A friend whom I admire and love very deeply once suggested that Hemingway was perhaps the greatest of American writers, but in danger of becoming unappreciated. He used spare language. I hadn’t read him in two decades, so I went out and bought The Sun Also Rises at the Green Apple second-hand book store in the avenues, and began. I have a confession: after page 12, I began speed reading, hoping to end the pain as quickly as possible. I gave up drinking years ago, but if there was a bottle handy, I might have begun self-medication.
That old goat, he was young then, used Paris as a stage set. Maybe that whole Lost Generation did. America was getting too complicated and too heartless to coddle their mixed-up lives. They were starved, and America was getting too greedy to slow down enough to read and take in the complexity of words, much less their lives. Their words. Gertrude, herself of few words, and her clique have trained us who love words to visit Paris as often as we can afford the luxury, so we can feel guilty, and, always facing that thick and solid writers’ block, continue to be stymied because we’ve used every excuse money could buy to avoid the language of our hearts. All over again and then again. Guilty for using too many words for love. Make sure to buy those overpriced cards with sticky colors that hang from the revolving racks along the Seine. That is really as close we’re going to get to the Parisians because we can never really be French—we’ve been warned over and over. They won’t let us, but we can still dream. When we hit the grand lotto and buy that flat, we can wake up every morning, knowing that we don’t belong, but if we could belong, this would be the place to do it. Be stymied in style.
In the end, I feel like you and all you self-righteous ex-pats have bullied and flattened my emotional life. But back to Hemingway, that all-American bullied my emotional life. Me, personally, when I opened his book. I repeated myself. I must be carrying a grudge. I used too many words. It struck deep. What is it? I love Paris too. I’ve visited many of the same places. The tour guide in me can pull up some data or hearsay that explains why this is there, and that there seems somewhat off because it’s where someone whose name will never be forgotten, but I can’t remember, was murdered or made a saint or perhaps both, while over there is that famous view that one of the kings so fancied that he made sure that only those he favored could join his viewing party. Until he lost his head over there. And this is where De Haussman needed to keep the line straight. If you think that’s urban beauty, do I have a surprise for you. The man had only a ruler and a straightedge on the desk when he laid out the plan; he couldn’t add up numbers when it came to paying the bills, but I shouldn’t make the story too complex. Before we let it get too real, let’s distract ourselves: here is the best place to buy the authentic onion soup because the real cheap guide books assure us that the owners are actually not crafty thieves and pickpockets; there are some who need to steal from you to pay the landlords, who are the only people making a buck anyway. And the writers of those cheap tourist guides need to pay for their dinner too. Maybe we’ve just lined up for an endless game of emotional pickpocket to keep our fantasies alive.
It’s like that, Paris. Emotions run deep. If you don’t believe me, go visit the home of Balzac in the 16th, which was way out of town when he himself tried to throw up a wall to escape the tyranny of the French. But don’t read him. It gets too real at a slow and leisurely pace.
They’re like that, the words. Back to Hemingway, M.F.K. Fisher famously observed that Ernest used words with such precision that each one seemed "to have been savoured and then spat out," as if he were testing their weight and texture like a piece of food or wine. I’ll go with the spat-out part. Writing in the most legendary part of the Left Bank, carefully, meticulously, that’s the way he treats language. He claims—I hesitate to use the word protest, although that’s accurate, but I needn’t be too fussy, maybe a bit too theatrical for a man who preferred bullfights over opera: he says he was looking for the simplest, most direct word pointing. He would spend hours circling, underlining, substituting, crossing out, never satisfied, questioning because “it’s
not exactly right,” but give him time, while he, the perverse old pickpocket, is frisking you for that last centilla of emotion he can rip off to throw in the ring. No wonder I think I have to speed-read his books. Anything less would be a death sentence.
I imagine he lined up poets, read them, and pronounced sentence.
Lorca, that silly little queen. He had no guts; he cowered. Just shoot the little pansy. But my enemies did it for me, which should give me second thoughts if it doesn’t exceed my word allotment.
Whitman, falling in love with ambulance drivers, glad I missed you and your mystical perversion of the mother tongue. Who the fuck gave you the right to make up so many words to show that it's all one world? You get hung. May you sputter and teach us all a lesson.
Dali, just a total weirdo, Gertrude kept him around to keep the rest from wildly exuberant explosions of self-indulgence. He should be choked with coarse pubic hair.
This has stopped being fun, which is what Hemingway must have said at some point, too.
Ernest Hemingway, 1952.Photograph by Earl Theisen/Getty

