> 01:28:40,654 SHE WAS SMILING, THE SUN ON HER LOVELY FACE 1585 01:28:40,687 --> 01:28:45,221 {\an1}TANNED BY THE SNOW AND SUN, BEAUTIFULLY BUILT, 1586 01:28:45,254 --> 01:28:47,654 {\an1}HER HAIR RED GOLD IN THE SUN 1587 01:28:47,687 --> 01:28:51,087 {\an1}AND MR. BUMBY STANDING WITH HER, BLONDE AND CHUNKY 1588 01:28:51,121 --> 01:28:54,421 {\an1}AND WITH WINTER CHEEKS. 1589 01:28:54,454 --> 01:28:57,687 I LOVED HER, AND I LOVED NO ONE ELSE, 1590 01:28:57,721 --> 01:29:01,387 {\an1}AND WE HAD A LOVELY MAGIC TIME WHILE WE WERE ALONE. 1591 01:29:01,421 --> 01:29:05,421 I WORKED WELL, AND WE MADE GREAT TRIPS, 1592 01:29:05,454 --> 01:29:08,787 {\an1}AND IT WASN'T UNTIL WE WERE OUT OF THE MOUNTAINS IN LATE SPRING, 1593 01:29:08,821 --> 01:29:12,987 {\an1}AND BACK IN PARIS THAT THE OTHER THING STARTED AGAIN. 1594 01:29:15,754 --> 01:29:18,021 {\an1}NARRATOR: ERNEST HOPED THAT THINGS COULD SOMEHOW 1595 01:29:18,054 --> 01:29:21,354 GO ON THAT WAY, STILL MARRIED TO HADLEY 1596 01:29:21,387 --> 01:29:24,721 {\an1}BUT WITH HIS MISTRESS CONVENIENTLY AT HAND, 1597 01:29:24,754 --> 01:29:28,521 {\an1}BUT PAULINE WAS NOT CONTENT TO REMAIN HIS MISTRESS. 1598 01:29:28,554 --> 01:29:31,754 {\an1}SHE WAS DETERMINED TO BECOME HIS WIFE. 1599 01:29:33,121 --> 01:29:35,621 {\an1}HADLEY CONFRONTED HER HUSBAND. 1600 01:29:35,654 --> 01:29:38,221 {\an1}"WE HAD A TERRIFIC SCENE," SHE RECALLED. 1601 01:29:38,254 --> 01:29:41,121 {\an1}ERNEST LASHED OUT AT HER. 1602 01:29:41,154 --> 01:29:44,787 {\an1}IF ONLY SHE HADN'T BROUGHT UP HIS INFIDELITY, HE SAID, 1603 01:29:44,821 --> 01:29:47,587 {\an1}THINGS COULD HAVE CONTINUED AS THEY WERE, 1604 01:29:47,621 --> 01:29:49,787 {\an1}BUT NOW THAT SHE HAD BROKEN THE SPELL 1605 01:29:49,821 --> 01:29:52,787 {\an1}THEIR LOVE WAS NO LONGER SAFE. 1606 01:29:52,821 --> 01:29:56,421 {\an1}"IF I'D HAD ANY SENSE AT ALL," HADLEY REMEMBERED YEARS LATER, 1607 01:29:56,454 --> 01:29:58,354 {\an1}"I'D HAVE LET HIM GO WITH PAULINE 1608 01:29:58,387 --> 01:30:00,021 {\an1}"AND BURN HIMSELF OUT, 1609 01:30:00,054 --> 01:30:03,187 {\an1}AND THEN WE COULD HAVE BEGUN AGAIN." 1610 01:30:03,221 --> 01:30:06,221 {\an1}INSTEAD, IN SEPTEMBER, SHE SCRIBBLED OUT 1611 01:30:06,254 --> 01:30:08,754 {\an1}A SORT OF CONTRACT IN PENCIL. 1612 01:30:08,787 --> 01:30:13,454 {\an1}ERNEST AND PAULINE WOULD HAVE TO SPEND 100 DAYS APART, 1613 01:30:13,487 --> 01:30:16,887 {\an1}AND AFTERWARDS IF THEY STILL WANTED ONE ANOTHER, 1614 01:30:16,921 --> 01:30:19,921 {\an1}SHE WOULD GRANT HIM A DIVORCE. 1615 01:30:19,954 --> 01:30:24,487 {\an1}ERNEST AND PAULINE AGREED TO ABIDE BY HER TERMS. 1616 01:30:24,521 --> 01:30:27,821 HE MOVED TO A FRIEND'S APARTMENT. 1617 01:30:27,854 --> 01:30:31,154 {\an1}PAULINE SAILED FOR HOME. 1618 01:30:31,187 --> 01:30:33,821 HER MOTHER WAS INITIALLY APPALLED. 1619 01:30:33,854 --> 01:30:36,954 {\an1}HER DAUGHTER HAD BROKEN UP HEMINGWAY'S MARRIAGE. 1620 01:30:36,987 --> 01:30:39,087 {\an1}ERNEST WAS NOT A CATHOLIC. 1621 01:30:39,121 --> 01:30:42,754 {\an1}A CHILD WAS INVOLVED. 1622 01:30:42,787 --> 01:30:46,921 {\an1}ALONE IN PARIS, DEPRESSION AGAIN GRIPPED HEMINGWAY, 1623 01:30:46,954 --> 01:30:48,954 {\an1}THIS TIME TINGED WITH GUILT 1624 01:30:48,987 --> 01:30:52,154 {\an1}ABOUT WHAT HE WAS DOING TO HADLEY. 1625 01:30:52,187 --> 01:30:55,921 {\an1}HE DRANK TOO MUCH, PICKED FIGHTS, COULDN'T SLEEP, 1626 01:30:55,954 --> 01:30:59,954 {\an1}SOMEHOW CONVINCED HIMSELF THAT HE WAS THE VICTIM. 1627 01:31:02,754 --> 01:31:07,187 {\an1}ONLY TWO MONTHS LATER, ON NOVEMBER 16, 1926, 1628 01:31:07,221 --> 01:31:09,954 {\an1}HADLEY WROTE ERNEST THAT IF HE AND PAULINE 1629 01:31:09,987 --> 01:31:12,221 {\an1}REALLY WANTED TO BE TOGETHER 1630 01:31:12,254 --> 01:31:15,854 {\an1}SHE WOULD NO LONGER STAND IN THE WAY. 1631 01:31:15,887 --> 01:31:18,287 {\an1}THEY WERE FREE TO MARRY. 1632 01:31:21,887 --> 01:31:23,297 {\an1}WOMAN, AS RICHARDSON: THE ENTIRE PROBLEM BELONGS 1633 01:31:23,321 --> 01:31:25,787 TO YOU TWO. 1634 01:31:25,821 --> 01:31:29,987 {\an1}I AM NOT RESPONSIBLE FOR YOUR FUTURE WELFARE. 1635 01:31:30,021 --> 01:31:32,787 {\an1}I TOOK YOU ORIGINALLY FOR BETTER, FOR WORSE 1636 01:31:32,821 --> 01:31:36,521 AND MEANT IT! 1637 01:31:36,554 --> 01:31:39,821 {\an1}BUT IN THE CASE OF YOUR MARRYING SOMEONE ELSE, 1638 01:31:39,854 --> 01:31:44,021 {\an1}I CAN STAND BY MY VOW ONLY AS AN OUTSIDE FRIEND. 1639 01:31:47,054 --> 01:31:50,254 COME TO SEE BUMBY AS MUCH AS YOU WANT... 1640 01:31:50,287 --> 01:31:53,087 {\an1}HE IS YOURS AS MUCH AS MINE... 1641 01:31:53,121 --> 01:31:55,021 {\an1}AND TAKE HIM OUT SOMETIMES IF YOU FEEL LIKE 1642 01:31:55,054 --> 01:31:56,821 {\an1}THAT KIND OF THING... 1643 01:31:56,854 --> 01:32:00,121 {\an1}SO THAT HE WILL KNOW YOU ARE HIS REAL PAPA. 1644 01:32:03,121 --> 01:32:07,487 {\an1}NARRATOR: HADLEY AND BUMBY SOON SAILED FOR THE UNITED STATES. 1645 01:32:07,521 --> 01:32:14,254 {\an1}ERNEST STAYED IN PARIS. PAULINE JOINED HIM. 1646 01:32:14,287 --> 01:32:16,887 {\an1}MEANWHILE, SCRIBNER'S HAD FINALLY PUBLISHED 1647 01:32:16,921 --> 01:32:19,254 {\an1}"THE SUN ALSO RISES." 1648 01:32:19,287 --> 01:32:22,254 {\an1}EDMUND WILSON DECLARED IT THE BEST NOVEL WRITTEN 1649 01:32:22,287 --> 01:32:25,254 BY ANYONE OF HEMINGWAY'S GENERATION. 1650 01:32:25,287 --> 01:32:28,454 {\an1}A REVIEWER FOR "THE ATLANTIC" SAID THAT HEMINGWAY 1651 01:32:28,487 --> 01:32:32,187 {\an1}"WRITES AS IF HE HAD NEVER READ ANYBODY'S WRITING, 1652 01:32:32,221 --> 01:32:36,221 {\an1}AS IF HE HAD FASHIONED THE ART OF WRITING HIMSELF." 1653 01:32:36,254 --> 01:32:38,921 {\an1}THE BOOK SOLD WELL. 1654 01:32:38,954 --> 01:32:45,887 {\an1}ITS AUTHOR INSISTED THAT ALL THE ROYALTIES GO TO HADLEY. 1655 01:32:45,921 --> 01:32:49,287 ON MAY 10, 1927, ERNEST HEMINGWAY 1656 01:32:49,321 --> 01:32:53,287 {\an1}AND PAULINE PFEIFFER WERE MARRIED IN PARIS. 1657 01:32:53,321 --> 01:32:57,221 {\an1}THERE WERE TWO CEREMONIES, ONE AT THE MAYOR'S OFFICE 1658 01:32:57,254 --> 01:33:00,654 AND A SECOND AT A CATHOLIC CHURCH. 1659 01:33:00,687 --> 01:33:03,621 {\an1}THE PFEIFFER FAMILY HAD COME AROUND TO APPROVING PAULINE'S 1660 01:33:03,654 --> 01:33:06,087 {\an1}DECISION TO MARRY HEMINGWAY. 1661 01:33:06,121 --> 01:33:09,754 {\an1}HE NOW CLAIMED HE'D SECRETLY ALWAYS BEEN A CATHOLIC 1662 01:33:09,787 --> 01:33:12,821 {\an1}BECAUSE A PRIEST HAD GIVEN HIM EXTREME UNCTION 1663 01:33:12,854 --> 01:33:15,087 {\an1}AFTER HE WAS WOUNDED. 1664 01:33:15,121 --> 01:33:19,154 {\an1}SINCE HIS FIRST MARRIAGE HAD TAKEN PLACE OUTSIDE THE CHURCH, 1665 01:33:19,187 --> 01:33:21,954 {\an1}THE CHURCH DID NOT RECOGNIZE IT. 1666 01:33:21,987 --> 01:33:24,954 {\an1}HADLEY HAD NEVER REALLY BEEN HIS WIFE, 1667 01:33:24,987 --> 01:33:29,387 {\an1}AND, BY EXTENSION, BUMBY WAS ILLEGITIMATE. 1668 01:33:31,521 --> 01:33:33,987 {\an1}NARRATOR: HEMINGWAY HOPED TO LIVE THE SAME KIND OF LIFE 1669 01:33:34,021 --> 01:33:37,154 WITH PAULINE THAT HE HAD LED WITH HADLEY... 1670 01:33:37,187 --> 01:33:40,654 PARIS CAFEÉS, BULLFIGHTS, SKIING... 1671 01:33:40,687 --> 01:33:45,154 {\an1}AND DREAMED OF HAVING ONE LITERARY SUCCESS AFTER ANOTHER, 1672 01:33:45,187 --> 01:33:49,587 {\an1}BUT THINGS DIDN'T GO QUITE AS PLANNED. 1673 01:33:49,621 --> 01:33:52,654 {\an1}HE STARTED A NOVEL ABOUT A FATHER AND SON, 1674 01:33:52,687 --> 01:33:55,321 {\an1}ONLY TO ABANDON IT. 1675 01:33:55,354 --> 01:33:59,421 {\an1}A NEW BOOK OF 14 SHORT STORIES, "MEN WITHOUT WOMEN," 1676 01:33:59,454 --> 01:34:01,787 DID NOT SELL AS WELL AS HE LIKED, 1677 01:34:01,821 --> 01:34:04,221 {\an1}AND THERE WERE MIXED REVIEWS. 1678 01:34:04,254 --> 01:34:07,287 {\an1}SOME READERS WERE PUT OFF BY ITS THEMES, 1679 01:34:07,321 --> 01:34:12,987 {\an1}INCLUDING HOMOSEXUALITY, INFIDELITY, AND DIVORCE. 1680 01:34:13,021 --> 01:34:15,687 {\an1}AS ALWAYS, HEMINGWAY TRIED TO MAKE HIS CHARACTERS 1681 01:34:15,721 --> 01:34:19,321 SPEAK PRECISELY AS HIS CONTEMPORARIES SPOKE, 1682 01:34:19,354 --> 01:34:22,721 {\an1}INCLUDING THEIR USE OF RACIAL EPITHETS. 1683 01:34:24,987 --> 01:34:27,621 DUDLEY: WHY USE THE N-WORD MULTIPLE TIMES? 1684 01:34:30,354 --> 01:34:32,321 {\an1}HEMINGWAY KNOWS THAT IT'S PROBABLY ONE 1685 01:34:32,354 --> 01:34:34,254 {\an1}OF THE MOST OFFENSIVE WORDS HE COULD HAVE USED, 1686 01:34:34,287 --> 01:34:36,521 {\an1}EVEN AT THIS TIME. 1687 01:34:36,554 --> 01:34:38,254 {\an1}COULD YOU MAKE A CASE FOR HEMINGWAY 1688 01:34:38,287 --> 01:34:41,921 {\an1}BEING PREJUDICIAL IN HIS LIFE, IN HIS WRITING? 1689 01:34:41,954 --> 01:34:44,721 {\an7}ABSOLUTELY, YOU COULD, BUT, AT THE SAME TIME, 1690 01:34:44,754 --> 01:34:46,921 {\an7}YOU COULD PEEL BACK THE LAYERS, AND YOU CAN GET A SENSE 1691 01:34:46,954 --> 01:34:52,087 {\an7}OF A MAN TRYING TO CONVEY A SENSE OF HIS TIME. 1692 01:34:52,121 --> 01:34:54,854 {\an1}CUSHMAN: THAT'S NOT AN EXCUSE FOR HIM. 1693 01:34:54,887 --> 01:34:58,754 {\an7}I DON'T THINK YOU CAN DRY CLEAN HEMINGWAY 1694 01:34:58,787 --> 01:35:03,654 {\an7}INTO SOMEBODY WHO FITS INTO WHAT WE NOW CONSIDER 1695 01:35:03,687 --> 01:35:07,621 {\an1}SOCIALLY AND POLITICALLY ACCEPTABLE MUCH OF THE TIME. 1696 01:35:07,654 --> 01:35:10,554 {\an1}NARRATOR: "MEN WITHOUT WOMEN" ALSO INCLUDED A STORY 1697 01:35:10,587 --> 01:35:16,754 {\an1}THAT IS AMONG HIS MASTERPIECES "HILLS LIKE WHITE ELEPHANTS." 1698 01:35:16,787 --> 01:35:20,787 {\an1}IN IT, A COUPLE WAITING IN A SMALL SPANISH TRAIN STATION 1699 01:35:20,821 --> 01:35:24,754 {\an1}DISCUSS WHETHER OR NOT THE WOMAN WILL HAVE AN ABORTION 1700 01:35:24,787 --> 01:35:28,154 {\an1}WITHOUT EVER MENTIONING THE WORD. 1701 01:35:28,187 --> 01:35:31,054 {\an1}EDNA O'BRIEN: WHAT'S NOT SAID IS SO WONDERFUL. 1702 01:35:31,087 --> 01:35:36,221 {\an7}SOMEHOW, THE WHOLE RELATIONSHIP, WHICH WILL BE FOREVER SHADOWED, 1703 01:35:36,254 --> 01:35:39,054 {\an7}IF NOT TO SAY DESTROYED, BY THIS, 1704 01:35:39,087 --> 01:35:42,621 {\an7}YOU GET A PICTURE OF IT 1705 01:35:42,654 --> 01:35:46,354 {\an1}WITHOUT HIM SPELLING OUT THE WORDS. 1706 01:35:46,387 --> 01:35:48,221 {\an1}YOU SEE, THAT'S WHAT HE DID. 1707 01:35:48,254 --> 01:35:51,254 {\an1}THAT EVASION THAT HE MASTERED 1708 01:35:51,287 --> 01:35:55,087 {\an1}AND THAT CONTROL THAT HE MASTERED 1709 01:35:55,121 --> 01:36:00,654 IS ONE OF HIS SIGNATURE STROKES OF GENIUS. 1710 01:36:00,687 --> 01:36:02,263 {\an1}MAN, AS HEMINGWAY: "IT'S REALLY AN AWFULLY 1711 01:36:02,287 --> 01:36:05,187 {\an1}SIMPLE OPERATION, JIG," THE MAN SAID. 1712 01:36:05,221 --> 01:36:08,021 "IT'S NOT REALLY AN OPERATION AT ALL." 1713 01:36:08,054 --> 01:36:12,254 {\an1}THE GIRL LOOKED AT THE GROUND THE TABLE LEGS RESTED ON. 1714 01:36:12,287 --> 01:36:14,587 {\an1}"I KNOW YOU WOULDN'T MIND IT, JIG. 1715 01:36:14,621 --> 01:36:16,421 {\an1}"IT'S REALLY NOT ANYTHING. 1716 01:36:16,454 --> 01:36:19,654 {\an1}IT'S JUST TO LET THE AIR IN." 1717 01:36:19,687 --> 01:36:21,787 {\an1}THE GIRL DID NOT SAY ANYTHING. 1718 01:36:21,821 --> 01:36:23,821 {\an1}"I'LL GO WITH YOU, AND I'LL STAY WITH YOU 1719 01:36:23,854 --> 01:36:25,321 "ALL THE TIME. 1720 01:36:25,354 --> 01:36:26,854 {\an1}"THEY JUST LET THE AIR IN, 1721 01:36:26,887 --> 01:36:29,154 AND THEN IT'S ALL PERFECTLY NATURAL." 1722 01:36:29,187 --> 01:36:31,954 {\an1}"THEN WHAT WILL WE DO AFTERWARD?" 1723 01:36:31,987 --> 01:36:33,454 {\an1}"WE'LL BE FINE AFTERWARD. 1724 01:36:33,487 --> 01:36:35,621 {\an1}JUST LIKE WE WERE BEFORE." 1725 01:36:35,654 --> 01:36:38,154 {\an1}"WHAT MAKES YOU THINK SO?" 1726 01:36:38,187 --> 01:36:41,221 {\an7}"THAT'S THE ONLY THING THAT BOTHERS US. 1727 01:36:41,254 --> 01:36:44,521 {\an7}IT'S THE ONLY THING THAT'S MADE US UNHAPPY." 1728 01:36:46,721 --> 01:36:49,654 {\an1}MANDEL: HE KNOWS WHAT HE WANTS. 1729 01:36:49,687 --> 01:36:52,321 {\an1}HE WANTS ONE THING, IT'S "GET RID OF THIS THING," 1730 01:36:52,354 --> 01:36:54,054 {\an7}BUT HE CAN'T TELL HER THAT. 1731 01:36:54,087 --> 01:36:58,187 {\an7}SO HE SAYS, "I ONLY WANT WHAT YOU WANT." 1732 01:36:58,221 --> 01:37:00,754 HE SAYS, "I'LL DO WHATEVER YOU SAY. 1733 01:37:00,787 --> 01:37:02,954 {\an1}DON'T DO ANYTHING THAT YOU DON'T WANT TO DO," 1734 01:37:02,987 --> 01:37:07,121 {\an1}BUT HE'S PUSHING AND PUSHING AND PUSHING AND PUSHING. 1735 01:37:07,154 --> 01:37:10,454 {\an1}IT IS PAINFUL TO WATCH THIS GOING ON. 1736 01:37:10,487 --> 01:37:14,021 {\an1}IT IS RECOGNIZABLE FOR MOST WOMEN 1737 01:37:14,054 --> 01:37:16,521 {\an1}TO... EVEN IF IT'S NOT THE SITUATION... 1738 01:37:16,554 --> 01:37:22,454 {\an1}THE PUSHING, THE INSISTENCE, THE MASCULINE ASSERTION, 1739 01:37:22,487 --> 01:37:26,887 {\an1}AND THEN, SHE FINALLY SAYS... AND THIS IS, I THINK, 1740 01:37:26,921 --> 01:37:30,754 ONE OF GREAT UNDERSTATED SENTENCES... 1741 01:37:30,787 --> 01:37:38,787 {\an1}SHE SAYS TO HIM, "WOULD YOU PLEASE PLEASE PLEASE PLEASE 1742 01:37:39,787 --> 01:37:46,254 {\an1}PLEASE PLEASE PLEASE STOP TALKING?" 1743 01:37:47,921 --> 01:37:51,021 {\an1}WE DON'T KNOW WHAT SHE'S GOING TO DECIDE. 1744 01:37:51,054 --> 01:37:54,221 {\an1}SHE'S... MAYBE TO KEEP THE RELATIONSHIP, 1745 01:37:54,254 --> 01:37:56,221 {\an1}SHE WILL DO WHAT HE SAYS, 1746 01:37:56,254 --> 01:37:59,421 {\an1}BUT IF SHE DOES THAT, THE RELATIONSHIP IS OVER. 1747 01:37:59,454 --> 01:38:04,787 {\an1}MAYBE SHE WILL KEEP IT AND JUST BE WITH HERSELF AND THE BABY. 1748 01:38:04,821 --> 01:38:07,087 {\an1}MAYBE SHE WILL GET RID OF THE BABY 1749 01:38:07,121 --> 01:38:08,821 {\an1}AND CARRY ON HER LIFE. 1750 01:38:08,854 --> 01:38:12,487 {\an1}WHATEVER SHE DOES, HER LIFE WILL BE DIFFERENT. 1751 01:38:12,521 --> 01:38:14,387 {\an1}MAN, AS HEMINGWAY: HE DRANK AN ANIS AT THE BAR 1752 01:38:14,421 --> 01:38:16,787 {\an1}AND LOOKED AT THE PEOPLE. 1753 01:38:16,821 --> 01:38:19,987 {\an1}THEY WERE ALL WAITING REASONABLY FOR THE TRAIN. 1754 01:38:22,587 --> 01:38:25,754 HE WENT OUT THROUGH THE BEAD CURTAIN. 1755 01:38:25,787 --> 01:38:29,621 {\an1}SHE WAS SITTING AT THE TABLE AND SMILED AT HIM. 1756 01:38:29,654 --> 01:38:32,754 {\an1}"DO YOU FEEL BETTER?" HE ASKED. 1757 01:38:32,787 --> 01:38:34,787 {\an1}"I FEEL FINE," SHE SAID. 1758 01:38:34,821 --> 01:38:36,954 {\an1}"THERE'S NOTHING WRONG WITH ME. 1759 01:38:36,987 --> 01:38:39,054 I FEEL FINE." 1760 01:38:45,787 --> 01:38:47,521 {\an1}NARRATOR: IN MARCH OF 1928, 1761 01:38:47,554 --> 01:38:51,254 {\an1}HEMINGWAY AND PAULINE LEFT FRANCE. 1762 01:38:51,287 --> 01:38:53,621 {\an1}SHE WAS PREGNANT NOW, AND THEY WANTED TO HAVE 1763 01:38:53,654 --> 01:38:56,254 {\an1}THEIR BABY IN THE UNITED STATES. 1764 01:38:56,287 --> 01:38:57,821 {\an1}HEMINGWAY WAS RECOVERING 1765 01:38:57,854 --> 01:39:00,887 {\an1}FROM A SECOND SERIOUS HEAD INJURY CAUSED 1766 01:39:00,921 --> 01:39:04,421 {\an1}WHEN HE ACCIDENTALLY PULLED A SKYLIGHT DOWN ON HIS HEAD, 1767 01:39:04,454 --> 01:39:07,254 {\an1}LEAVING A PERMANENT SCAR, 1768 01:39:07,287 --> 01:39:09,254 {\an1}BUT HE HAD BEGUN A NEW NOVEL, 1769 01:39:09,287 --> 01:39:12,654 {\an1}A STORY ABOUT A WOUNDED SOLDIER WHO FALLS IN LOVE 1770 01:39:12,687 --> 01:39:15,821 WITH THE NURSE WHO CARES FOR HIM. 1771 01:39:15,854 --> 01:39:19,321 {\an1}THE HEMINGWAYS RENTED A HOUSE IN KEY WEST, FLORIDA, 1772 01:39:19,354 --> 01:39:21,487 {\an1}WHERE ERNEST ENJOYED OCEAN FISHING 1773 01:39:21,521 --> 01:39:23,387 {\an1}FOR THE FIRST TIME. 1774 01:39:25,787 --> 01:39:27,921 THEY THEN MOVED TO PAULINE'S PARENTS' HOME 1775 01:39:27,954 --> 01:39:31,654 {\an1}IN PIGGOTT, ARKANSAS, AS THE BABY'S ARRIVAL NEARED, 1776 01:39:31,687 --> 01:39:37,321 {\an1}AND SPENT A MONTH IN KANSAS CITY WHERE, ON JUNE 28, 1928, 1777 01:39:37,354 --> 01:39:40,787 {\an1}PATRICK HEMINGWAY WAS BORN BY CAESARIAN SECTION 1778 01:39:40,821 --> 01:39:43,554 {\an1}AFTER A DIFFICULT LABOR. 1779 01:39:43,587 --> 01:39:48,454 THEY RETURNED TO ARKANSAS TOGETHER, 1780 01:39:48,487 --> 01:39:51,787 {\an1}BUT THEN HEMINGWAY HEADED WEST ALONE, 1781 01:39:51,821 --> 01:39:55,187 {\an1}WRITING AS HE WENT, WORKING AND REWORKING 1782 01:39:55,221 --> 01:39:58,154 {\an1}THE BOOK THAT NOW CONSUMED HIM. 1783 01:39:58,187 --> 01:40:02,121 {\an1}IT WOULD BE CALLED "A FAREWELL TO ARMS." 1784 01:40:04,254 --> 01:40:06,387 {\an1}MAN, AS HEMINGWAY: I REMEMBER LIVING IN THE BOOK 1785 01:40:06,421 --> 01:40:09,987 {\an1}AND MAKING UP WHAT HAPPENED IN IT EVERY DAY. 1786 01:40:10,021 --> 01:40:11,721 {\an1}MAKING THE COUNTRY AND THE PEOPLE 1787 01:40:11,754 --> 01:40:14,187 {\an1}AND THE THINGS THAT HAPPENED, 1788 01:40:14,221 --> 01:40:17,887 I WAS HAPPIER THAN I HAD EVER BEEN. 1789 01:40:17,921 --> 01:40:20,787 {\an1}EACH DAY I READ THE BOOK THROUGH FROM THE BEGINNING 1790 01:40:20,821 --> 01:40:23,621 TO THE POINT WHERE I WENT ON WRITING, 1791 01:40:23,654 --> 01:40:27,154 {\an1}AND EACH DAY I STOPPED WHEN I WAS STILL GOING GOOD 1792 01:40:27,187 --> 01:40:29,521 AND WHEN I KNEW WHAT WOULD HAPPEN NEXT. 1793 01:40:34,054 --> 01:40:37,054 {\an1}IN THE LATE SUMMER OF THAT YEAR, WE LIVED IN A HOUSE 1794 01:40:37,087 --> 01:40:39,454 {\an1}IN A VILLAGE THAT LOOKED ACROSS THE RIVER 1795 01:40:39,487 --> 01:40:42,787 {\an1}AND THE PLAIN TO THE MOUNTAINS. 1796 01:40:42,821 --> 01:40:46,187 {\an1}IN THE BED OF THE RIVER, THERE WERE PEBBLES AND BOULDERS, 1797 01:40:46,221 --> 01:40:48,554 {\an1}DRY AND WHITE IN THE SUN, 1798 01:40:48,587 --> 01:40:51,054 {\an1}AND THE WATER WAS CLEAR AND SWIFTLY MOVING 1799 01:40:51,087 --> 01:40:53,921 {\an1}AND BLUE IN THE CHANNELS. 1800 01:40:53,954 --> 01:40:57,087 {\an1}TROOPS WENT BY THE HOUSE AND DOWN THE ROAD... 1801 01:40:57,121 --> 01:40:58,763 {\an1}MAN AND EDNA O'BRIEN: AND THE DUST THEY RAISED 1802 01:40:58,787 --> 01:41:01,254 {\an1}POWDERED THE LEAVES OF THE TREES. 1803 01:41:01,287 --> 01:41:02,987 {\an1}THE TRUNKS OF THE TREES, TOO... 1804 01:41:03,021 --> 01:41:04,754 {\an1}EDNA O'BRIEN: "WERE DUSTY, 1805 01:41:04,787 --> 01:41:07,387 {\an1}"AND THE LEAVES FELL EARLY THAT YEAR, 1806 01:41:07,421 --> 01:41:10,454 {\an1}"AND WE SAW THE TROOPS MARCHING ALONG THE ROAD 1807 01:41:10,487 --> 01:41:13,487 {\an1}"AND THE DUST RISING AND LEAVES, 1808 01:41:13,521 --> 01:41:15,887 {\an1}"STIRRED BY THE BREEZE, FALLING 1809 01:41:15,921 --> 01:41:17,287 {\an1}"AND THE SOLDIERS MARCHING 1810 01:41:17,321 --> 01:41:21,554 {\an1}"AND AFTERWARDS THE ROAD BARE 1811 01:41:21,587 --> 01:41:27,754 {\an8}AND WHITE EXCEPT FOR THE LEAVES." 1812 01:41:27,787 --> 01:41:30,454 {\an7}CUSHMAN: I READ THAT PARAGRAPH, AND I WANT TO CRY. 1813 01:41:30,487 --> 01:41:33,321 {\an1}IT'S INCREDIBLY BEAUTIFUL. 1814 01:41:33,354 --> 01:41:38,087 {\an1}HE BROKE EVERY RULE, ALL THE REPETITION. 1815 01:41:38,121 --> 01:41:43,487 IN 4 SENTENCES, THE WORD "AND" 15 TIMES. 1816 01:41:43,521 --> 01:41:48,687 {\an1}WHAT'S GOING ON IS JUST AN UNFORGETTABLE DISPLAY 1817 01:41:48,721 --> 01:41:51,854 {\an1}OF RHYTHMIC MASTERY. 1818 01:41:51,887 --> 01:41:56,854 {\an1}THERE'S A KIND... ALMOST A KIND OF HYPNOSIS, AN INCANTATION 1819 01:41:56,887 --> 01:42:00,054 THAT I THINK IS ABOUT THE FRAME OF MIND 1820 01:42:00,087 --> 01:42:02,687 THAT YOU'RE GOING INTO THE WAR WITH. 1821 01:42:02,721 --> 01:42:06,654 {\an1}[BACH'S "CELLO SUITE NO. 4, PRELUDE" PLAYING] 1822 01:42:09,787 --> 01:42:12,587 EDNA O'BRIEN: BY RELISTENING TO BACH 1823 01:42:12,621 --> 01:42:15,087 {\an1}AND BY RECOGNIZING THE REPETITION 1824 01:42:15,121 --> 01:42:18,921 {\an1}OF PARTICULAR NOTES IN BACH, 1825 01:42:18,954 --> 01:42:23,987 {\an1}THAT THAT WAS INSPIRATION FOR WRITING "A FAREWELL TO ARMS." 1826 01:42:26,054 --> 01:42:29,654 NARRATOR: UNLIKE "THE SUN ALSO RISES," 1827 01:42:29,687 --> 01:42:33,421 {\an1}"A FAREWELL TO ARMS" WAS EXPLICITLY ABOUT THE GREAT WAR. 1828 01:42:33,454 --> 01:42:36,421 ITS PROTAGONIST LIEUTENANT FREDERIC HENRY 1829 01:42:36,454 --> 01:42:40,954 {\an1}IS AN AMERICAN AMBULANCE DRIVER ATTACHED TO THE ITALIAN ARMY, 1830 01:42:40,987 --> 01:42:43,987 {\an1}WHO IS WOUNDED AND FALLS IN LOVE WITH A NURSE 1831 01:42:44,021 --> 01:42:47,287 {\an1}NAMED CATHERINE BARKLEY, WHO IS MOURNING A LOVER 1832 01:42:47,321 --> 01:42:50,654 {\an1}KILLED IN THE WAR. 1833 01:42:50,687 --> 01:42:54,221 {\an1}DRAWN FROM HIS OWN EXPERIENCES, THE STORIES HE HEARD, 1834 01:42:54,254 --> 01:42:57,687 {\an1}AND HIS OWN DOGGED RESEARCH, THE BOOK'S DISILLUSIONMENT 1835 01:42:57,721 --> 01:43:01,254 {\an1}WITH THE WAR WOULD SPEAK TO... AND FOR... 1836 01:43:01,287 --> 01:43:03,454 {\an1}THOSE WHO HAD LIVED THROUGH IT. 1837 01:43:08,221 --> 01:43:09,897 {\an1}MAN, AS HEMINGWAY: I WAS ALWAYS EMBARRASSED 1838 01:43:09,921 --> 01:43:14,587 {\an1}BY THE WORDS SACRED, GLORIOUS, AND SACRIFICE 1839 01:43:14,621 --> 01:43:17,354 {\an1}AND THE EXPRESSION IN VAIN. 1840 01:43:19,721 --> 01:43:22,021 {\an1}WE HAD HEARD THEM, SOMETIMES STANDING 1841 01:43:22,054 --> 01:43:24,187 {\an1}IN THE RAIN ALMOST OUT OF EARSHOT, 1842 01:43:24,221 --> 01:43:27,187 {\an1}SO THAT ONLY THE SHOUTED WORDS CAME THROUGH, 1843 01:43:27,221 --> 01:43:29,521 AND HAD READ THEM ON PROCLAMATIONS 1844 01:43:29,554 --> 01:43:31,387 {\an1}THAT WERE SLAPPED UP BY BILLPOSTERS 1845 01:43:31,421 --> 01:43:35,487 {\an1}OVER OTHER PROCLAMATIONS, NOW FOR A LONG TIME... 1846 01:43:37,621 --> 01:43:39,854 {\an1}AND I HAD SEEN NOTHING SACRED, 1847 01:43:39,887 --> 01:43:43,254 {\an1}AND THE THINGS THAT WERE GLORIOUS HAD NO GLORY, 1848 01:43:43,287 --> 01:43:45,854 {\an1}AND THE SACRIFICES WERE LIKE THE STOCKYARDS 1849 01:43:45,887 --> 01:43:48,254 AT CHICAGO IF NOTHING WAS DONE 1850 01:43:48,287 --> 01:43:51,221 WITH THE MEAT EXCEPT TO BURY IT. 1851 01:43:51,254 --> 01:43:54,887 {\an1}THERE WERE MANY WORDS THAT YOU COULD NOT STAND TO HEAR, 1852 01:43:54,921 --> 01:43:58,821 {\an1}AND FINALLY ONLY THE NAMES OF PLACES HAD DIGNITY. 1853 01:44:00,687 --> 01:44:04,554 {\an1}CERTAIN NUMBERS WERE THE SAME WAY AND CERTAIN DATES, 1854 01:44:04,587 --> 01:44:07,454 {\an1}AND THESE WITH THE NAMES OF THE PLACES WERE 1855 01:44:07,487 --> 01:44:11,454 ALL YOU COULD SAY AND HAVE THEM MEAN ANYTHING. 1856 01:44:13,787 --> 01:44:17,154 {\an1}WOLFF: I DON'T KNOW OF ANYONE UP TO THAT POINT 1857 01:44:17,187 --> 01:44:21,154 {\an1}WHO HAD SAID THAT THAT WELL 1858 01:44:21,187 --> 01:44:26,287 {\an1}BECAUSE WE CAN'T SEEM TO STOP USING THAT KIND OF LANGUAGE 1859 01:44:26,321 --> 01:44:28,254 ABOUT WAR, 1860 01:44:28,287 --> 01:44:33,287 {\an1}AND IT IS OUR DUTY ALWAYS TO PUNCTURE IT, 1861 01:44:33,321 --> 01:44:38,087 {\an1}BUT NO ONE HAS EVER DONE IT THIS ELOQUENTLY. 1862 01:44:38,121 --> 01:44:42,321 {\an1}THE ACCUMULATING WEIGHT OF THOSE SENTENCES 1863 01:44:42,354 --> 01:44:45,954 {\an7}AND THE EMOTION, THE DISGUST, 1864 01:44:45,987 --> 01:44:50,654 {\an7}AND ALSO THE REVERENCE FOR WHAT HAS BEEN, IN FACT, DONE, 1865 01:44:50,687 --> 01:44:52,621 {\an7}THE DIGNITY OF THOSE PLACES 1866 01:44:52,654 --> 01:44:55,487 {\an1}THAT GATHER IN THOSE SENTENCES AS THEY GO ON, 1867 01:44:55,521 --> 01:44:59,321 {\an1}IT'S JUST BEAUTIFUL. 1868 01:44:59,354 --> 01:45:02,254 {\an1}NARRATOR: IN THE NOVEL, LIEUTENANT HENRY DESERTS 1869 01:45:02,287 --> 01:45:06,421 {\an1}AND FLEES TO NEUTRAL SWITZERLAND WITH CATHERINE BARKLEY. 1870 01:45:06,454 --> 01:45:08,687 {\an1}THEY HOPE TO MARRY AND BUILD A LIFE TOGETHER 1871 01:45:08,721 --> 01:45:11,221 {\an1}ONCE THE WAR IS OVER. 1872 01:45:11,254 --> 01:45:14,687 SHE IS PREGNANT, BUT SOMETHING GOES 1873 01:45:14,721 --> 01:45:17,821 TERRIBLY WRONG IN THE DELIVERY ROOM. 1874 01:45:17,854 --> 01:45:20,487 {\an1}DOCTORS PERFORM A CAESARIAN. 1875 01:45:20,521 --> 01:45:23,187 {\an1}THE BABY IS STILLBORN. 1876 01:45:23,221 --> 01:45:26,487 {\an1}CATHERINE'S LIFE EBBS AWAY. 1877 01:45:28,854 --> 01:45:31,521 {\an1}HEMINGWAY AGONIZED OVER THE ENDING, 1878 01:45:31,554 --> 01:45:34,921 {\an1}WRITING 47 VERSIONS OF THE FINAL PAGES 1879 01:45:34,954 --> 01:45:37,687 {\an1}BEFORE HE WAS SATISFIED. 1880 01:45:37,721 --> 01:45:45,721 ♪ 1881 01:45:52,654 --> 01:45:58,287 ♪ 1882 01:45:58,321 --> 01:46:01,287 {\an1}MAN, AS HEMINGWAY: I WENT TO THE DOOR OF THE ROOM. 1883 01:46:01,321 --> 01:46:04,687 {\an1}"YOU CAN'T COME IN NOW," ONE OF THE NURSES SAID. 1884 01:46:04,721 --> 01:46:07,621 {\an1}"YES I CAN," I SAID. 1885 01:46:07,654 --> 01:46:10,354 {\an1}"YOU CAN'T COME IN YET." 1886 01:46:10,387 --> 01:46:11,887 {\an1}"YOU GET OUT," I SAID. 1887 01:46:11,921 --> 01:46:15,921 {\an1}"THE OTHER ONE TOO." 1888 01:46:15,954 --> 01:46:18,721 {\an1}BUT AFTER I HAD GOT THEM OUT AND SHUT THE DOOR 1889 01:46:18,754 --> 01:46:23,421 {\an1}AND TURNED OFF THE LIGHT, IT WASN'T ANY GOOD. 1890 01:46:23,454 --> 01:46:26,454 {\an1}IT WAS LIKE SAYING GOODBYE TO A STATUE. 1891 01:46:26,487 --> 01:46:29,221 {\an1}[RAIN FALLING, THUNDER] 1892 01:46:29,254 --> 01:46:33,521 {\an1}AFTER A WHILE, I WENT OUT AND LEFT THE HOSPITAL 1893 01:46:33,554 --> 01:46:37,154 AND WALKED BACK TO THE HOTEL IN THE RAIN. 1894 01:46:41,054 --> 01:46:43,254 {\an1}EDNA O'BRIEN: PARTS OF "A FAREWELL TO ARMS" 1895 01:46:43,287 --> 01:46:46,054 {\an1}COULD HAVE BEEN WRITTEN BY A WOMAN. 1896 01:46:46,087 --> 01:46:48,921 {\an1}NOW, I REGARD THAT AS A COMPLIMENT. 1897 01:46:48,954 --> 01:46:51,554 {\an1}HEMINGWAY MIGHT REGARD IT AS AN INSULT, 1898 01:46:51,587 --> 01:46:57,121 {\an7}BUT I DON'T BECAUSE IT IS THE ANDROGYNY 1899 01:46:57,154 --> 01:47:02,121 {\an7}IN A MAN OR A WOMAN THAT ALLOWS THEM, EVEN IF BRIEFLY, 1900 01:47:02,154 --> 01:47:04,854 {\an7}NOT UTTERLY, TO BE ABLE TO PUT THEMSELVES 1901 01:47:04,887 --> 01:47:08,721 INSIDE THE SKIN OF THE OPPOSITE THING. 1902 01:47:08,754 --> 01:47:11,987 {\an1}IN MANY WAYS, I THINK IT'S HIS GREATEST NOVEL. 1903 01:47:12,021 --> 01:47:15,354 I DO. IT'S THE TRUEST. 1904 01:47:15,387 --> 01:47:18,187 {\an1}IT'S ALSO HEARTBREAKING. 1905 01:47:18,221 --> 01:47:22,654 I REMEMBER CRYING AND CRYING AND CRYING. 1906 01:47:22,687 --> 01:47:26,787 HE GETS THE... ALL THE... THE "BOY" STUFF, 1907 01:47:26,821 --> 01:47:28,154 THE "MAN" STUFF. 1908 01:47:28,187 --> 01:47:30,221 {\an1}HE GETS THE HORROR OF THE WAR, 1909 01:47:30,254 --> 01:47:33,321 BUT WHEN PEOPLE PUT THAT BOOK DOWN, 1910 01:47:33,354 --> 01:47:35,487 {\an1}WHAT DO THEY REMEMBER? 1911 01:47:35,521 --> 01:47:38,854 {\an1}THEY REMEMBER A WOMAN DYING IN CHILDBIRTH. 1912 01:47:40,754 --> 01:47:42,697 {\an1}MAN, AS HEMINGWAY: IF PEOPLE BRING SO MUCH COURAGE 1913 01:47:42,721 --> 01:47:45,654 TO THIS WORLD, THE WORLD HAS TO KILL THEM 1914 01:47:45,687 --> 01:47:47,387 TO BREAK THEM, 1915 01:47:47,421 --> 01:47:51,654 {\an1}SO OF COURSE IT KILLS THEM. 1916 01:47:51,687 --> 01:47:54,521 {\an1}THE WORLD BREAKS EVERYONE, AND AFTERWARD, 1917 01:47:54,554 --> 01:47:58,854 MANY ARE STRONG AT THE BROKEN PLACES, 1918 01:47:58,887 --> 01:48:03,154 {\an1}BUT THOSE THAT WILL NOT BREAK IT KILLS. 1919 01:48:03,187 --> 01:48:05,921 {\an1}IT KILLS THE VERY GOOD AND THE VERY GENTLE 1920 01:48:05,954 --> 01:48:09,987 {\an1}AND THE VERY BRAVE IMPARTIALLY. 1921 01:48:10,021 --> 01:48:12,387 {\an1}IF YOU ARE NONE OF THESE, YOU CAN BE SURE 1922 01:48:12,421 --> 01:48:14,587 {\an1}IT WILL KILL YOU, TOO, 1923 01:48:14,621 --> 01:48:17,154 BUT THERE WILL BE NO SPECIAL HURRY. 1924 01:48:23,687 --> 01:48:26,154 {\an1}NARRATOR: IN THE LATE FALL OF 1928, 1925 01:48:26,187 --> 01:48:30,721 {\an1}HEMINGWAY'S FATHER'S LIFE WAS SPIRALING SLOWLY DOWNWARD. 1926 01:48:30,754 --> 01:48:35,187 {\an1}THE ANXIETY THAT HAD ALWAYS HAUNTED HIM INTENSIFIED. 1927 01:48:35,221 --> 01:48:38,087 HIS PERIODS OF DEPRESSION LENGTHENED. 1928 01:48:38,121 --> 01:48:41,054 {\an1}HE SEEMED SUSPICIOUS OF EVERYONE AROUND HIM 1929 01:48:41,087 --> 01:48:44,254 {\an1}AND UNABLE TO SHAKE A SENSE OF DREAD. 1930 01:48:46,721 --> 01:48:50,487 {\an1}ON DECEMBER 6, ED HEMINGWAY CAME HOME AT NOON, 1931 01:48:50,521 --> 01:48:53,321 {\an1}BURNED SOME PERSONAL PAPERS IN THE BASEMENT, 1932 01:48:53,354 --> 01:48:56,721 {\an1}TOLD HIS WIFE HE THOUGHT HE'D LIE DOWN BEFORE LUNCH, 1933 01:48:56,754 --> 01:49:00,887 {\an1}AND CLIMBED THE STAIRS TO HIS BEDROOM. 1934 01:49:00,921 --> 01:49:06,887 {\an1}THEN HE SHOT HIMSELF WITH HIS FATHER'S CIVIL WAR REVOLVER. 1935 01:49:08,821 --> 01:49:10,987 {\an7}MAN, AS HEMINGWAY: MY FATHER WAS A COWARD. 1936 01:49:11,021 --> 01:49:14,021 {\an8}HE SHOT HIMSELF WITHOUT NECESSITY. 1937 01:49:14,054 --> 01:49:16,321 {\an7}AT LEAST I THOUGHT SO. 1938 01:49:16,354 --> 01:49:20,687 {\an1}I HAD GONE THROUGH IT MYSELF UNTIL I FIGURED IT IN MY HEAD. 1939 01:49:20,721 --> 01:49:23,087 {\an1}I KNEW WHAT IT WAS TO BE A COWARD 1940 01:49:23,121 --> 01:49:26,554 {\an1}AND WHAT IT WAS TO CEASE BEING A COWARD. 1941 01:49:28,654 --> 01:49:32,087 {\an1}NARRATOR: ERNEST PROMISED TO PAY HIS MOTHER A MONTHLY STIPEND, 1942 01:49:32,121 --> 01:49:33,987 {\an1}BUT HE WOULD PRIVATELY BLAME HER 1943 01:49:34,021 --> 01:49:38,187 {\an1}FOR DRIVING HIS FATHER TO SUICIDE. 1944 01:49:38,221 --> 01:49:39,597 {\an1}MAN, AS HEMINGWAY: I HATED MY MOTHER 1945 01:49:39,621 --> 01:49:41,454 {\an1}AS SOON AS I KNEW THE SCORE 1946 01:49:41,487 --> 01:49:43,521 {\an1}AND LOVED MY FATHER UNTIL HE EMBARRASSED ME 1947 01:49:43,554 --> 01:49:45,687 {\an1}WITH HIS COWARDICE. 1948 01:49:45,721 --> 01:49:49,487 {\an1}MY MOTHER IS AN ALL-TIME, ALL-AMERICAN BITCH, 1949 01:49:49,521 --> 01:49:52,021 {\an1}AND SHE WOULD MAKE A PACK MULE SHOOT HIMSELF, 1950 01:49:52,054 --> 01:49:55,621 {\an1}LET ALONE POOR BLOODY FATHER. 1951 01:49:55,654 --> 01:49:58,821 {\an1}HENDRICKSON: I THINK HEMINGWAY, AMONG HIS MANY, MANY FEARS, 1952 01:49:58,854 --> 01:50:02,354 WAS TERRIFIED "WILL THAT HAPPEN TO ME? 1953 01:50:02,387 --> 01:50:05,387 {\an1}WILL I BECOME MY FATHER?" 1954 01:50:05,421 --> 01:50:11,954 {\an7}IN THIS CHRISTIAN, MIDWESTERN, SUBURBAN ILLINOIS FAMILY 1955 01:50:11,987 --> 01:50:16,454 {\an8}OF A UNIT OF 8, OF 2 PARENTS 1956 01:50:16,487 --> 01:50:18,954 AND 6 CHILDREN... 1957 01:50:18,987 --> 01:50:24,554 {\an1}4, AT LEAST 4 DESTROYED THEMSELVES BY THEIR OWN HAND, 1958 01:50:24,587 --> 01:50:26,721 4 OUT OF THE 8. 1959 01:50:31,587 --> 01:50:35,421 {\an1}NARRATOR: IN SEPTEMBER OF 1929, "A FAREWELL TO ARMS" 1960 01:50:35,454 --> 01:50:37,754 WAS PUBLISHED. 1961 01:50:37,787 --> 01:50:42,554 {\an1}THE REACTION WAS EVERYTHING HEMINGWAY HAD HOPED FOR. 1962 01:50:42,587 --> 01:50:47,321 {\an7}"SCRIBNER'S" MAGAZINE HAD PAID $16,000 TO SERIALIZE IT... 1963 01:50:47,354 --> 01:50:51,421 {\an1}MORE THAN IT HAD EVER PAID ANYONE BEFORE... 1964 01:50:51,454 --> 01:50:54,287 {\an1}AND WHEN THE JUNE ISSUE WAS BANNED IN BOSTON 1965 01:50:54,321 --> 01:50:58,121 {\an1}BECAUSE SOME PASSAGES WERE THOUGHT TOO "SALACIOUS," 1966 01:50:58,154 --> 01:51:01,321 {\an1}IT ONLY BOOSTED SALES. 1967 01:51:01,354 --> 01:51:05,287 {\an1}"A FAREWELL TO ARMS" CLIMBED ONTO THE BEST-SELLER LISTS 1968 01:51:05,321 --> 01:51:09,054 AND STAYED THERE WEEK AFTER WEEK. 1969 01:51:09,087 --> 01:51:15,421 {\an7}PARAMOUNT PICTURES PAID ANOTHER $24,000 FOR THE MOVIE RIGHTS. 1970 01:51:15,454 --> 01:51:18,154 BY THE AGE OF 30, ERNEST HEMINGWAY 1971 01:51:18,187 --> 01:51:21,854 {\an1}HAD SURVIVED HIS WAR WOUNDS, HAD MARRIED TWO WOMEN, 1972 01:51:21,887 --> 01:51:24,221 {\an1}AND FATHERED TWO SONS, 1973 01:51:24,254 --> 01:51:27,854 {\an1}HAD BURIED HIS FATHER, PUBLISHED 5 BOOKS 1974 01:51:27,887 --> 01:51:33,554 {\an1}AND WAS NOW THE MOST FAMOUS WRITER IN THE UNITED STATES. 1975 01:51:33,587 --> 01:51:36,521 {\an1}HIS FRIEND, THE NOVELIST JOHN DOS PASSOS, 1976 01:51:36,554 --> 01:51:38,654 {\an1}WROTE TO CONGRATULATE HIM. 1977 01:51:38,687 --> 01:51:41,387 {\an1}"DEAR HEM," HE SAID, "DO YOU REALIZE THAT 1978 01:51:41,421 --> 01:51:45,321 {\an1}YOU'RE NOW THE KING OF THE FICTION RACKET?" 1979 01:51:49,254 --> 01:51:51,987 {\an1}MAN, AS HEMINGWAY: I AM VERY PREJUDICED AGAINST SUICIDE 1980 01:51:52,021 --> 01:51:55,221 {\an1}BECAUSE SOMEHOW I WOULD NOT LIKE TO EVEN RUN A CHANCE 1981 01:51:55,254 --> 01:51:57,254 {\an1}OF HAVING TO SPEND THE REST OF THE TIME 1982 01:51:57,287 --> 01:52:00,821 {\an1}WITH A LOT OF THE SORT OF PEOPLE WHO COMMIT SUICIDE. 1983 01:52:00,854 --> 01:52:02,921 {\an1}ALTHOUGH OF COURSE THAT DOESN'T HOLD TRUE 1984 01:52:02,954 --> 01:52:05,354 BECAUSE THERE ARE SOME SWELL ONES. 1985 01:52:07,187 --> 01:52:09,587 {\an1}THE REAL REASON FOR NOT COMMITTING SUICIDE 1986 01:52:09,621 --> 01:52:12,421 {\an1}IS BECAUSE YOU ALWAYS KNOW HOW SWELL LIFE GETS AGAIN 1987 01:52:12,454 --> 01:52:14,521 {\an1}AFTER THE HELL IS OVER. 1988 01:52:14,554 --> 01:52:18,721 {\an1}SO YOU HAVE TO RESOLVE IN ADVANCE TO LAST OUT THE TIME 1989 01:52:18,754 --> 01:52:21,221 {\an1}WHEN YOU DON'T BELIEVE THAT. 1990 01:52:21,254 --> 01:52:24,654 ♪ 1991 01:52:27,921 --> 01:52:33,321 ♪ 1992 01:52:56,054 --> 01:53:04,054 ♪ 1993 01:53:24,921 --> 01:53:30,021 ♪ 1994 01:53:33,854 --> 01:53:36,221 ANNOUNCER: NEXT TIME ON "HEMINGWAY"... 1995 01:53:36,254 --> 01:53:37,997 {\an1}AMANDA VAILL: IN ORDER TO HAVE SOMETHING NEW TO WRITE, 1996 01:53:38,021 --> 01:53:39,821 {\an1}HE HAD TO HAVE SOMETHING NEW TO LIVE. 1997 01:53:39,854 --> 01:53:41,421 ANNOUNCER: ATOP THE LITERARY WORLD, 1998 01:53:41,454 --> 01:53:43,754 HEMINGWAY SEEKS NEW CHALLENGES... 1999 01:53:43,787 --> 01:53:45,854 {\an1}EDNA O'BRIEN: I THINK ORDINARY LIFE 2000 01:53:45,887 --> 01:53:47,787 {\an1}WAS ANATHEMA TO HIM. 2001 01:53:47,821 --> 01:53:50,087 {\an1}ANNOUNCER: REPORTS FROM THE FRONT LINES IN SPAIN... 2002 01:53:50,121 --> 01:53:51,830 {\an1}MAN, AS HEMINGWAY: IN THE MORNING, THE ROARING BURST 2003 01:53:51,854 --> 01:53:54,254 {\an1}OF A HIGH EXPLOSIVE SHELL WAKES YOU. 2004 01:53:54,287 --> 01:53:56,887 {\an1}ANNOUNCER: AND FALLS IN LOVE WITH MARTHA GELLHORN. 2005 01:53:56,921 --> 01:54:00,021 {\an1}SUSAN BEEGEL: MARTHA WAS A WOMAN WHO WOULD NOT BACK DOWN. 2006 01:54:00,054 --> 01:54:03,354 {\an1}ANNOUNCER: WHEN "HEMINGWAY" CONTINUES NEXT TIME. 2007 01:54:04,154 --> 01:54:05,987 {\an7}ANNOUNCER: DIVE DEEPER INTO THIS FILM 2008 01:54:06,021 --> 01:54:08,121 {\an7}BY VISITING PBS.ORG/HEMINGWAY 2009 01:54:08,154 --> 01:54:10,254 {\an7}AND THE PBS VIDEO APP. 2010 01:54:10,287 --> 01:54:14,387 {\an7}JOIN THE CONVERSATION WITH HASHTAG #HEMINGWAYPBS. 2011 01:54:14,421 --> 01:54:17,387 {\an7}TO ORDER "HEMINGWAY" ON DVD OR BLU-RAY 2012 01:54:17,421 --> 01:54:19,421 {\an8}OR THE BOOK "THE HEMINGWAY STORIES," 2013 01:54:19,454 --> 01:54:23,821 {\an7}VISIT SHOP PBS OR CALL 1-800-PLAY-PBS. 2014 01:54:23,854 --> 01:54:26,054 {\an7}THE CD IS ALSO AVAILABLE. 2015 01:54:26,087 --> 01:54:29,554 {\an7}"HEMINGWAY" IS ALSO AVAILABLE WITH PBS PASSPORT 2016 01:54:29,587 --> 01:54:32,987 {\an7}AND ON AMAZON PRIME VIDEO. 2017 01:54:46,254 --> 01:54:52,221 ♪ 2018 01:55:10,121 --> 01:55:12,621 ♪ 2019 01:55:14,021 --> 01:55:15,654 {\an7}ANNOUNCER: MAJOR FUNDING FOR "HEMINGWAY" 2020 01:55:15,687 --> 01:55:18,354 {\an8}WAS PROVIDED BY THE BETTER ANGELS SOCIETY 2021 01:55:18,387 --> 01:55:20,121 {\an1}AND BY ITS MEMBERS: 2022 01:55:20,154 --> 01:55:22,587 {\an1}THE ELIZABETH RUTH WALLACE LIVING TRUST, 2023 01:55:22,621 --> 01:55:24,521 {\an1}JOHN AND LESLIE McQUOWN, 2024 01:55:24,554 --> 01:55:26,221 {\an1}JOHN AND CATHERINE DEBS, 2025 01:55:26,254 --> 01:55:28,954 {\an1}THE FULLERTON FAMILY CHARITABLE TRUST, 2026 01:55:28,987 --> 01:55:31,954 {\an1}KISSICK FAMILY FOUNDATION, GAIL ELDEN, 2027 01:55:31,987 --> 01:55:33,554 {\an1}GILCHRIST AND AMY BERG, 2028 01:55:33,587 --> 01:55:35,154 {\an1}ROBERT AND BEVERLY GRAPPONE, 2029 01:55:35,187 --> 01:55:37,621 {\an1}AND MAUREE JANE AND MARK PERRY. 2030 01:55:37,654 --> 01:55:42,021 {\an1}ADDITIONAL FUNDING WAS PROVIDED BY THE ANNENBERG FOUNDATION, 2031 01:55:42,054 --> 01:55:44,587 {\an1}THE ARTHUR VINING DAVIS FOUNDATIONS, 2032 01:55:44,621 --> 01:55:47,121 THE CORPORATION FOR PUBLIC BROADCASTING, 2033 01:55:47,154 --> 01:55:50,387 {\an1}AND BY CONTRIBUTIONS TO YOUR PBS STATION 2034 01:55:50,421 --> 01:55:52,454 {\an1}FROM VIEWERS LIKE YOU. 2035 01:55:52,487 --> 01:55:55,021 THANK YOU.