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Zusatztext 75477294 Informationen zum Autor Paul Hendrickson ’s previous book, Sons of Mississippi, won the 2003 National Book Critics Circle Award for nonfiction. Since 1998 he has been on the faculty of the Creative Writing Program at the University of Pennsylvania. For two decades before that he was a staff writer at The Washington Post. Among his other books are Looking for the Light: The Hidden Life and Art of Marion Post Wolcott (1992 finalist for the National Book Critics Circle Award) and The Living and the Dead: Robert McNamara and Five Lives of a Lost War (1996 finalist for the National Book Award). He has been the recipient of writing fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Lyndhurst Foundation, and the Alicia Patterson Foundation. In 2009 he was a joint visiting professor of documentary practice at Duke University and of American studies at the University of North Carolina at Chapel Hill. He is the father of two grown sons and lives with his wife, Cecilia, outside Philadelphia. Klappentext National Book Critics Circle Award FinalistA brilliantly conceived and illuminating reconsideration of a key period in the life of Ernest Hemingway that will forever change the way he is perceivedand understood.Focusing on the years 1934 to 1961-from Hemingway's pinnacle as the reigning monarch of American letters until his suicide-Paul Hendrickson traces the writer's exultations and despair around the one constant in his life during this time: his beloved boat! Pilar.Drawing on previously unpublished material! including interviews with Hemingway's sons! Hendrickson shows that for all the writer's boorishness! depression and alcoholism! and despite his choleric anger! he was capable of remarkable generosity-to struggling writers! to lost souls! to the dying son of a friend. Hemingway's Boat is both stunningly original and deeply gripping! an invaluable contribution to our understanding of this great American writer! published fifty years after his death. AMERICAN LIGHT APRIL 3, 1934. The temperature in Manhattan got into the high sixties. G-men shot an accomplice of Dillinger's in Minnesota; the Nazis were running guns to the Moors; Seminoles were reviving a tribal dance in honor of alligators in Florida; Lou Gehrig had two homers in an exhibition game in Atlanta. And roughly the bottom third of America was out of work. According to "Steamship Movements in New York," a column that runs daily in the business section of the Evening Journal , nine liners are to dock today. The SS Paris , 34,500 tons, is just sliding in after a seven-day Atlantic crossing, from Le Havre via Plymouth, at Pier 57 on the West Side of New York City. "Expected to dock: 5:00 P.M.," reports the newspaper. And she does. If this were a Movietone News item about Hemingway the big-game hunter, arriving home after eight months abroad, and you were in a darkened movie palace of the thirties awaiting the feature, you'd see ropes being thrown off, gangplanks being lowered, steamer trunks being unloaded, and passengers starting gaily to stream off. You'd see the New York press boys with their rumpled suits and stained ties and skinny notebooks and Speed Graphic cameras clawing for position. The blocky white lettering superimposed on the flickering images would announce: "Back from Lion Hunt in East Africa!" They'd bring up the sound track-something stirring, to suggest the march of time. And then would come the voice-over—wouldn't it be Ed Herlihy's?—with its electric charge: "Famed author Mr. Ernest Hemingway, just back on the French liner Paris with Mrs. Hemingway from conquering the lion and the rhino and the wildebeest and the greater kudu, says that death in the afternoon is far less engrossing in a Spanish bull ring than on the African veldt." The press boys clotted at the bott...
