Description of Hortons Bay as a run-down, deserted town

Adriana Ivancich. The platonic love affair inspired the novel Across the River and into the Trees, written in Cuba during a time of strife with Mary, and published in 1950 to negative reviews. The following year, furious at the critical reception of Across the River and Into the Trees, he wrote the draft of The Old Man and the Sea in eight weeks, saying that it was "the best I can write ever for all of my life". The Old Man and the Sea became a book-of-the-month selection, made Hemingway an international celebrity, and won the Pulitzer Prize in May 1952, a month before he left for his second trip to Africa.In 1954, while in Africa, Hemingway was almost fatally injured in two successive plane crashes. He chartered a sightseeing flight over the Belgian Congo as a Christmas present to Mary. On their way to photograph Murchison Falls from the air, the plane struck an abandoned utility pole and "crash landed in heavy brush". Hemingway's injuries included a head wound, while Mary broke two ribs. The next day, attempting to reach medical care in Entebbe, they boarded a second plane that exploded at take-off, with Hemingway suffering burns and another concussion, this one serious enough to cause leaking of cerebral fluid. They eventually arrived in Entebbe to find reporters covering the story of Hemingway's death. He briefed the reporters and spent the next few weeks recuperating and reading his erroneous obituaries. Despite his injuries, Hemingway accompanied Patrick and his wife on a planned fishing expedition in February, but pain caused him to be irascible and difficult to get along with. When a bushfire broke out, he was again injured, sustaining second degree burns on his legs, front torso, lips, left hand and right forearm. Months later in Venice, Mary reported to friends the full extent of Hemingway's injuries: two cracked discs, a kidney and liver rupture, a dislocated shoulder and a broken skull. The accidents may have precipitated the physical deterioration that was to follow. After the plane crashes, Hemingway, who had been "a thinly controlled alcoholic throughout much of his life, drank more heavily than usual to combat the pain of his injuries." In October 1954, Hemingway received the Nobel Prize in Literature. He modestly told the press that Carl Sandburg, Isak Dinesen and Bernard Berenson deserved the prize, but he gladly accepted the prize money. Mellow says Hemingway "had coveted the Nobel Prize", but when he won it, months after his plane accidents and the ensuing worldwide press coverage, "there must have been a lingering suspicion in Hemingway's mind that his obituary notices had played a part in the academy's decision." Because he was suffering pain from the African accidents, he decided against traveling to Stockholm. Instead he sent a speech to be read, defining the writer's life: Writing, at its best, is a lonely life. Organizations for writers palliate the writer's loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day. From the end of the year in 1955 to early 1956, Hemingway was bedridden. He was told to stop drinking to mitigate liver damage, advice he initially followed but then disregarded. In October 1956, he returned to Europe and met Basque writer Pio Baroja, who was seriously ill and died weeks later. During the trip, Hemingway became sick again and was treated for "high blood pressure, liver disease, and arteriosclerosis". In November 1956, while staying in Paris, he was reminded of trunks he had stored in the Ritz Hotel in 1928 and never retrieved. Upon re-claiming and opening the trunks, Hemingway discovered they were filled with notebooks and writing from his Paris years. Excited about the discovery, when he returned to Cuba in early 1957, he began to shape the recovered work into his memoir A Moveable Feast. By 1959 he ended a period of intense activity: he finished A Moveable Feast (scheduled to be released the following year); brought True at First Light to 200,000 words; added chapters to The Garden of Eden; and worked on Islands in the Stream. The last three were stored in a safe deposit box in Havana, as he focused on the finishing touches for A Moveable Feast. Author Michael Reynolds claims it was during this period that Hemingway slid into depression, from which he was unable to recover.The Finca Vigía became crowded with guests and tourists, as Hemingway, beginning to become unhappy with life there, considered a permanent move to Idaho. In 1959 he bought a home overlooking the Big Wood River, outside Ketchum, and left Cuba—although he apparently remained on easy terms with the Castro government, telling The New York Times he was "delighted" with Castro's overthrow of Batista. He was in Cuba in November 1959, between returning from Pamplona and traveling west to Idaho, and the following year for his 61st birthday; however, that year he and Mary decided to leave after hearing the news that Castro wanted to nationalize property owned by Americans and other foreign nationals. On July 25, 1960, the Hemingways left Cuba for the last time, leaving art and manuscripts in a bank vault in Havana. After the 1961 Bay of Pigs Invasion, the Finca Vigía was expropriated by the Cuban government, complete with Hemingway's collection of "four to six thousand books". President Kennedy arranged for Mary Hemingway to travel to Cuba where she met Fidel Castro and obtained her husband's papers and painting in return for donating Finca Vigía to Cuba. In 1964 Mary contacted Jacqueline Kennedy to offer the Hemingway papers to the JFK Presidential Library and Museum. Hemingway continued to rework the material that was published as A Moveable Feast through the 1950s. In mid-1959, he visited Spain to research a series of bullfighting articles commissioned by Life magazine. Life wanted only 10,000 words, but the manuscript grew out of control. He was unable to organize his writing for the first time in his life, so he asked A. E. Hotchner to travel to Cuba to help him. Hotchner helped him trim the Life piece down to 40,000 words, and Scribner's agreed to a full-length book version (The Dangerous Summer) of almost 130,000 words. Hotchner found Hemingway to be "unusually hesitant, disorganized, and confused", and suffering badly from failing eyesight. Hemingway and Mary left Cuba for the last time on July 25, 1960. He set up a small office in his New York City apartment and attempted to work, but he left soon after. He then traveled alone to Spain to be photographed for the front cover of Life magazine. A few days later, the news reported that he was seriously ill and on the verge of dying, which panicked Mary until she received a cable from him telling her, "Reports false. Enroute Madrid. Love Papa." He was, in fact, seriously ill, and believed himself to be on the verge of a breakdown. Feeling lonely, he took to his bed for days, retreating into silence, despite having the first installments of The Dangerous Summer published in Life in September 1960 to good reviews. In October, he left Spain for New York, where he refused to leave Mary's apartment, presuming that he was being watched. She quickly took him to Idaho, where physician George Saviers met them at the train.At this time, Hemingway was constantly worried about money and his safety. He worried about his taxes and that he would never return to Cuba to retrieve the manuscripts that he had left in a bank vault. He became paranoid, thinking that the FBI was actively monitoring his movements in Ketchum. The FBI had, in fact, opened a file on him during World War II, when he used the Pilar to patrol the waters off Cuba, and J. Edgar Hoover had an agent in Havana watch him during the 1950s. By the end of November, Mary was at her wits' end; Saviers flew Hemingway to the Mayo Clinic in Minnesota, for hypertension treatments he told his patient. The FBI knew that Hemingway was at the Mayo Clinic, as an agent later documented in a letter written in January 1961.Hemingway was checked in under Saviers's name to maintain anonymity. Meyers writes that "an aura of secrecy surrounds Hemingway's treatment at the Mayo" but confirms that he was treated with electroconvulsive therapy (ECT) as many as 15 times in December 1960 and was "released in ruins" in January 1961. Reynolds gained access to Hemingway's records at the Mayo, which document ten ECT sessions. The doctors in Rochester told Hemingway the depressive state for which he was being treated may have been caused by his long-term use of Reserpine and Ritalin.Hemingway was back in Ketchum in April 1961, three months after being released from the Mayo Clinic, when Mary "found Hemingway holding a shotgun" in the kitchen one morning. She called Saviers, who sedated him and admitted him to the Sun Valley Hospital; and once the weather cleared Saviers flew again to Rochester with his patient. Hemingway underwent three electroshock treatments during that visit. He was released at the end of June and was home in Ketchum on June 30. Two days later he "quite deliberately" shot himself with his favorite shotgun in the early morning hours of July 2, 1961. He had unlocked the basement storeroom where his guns were kept, gone upstairs to the front entrance foyer, and shot himself with the "double-barreled shotgun that he had used so often it might have been a friend".Mary called the Sun Valley Hospital, and a doctor quickly arrived at the house, determining that Hemingway "had died of a self-inflicted wound to the head". Mary was sedated and taken to the hospital, returning home the next day where she cleaned the house and saw to the funeral and travel arrangements. Bernice Kert writes that it "did not seem to her a conscious lie" when she told the press that his death had been accidental. In a press interview five years later, Mary confirmed that he had shot himself. Family and friends flew to Ketchum for the funeral, officiated by the local Catholic priest, who believed that the death had been accidental. An altar boy fainted at the head of the casket during the funeral, and Hemingway's brother Leicester wrote: "It seemed to me Ernest would have approved of it all." He is buried in the Ketchum cemetery.Hemingway's behavior during his final years had been similar to that of his father before he killed himself; his father may have had hereditary haemochromatosis, whereby the excessive accumulation of iron in tissues culminates in mental and physical deterioration. Medical records made available in 1991 confirmed that Hemingway had been diagnosed with hemochromatosis in early 1961. His sister Ursula and his brother Leicester also killed themselves. Other theories have arisen to explain Hemingway's decline in mental health, including that multiple concussions during his life may have caused him to develop chronic traumatic encephalopathy (CTE), leading to his eventual suicide. Hemingway's health was further complicated by heavy drinking throughout most of his life.A memorial to Hemingway just north of Sun Valley is inscribed on the base with a eulogy Hemingway had written for a friend several decades earlier: Best of all he loved the fall the leaves yellow on cottonwoods leaves floating on trout streams and above the hills the high blue windless skies ...Now he will be a part of them forever. The New York Times wrote in 1926 of Hemingway's first novel, "No amount of analysis can convey the quality of The Sun Also Rises. It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame." The Sun Also Rises is written in the spare, tight prose that made Hemingway famous, and, according to James Nagel, "changed the nature of American writing." In 1954, when Hemingway was awarded the Nobel Prize for Literature, it was for "his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style." Henry Louis Gates believes Hemingway's style was fundamentally shaped "in reaction to [his] experience of world war". After World War I, he and other modernists "lost faith in the central institutions of Western civilization" by reacting against the elaborate style of 19th-century writers and by creating a style "in which meaning is established through dialogue, through action, and silences—a fiction in which nothing crucial—or at least very little—is stated explicitly."Hemingway's fiction often used grammatical and stylistic structures from languages other than English. Critics Allen Josephs, Mimi Gladstein, and Jeffrey Herlihy-Mera have studied how Spanish influenced Hemingway's prose, which sometimes appears directly in the other language (in italics, as occurs in The Old Man and the Sea) or in English as literal translations. He also often used bilingual puns and crosslingual wordplay as stylistic devices.Because he began as a writer of short stories, Baker believes Hemingway learned to "get the most from the least, how to prune language, how to multiply intensities and how to tell nothing but the truth in a way that allowed for telling more than the truth." Hemingway called his style the iceberg theory: the facts float above water; the supporting structure and symbolism operate out of sight. The concept of the iceberg theory is sometimes referred to as the "theory of omission". Hemingway believed the writer could describe one thing (such as Nick Adams fishing in "The Big Two-Hearted River") though an entirely different thing occurs below the surface (Nick Adams concentrating on fishing to the extent that he does not have to think about anything else). Paul Smith writes that Hemingway's first stories, collected as In Our Time, showed he was still experimenting with his writing style. He avoided complicated syntax. About 70 percent of the sentences are simple sentences—a childlike syntax without subordination.Jackson Benson believes Hemingway used autobiographical details as framing devices about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out with "what if" scenarios: "what if I were wounded in such a way that I could not sleep at night? What if I were wounded and made crazy, what would happen if I were sent back to the front?" Writing in "The Art of the Short Story", Hemingway explains: "A few things I have found to be true. If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff that you, not your editors, omit."The simplicity of the prose is deceptive. Zoe Trodd believes Hemingway crafted skeletal sentences in response to Henry James's observation that World War I had "used up words". Hemingway offers a "multi-focal" photographic reality. His iceberg theory of omission is the foundation on which he builds. The syntax, which lacks subordinating conjunctions, creates static sentences. The photographic "snapshot" style creates a collage of images. Many types of internal punctuation (colons, semicolons, dashes, parentheses) are omitted in favor of short declarative sentences. The sentences build on each other, as events build to create a sense of the whole. Multiple strands exist in one story; an "embedded text" bridges to a different angle. He also uses other cinematic techniques of "cutting" quickly from one scene to the next; or of "splicing" a scene into another. Intentional omissions allow the reader to fill the gap, as though responding to instructions from the author, and create three-dimensional prose. Hemingway habitually used the word "and" in place of commas. This use of polysyndeton may serve to convey immediacy. Hemingway's polysyndetonic sentence—or in later works his use of subordinate clauses—uses conjunctions to juxtapose startling visions and images. Benson compares them to haikus. Many of Hemingway's followers misinterpreted his lead and frowned upon all expression of emotion; Saul Bellow satirized this style as "Do you have emotions? Strangle them." However, Hemingway's intent was not to eliminate emotion, but to portray it more scientifically. Hemingway thought it would be easy, and pointless, to describe emotions; he sculpted collages of images in order to grasp "the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or in ten years or, with luck and if you stated it purely enough, always". This use of an image as an objective correlative is characteristic of Ezra Pound, T. S. Eliot, James Joyce, and Proust. Hemingway's letters refer to Proust's Remembrance of Things Past several times over the years, and indicate he read the book at least twice. Hemingway's writing includes themes of love, war, travel, wilderness, and loss. Hemingway often wrote about Americans abroad. “In six of the seven novels published during his lifetime,” writes Jeffrey Herlihy in Hemingway's Expatriate Nationalism, ”the protagonist is abroad, bilingual, and bicultural.” Herlihy calls this “Hemingway’s Transnational Archetype” and argues that the foreign settings, “far from being mere exotic backdrops or cosmopolitan milieus, are motivating factors in character action.” Critic Leslie Fiedler sees the theme he defines as "The Sacred Land"—the American West—extended in Hemingway's work to include mountains in Spain, Switzerland and Africa, and to the streams of Michigan. The American West is given a symbolic nod with the naming of the "Hotel Montana" in The Sun Also Rises and For Whom the Bell Tolls. According to Stoltzfus and Fiedler, in Hemingway's work, nature is a place for rebirth and rest; and it is where the hunter or fisherman might experience a moment of transcendence at the moment they kill their prey. Nature is where men exist without women: men fish; men hunt; men find redemption in nature. Although Hemingway does write about sports, such as fishing, Carlos Baker notes the emphasis is more on the athlete than the sport. At its core, much of Hemingway's work can be viewed in the light of American naturalism, evident in detailed descriptions such as those in "Big Two-Hearted River".Fiedler believes Hemingway inverts the American literary theme of the evil "Dark Woman" versus the good "Light Woman". The dark woman—Brett Ashley of The Sun Also Rises—is a goddess; the light woman—Margot Macomber of "The Short Happy Life of Francis Macomber"—is a murderess. Robert Scholes says early Hemingway stories, such as "A Very Short Story", present "a male character favorably and a female unfavorably". According to Rena Sanderson, early Hemingway critics lauded his male-centric world of masculine pursuits, and the fiction divided women into "castrators or love-slaves". Feminist critics attacked Hemingway as "public enemy number one", although more recent re-evaluations of his work "have given new visibility to Hemingway's female characters (and their strengths) and have revealed his own sensitivity to gender issues, thus casting doubts on the old assumption that his writings were one-sidedly masculine." Nina Baym believes that Brett Ashley and Margot Macomber "are the two outstanding examples of Hemingway's 'bitch women.'" The theme of women and death is evident in stories as early as "Indian Camp". The theme of death permeates Hemingway's work. Young believes the emphasis in "Indian Camp" was not so much on the woman who gives birth or the father who kills himself, but on Nick Adams

A historical element in "The Old Man and the Sea" is the portrayal of the Cuban fisherman's way of life and cultural practices, reflecting the time period when the story is set in the 1950s. The story also includes references to the struggle between traditional methods of fishing and the increasing influence of technology on the fishing industry during that era.

Ernest Hemingway won the Nobel Prize in Literature in 1954. He received the award for his mastery of the art of narrative, most recently demonstrated in "The Old Man and the Sea," and for the influence that he has exerted on contemporary style.

The Old Man and The Sea was written by Earnest Hemingway in 1951, when he was living in Cuba. It is regarded as one of his most seminal works and was awarded the Pulitzer Prize for Fiction in 1953.

The green-sapped stick in "The Old Man and the Sea" is used by Santiago to help reel in the great marlin he catches. It is a tool to help him manage the strain of the fishing line and to control the movements of the fish during the epic battle at sea.

"Hemingway's Whiskey" is a song by country music artist Kenny Chesney. It was released in 2010 as the title track for his album "Hemingway's Whiskey." The song pays tribute to author Ernest Hemingway and his love for whiskey.

"Old Man's War" was created by author John Scalzi and published in 2005.

"The Complete Short Stories of Ernest Hemingway" was first published in 1987, after Hemingway's death in 1961. It includes all of his short stories written throughout his career, showcasing his diverse writing styles and themes.

The setting of "Undefeated" by Hemingway is a boxing match in a ring. The theme explores the idea of perseverance and resilience in the face of challenges, as the protagonist demonstrates determination and courage throughout the fight despite facing a formidable opponent.

The Ernest Hemingway House, also known as the Ernest Hemingway Home and Museum, was built in 1851. Ernest Hemingway lived in this house in Key West, Florida, between 1931 and 1939.

"Wrestling Ernest Hemingway" has a runtime of approximately 2 hours (120 minutes).

Assuming you are referring to the book The Old Man and the Sea, Santiago kills the first shark that attacks his captured fish with a harpoon. He loses the harpoon, so he makes a makeshift harpoon tying a knife to an oar. He kills several more sharks with this harpoon.

In "The Old Man and the Sea," the old man and the boy discuss baseball teams as a way to bond and alleviate the old man's current struggle at sea. The boy brings up baseball teams to distract the old man and keep his spirits up during a difficult time, referencing the teams they both support as a means of camaraderie and connection. This conversation highlights the importance of companionship and shared interests in the face of adversity.

The old man in "The Old Man and the Sea" fears that the warbler, a small bird that lands on his boat, will not find any rest during its long journey across the sea. He worries about the bird's well-being and survival in the harsh conditions of the open ocean.

Apparently, Ernest Hemingway was 6 feet tall.

Source (http://www.imdb.com/name/nm0002133/bio )

The restaurant owner in "The Old Man and the Sea" is named Martin. He is a kind and understanding character who shows compassion towards the old man, Santiago, and offers him help when he is in need.

It is ironic that the old man feared robbers because he ends up being killed by the very people he was afraid of. This unexpected turn of events highlights the unpredictable nature of life and serves as a commentary on the futility of living in fear.

An old man hose bib is a type of outdoor faucet that can be easily turned on and off, designed with a large handle that is easier to grip and maneuver for individuals with reduced hand strength or mobility. It is often called an "old man" hose bib due to its user-friendly design for older adults.

The shepherd decides against telling the baker what the old man said because he realizes that spreading rumors or engaging in gossip does not serve any purpose and could harm their relationship. He chooses to let go of the negative information and focus on his own journey towards fulfilling his Personal Legend.

It is recommended for a 73-year-old man to have a blood pressure reading of less than 140/90 mmHg. A reading of 127/78 is within this range, while a pulse of 48 is lower than the average but may still be normal for some individuals, especially athletes. It's important to consider the individual's overall health and any symptoms they may be experiencing when interpreting these measurements. If there are concerns, it's best to consult a healthcare provider for guidance.

The Green Man is a symbol rather than a specific individual, and its origins date back to ancient times. The concept of the Green Man represents the renewal and rebirth of nature and is often depicted as a face surrounded by leaves and foliage. It is not associated with a specific age.

Ernest Hemingway did most of his writing in various locations, including Paris, Key West, and Cuba. He often preferred to write in quiet, secluded places where he could focus without distractions.

Hemingway uses repetition of the image of the cat and the rain to create a sense of longing and desire in the story. By contrasting the cat's predicament with the American woman's emotional state, he highlights her feelings of isolation and discontent in her marriage. The repeated phrases also emphasize the woman's yearning for something she perceives as missing in her life.

In "Cat in the Rain," the wife's complaints about her unfulfilled desires and disconnected relationship with her husband reflect her longing for emotional fulfillment and a sense of purpose. Her desire for a cat represents her yearning for companionship, nurturing, and something to care for in her life. The cat symbolizes the emotional connection and fulfillment she is seeking but unable to find in her marriage.