Critical Themes in the Writings of Hemingway: Life & Death, Fishing, Wa

minute Themes in the Writings of Hemingway Life & Death, Fishing, War, Sex, Bullfighting, and the Mediterranean RegionHemingway brought a terrible deal of what is middle class Americanism into literature, without very many people recognizing what he has done. He had nothing short of a writers listen a mind like a vacuum cleaner that sweep his life experiences clean, picking up any little thing, technique, or possible subject that might be of use (Astro 3). From the beginning, Hemingway had made a advertent and conscientious formula for the art of the novel (Hoffman 142).This preconceived formula contained legitimate themes that recur with great frequency and power through and throughout Hemingways writings. much(prenominal) themes include an obsessive fascination with life and death, an interest in fishing, war, bullfighting, a strange perception of sex and an unusual fixation on the Mediterranean region. In Hemingways writings, the symbols are implicit they follow the l aws of reality to such a degree that in themselves they form a whole account (Wilson 2).Hemingways heros battles consist of conquering affright, a dread which is connected with earlier experiences, and which appears as a fear of life or death. These two elements, life and death, seem to take two opposite forms, notwithstanding in reality they are the same. Life ends with death, because death is a percentage part of life, therefore life includes death (Scott 24). If you follow the main lines through Hemingways writings, you will very easily discover that everything deals with a sick, mort exclusivelyy wounded mans fight to overcome the dread arising from his showdown with life (Young 21).In Hemingways world, death begins in childhood, as expound with unsurpassed mastery in the short narrative Indian Camp. This story tells of young boy, Nick, who is present while his father, the doctor, performs a cesarean section on an Indian woman, without anesthesia, equipped with only a j ackknife and fishing leaders to sew the wound up with. The Indian womans save lies in the upper bunk during the operation, with the woolen blanket drawn up over his head. When they lift up the blanket, he has cut his throat. It is here that Hemingways long autobiography begins this is how it feels to be human. Nick, the hero, has received his wound. He is scared to death, and all of his later experiences are more or less repetitions... .... Detroit Gale, 1973. 142.Geismar, Maxwell. Ernest Hemingway At the Crossroads. American Moderns From Rebellion to Conformity. (1958) 54-8. Rpt. in Contemporary Literary Criticism. Ed. Carolyn Riley. Vol. 1. Detroit Gale, 1973. 142.Fiedler, Leslie A. Hemingway. Love and Death in the American Novel. (1966) 316-17. Rpt. in Contemporary Literary Criticism. Ed. Carolyn Riley. Vol. 1. Detroit Gale, 1973. 143.Frohock, W.M. Ernest Hemingway-The River and the Hawk. The Novel of Violence in America. (1957) 166-98. Rpt. in Contemporary Literary Criti cism. Ed. Carolyn Riley. Vol.1. Detroit Gale, 1973. 141.Oliver, Charles M. Ernest Hemingway A to Z. New York Facts on File, 1999.Reynolds, Michael S. Hemingways First War The Making of A Farewell to Arms. New tee shirt Princeton University Press, 1976.Rovit, Earl. Ernest Hemingway. Boston Twayne, 1963.Scott, Nathan A. Jr. Ernest Hemingway A Critical Essay. Michigan William B. Eerdman, 1966.Wilson, M. Ernest Hemingway. Lost extension (1993). 16 Feb. 2001 http//www.lostgeneration.com/hembio.html.Young, Philip. Ernest Hemingway. Great Britain The Oxford University Press, 1964.