Hemingway: The 1930s

The fourth volume in Reynolds's multi-volume biography of Hemingway. Unlike other Hemingway biographers (James Mellow, for instance) who are mostly interested in how the author incorporated his own life into his fiction, Reynolds approaches his subject in a strict chronological fashion and hardly touches upon the works at all. This volume begins in 1929 with Ernest and Pauline returning to Paris while he put the final touches on "A Farewell to Arms," and ends with Ernest beginning to write "For Whom the Bell Tolls" and taking up residence with Martha Gellhorn in Havana. Very detailed in terms of H.'s life and doings, much less so with regard to his works and art. Definitive in that respect, but not where to go to get an appreciation of Hemingway the writer and the forces behind his artistic creations.

Though this is the fourth of a five book series, and the first I chose to read, I had no trouble keeping up. You could argue that Hemingway the man was more interesting than his fiction and Reynolds goes a pretty good distance to show why. Hemingway takes his first safari, catches Marlin in Key West and fights in the Spanish Civil War, and switches women before the end of the decade. Reynolds paints a fairly descriptive portrait of Hemingway, but also reminds us of other current events as the decade unfolds. Hemingway begins the decade mostly apolitical, but he is very critical of the New Deal Programs he sees running in his hometown of Key West Florida. In 1936 he likens President Roosevelt's plan to socialism, but his support two years later of antifascist guerrillas in the Spanish Civil War allies him with downright communists. It was also interesting to watch Hemingway's friendships crumble. Reynolds describes how Gertrude Stein, F. Scott Fitzgerald, and Sherwood Anderson went their separate ways from Papa for various reasons, but mostly because Hemingway was an explosive character. His larger than life dominating personality coupled with his fatigue for certain personality types doomed a great deal of one-time friendships. What I like mostly of Reynolds work is that he likes Hemingway a great deal, and this comes through, despite Papa's many flaws.

Hemingway: The 1930s is the fourth installment in Mr. Reynold's series; he does not "dump you into the story midstream." Anyone with even a little knowledge of Hemingway is familiar with this series and knows that Mr. Reynolds is THE Hemingway biographer. My advice - do at least a little research before expressing an opinion.

This thorough and "personable" slice of Hemingway's life in the 30's is quite readable and almost literary itself. Reynolds' periodic but careful use of correspondence and journalistic fragments, interspersed with the narrative is thought-provoking and draws the reader into the time. The only problem with this book is the necessity that the reader bring a somewhat extensive background to the reading in order to thoroughly enjoy the material. If you do not know the Hemingway cast of characters, Reynolds does not go to great lengths to introduce you. Since the book, by its nature, dumps you into the "story" midstream, its failure to catch you up is somewhat frustrating at times. However, the expertise with which it is written only leaves you wanting more and seeking additional sources to fill in the missing pieces of the puzzle. I highly recommend it to all who are somewhat familiar with Hemingway. If you are among the uninitiated, you may wish ! to start elsewhere and keep this in mind for later.

Michael Reynolds. Hemingway: The 1930s. This fourth volume in Reynolds's ongoing series finds Hemingway setting up a home base in Key West, FL, while also following the bullfights-and later the civil war-in Spain, on safari in Africa, and fishing off Cuba. Though it might seem that he had put his talent in dry-dock to enjoy leisure pursuits, his adventures resulted in Death in the Afternoon, Green Hills of Africa, and To Have and Have Not. The book also offers a fine portrait of Pauline, the dutiful second wife who attends patiently to Ernest's every need until he scuttles their marriage when the soon to be next Mrs. H (Martha Gellhorn) appears. This is everything a literary biography should be: it not only ably dissects the artist's actions, but it puts his life and work into historical and, more importantly, emotional context as well. Hemingway emerges as a fully drawn personality and you can all but smell his whisky breath coming off the pages. Though a much over-studied subject, Reynolds again proves that Hemingway is still a rich mine with much gold yet in his veins. A masterpiece in the making.-Michael Rogers, "Library Journal"