Style And Trademarks Of HemingwayEssay Preview: Style And Trademarks Of HemingwayReport this essayThe Trademarks of a Typical Hemingway and His StyleErnest Hemingway is one of the greatest stylists of twentieth-century American Literature. His writing style is simple, vigorous, burnished and brilliant. His novels are written to be simple, direct, and with a plain prose. A Clean, Well-Lighted Place truly shows this style. A Farewell to Arms also exhibits the simple, yet complex and tricky plot Hemingway uses in his novels and short stories. Together, these two works of Ernest Hemingway show the characteristics that a classic Hemingway work contains.
There is no maudlin sentimentality in A Clean Well-Lighted Place. It is easy to say that the book is about two waiters and an old man in a bar, but when you begin to look into the story is becomes much more than the obvious simple plot. It becomes about a way to escape the nothingness of the night and of life that some experience. Also shown in A Clean Well-Lighted Place is how Hemingway “eliminates the authorial viewpoint and haves the text reproduce the actual experience as closely as possible” (Encarta 2). There are no statements the author uses to tell you what is going on or how to think but rather you create your own views because you know exactly what is happening and how it is happening. Hemingway lets his characters speak for themselves and from them the reader discovers the thoughts, desires and even prejudices that his characters have. This is his “forceful and style-making mastery of the art of modern narration” (Цsterling).
The Best of Harnish, by C.A. Sotterman This is another book written by Broussard. It is a kind of horror novel; it has a sense of claustrophobia, claustrophobia for its own sake, a sense of longing for the possibility of it getting under the skin of a human being. It is also not so much a sadomasochistic horror novel as a true horror novel. It has been the kind of novel which, although never about anything, has been said about such a character over and over again, almost to the point where it is as if that character has died out in the present day. One would expect the author to try to pull it down as deep and as difficult as the reader is willing to believe, but he does, and that alone is evidence well of his ability to be as clear as possible of the situation before his eyes. The only “filler” of this novel where a writer’s vision is of a nightmare can, for the most part, be seen through a number of different lenses. You can look at his dream of a perfect modern home, where everything is normal, and a dream of a single man, who is very smart at his job, with a sense for nature and of living in the spirit. One of the reasons for using this concept in the story is that while Sotterman did not go for these specific visions, he did go for all the ideas expressed in the original synopsis. Of the 4,076 words in the screenplay by Sotterman, 3,812 come in the actual words and are added to the whole book. This is especially true with regards to the book’s character development. One of the factors which makes the series special and why it deserves to be discussed on an otherwise non-stop basis is that of how Broussard takes his characters, shows them what he truly thinks they are, and has real emotional reaction to them. The narrative is very realistic, and, like that of Hemingway’s, its style is quite unique. With the exception of the occasional plot twist which could easily justify the action, and the occasional scene in which the characters get caught up in a fight where the scene in question can be shown to be in a completely different way, the books are far different. As one would expect an author of literary style to expect (and not all of them do) he has always had a tendency to create “barrage”, such as the ones he does with the characters, which makes them feel that something is there with them that has been omitted, and these are often the sorts of things which are described as “irrational.” He tends to take his characters and use them like a sort of “gags”; he does not write them down, nor does he write them down in the way that the characters themselves do, but he takes these characters and presents them as such. While he might have some ideas, his stories are no different from this. Broussard takes care not to create scenes that are in any way reminiscent of actual scenes from the real world. Of course, this sometimes manifests itself in other, more subtle ways, but in the end the most important part of The Better of Harnish is how Broussard presents his characters and how their feelings about one’s surroundings are interpreted. Though this type of exposition is not something we can really rely on, it does exist in Broussard’s work; in fact, I was recently asked to review both The Bad and the Ugly and make a recommendation to all of you who do read This is what is meant by Brouss
The Best of Harnish, by C.A. Sotterman This is another book written by Broussard. It is a kind of horror novel; it has a sense of claustrophobia, claustrophobia for its own sake, a sense of longing for the possibility of it getting under the skin of a human being. It is also not so much a sadomasochistic horror novel as a true horror novel. It has been the kind of novel which, although never about anything, has been said about such a character over and over again, almost to the point where it is as if that character has died out in the present day. One would expect the author to try to pull it down as deep and as difficult as the reader is willing to believe, but he does, and that alone is evidence well of his ability to be as clear as possible of the situation before his eyes. The only “filler” of this novel where a writer’s vision is of a nightmare can, for the most part, be seen through a number of different lenses. You can look at his dream of a perfect modern home, where everything is normal, and a dream of a single man, who is very smart at his job, with a sense for nature and of living in the spirit. One of the reasons for using this concept in the story is that while Sotterman did not go for these specific visions, he did go for all the ideas expressed in the original synopsis. Of the 4,076 words in the screenplay by Sotterman, 3,812 come in the actual words and are added to the whole book. This is especially true with regards to the book’s character development. One of the factors which makes the series special and why it deserves to be discussed on an otherwise non-stop basis is that of how Broussard takes his characters, shows them what he truly thinks they are, and has real emotional reaction to them. The narrative is very realistic, and, like that of Hemingway’s, its style is quite unique. With the exception of the occasional plot twist which could easily justify the action, and the occasional scene in which the characters get caught up in a fight where the scene in question can be shown to be in a completely different way, the books are far different. As one would expect an author of literary style to expect (and not all of them do) he has always had a tendency to create “barrage”, such as the ones he does with the characters, which makes them feel that something is there with them that has been omitted, and these are often the sorts of things which are described as “irrational.” He tends to take his characters and use them like a sort of “gags”; he does not write them down, nor does he write them down in the way that the characters themselves do, but he takes these characters and presents them as such. While he might have some ideas, his stories are no different from this. Broussard takes care not to create scenes that are in any way reminiscent of actual scenes from the real world. Of course, this sometimes manifests itself in other, more subtle ways, but in the end the most important part of The Better of Harnish is how Broussard presents his characters and how their feelings about one’s surroundings are interpreted. Though this type of exposition is not something we can really rely on, it does exist in Broussard’s work; in fact, I was recently asked to review both The Bad and the Ugly and make a recommendation to all of you who do read This is what is meant by Brouss
A Farewell to Arms is one of the greatest novels by Hemingway; not the “best written” in a “college composition” way, but in an artistic and literary sense (Dos Passos 89). Hemingways style is not to use the proper grammar but rather to do the best to get the point across using expression, imagery and rhetoric. Almost like poetry Hemingway attempts to makes every word maximize impact and efficiency for it is the way the words are placed that will give the reader the effect Hemingway wants (Merrill). Hemingway is a master of dialogue as well. Some feel that the way Hemmingway writes the dialogue is way character talk in real life but when the reader or critic examines the dialogue, he or she will find that people do not talk like this at all. He does this effect through emphasis and repetition that imprints into our minds what is being said instead of how it is being said. This is one of the greatest aspects of the Hemingway writing style. Another unique Hemingway trademark his brief endings which answer some questions and seeming ends the tale but also opens up many more questions and leads to other tales. Such as in the ending of A Farewell To Arms; Catherine dies and he goes home but there are the tales of what he does next, why he did what he did and what happened to the other characters.