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In “Queer Studies,” Debra A. Moddelmog examines the way the maturing field of queer studies has proven a good fit for studying Hemingway and his multifaceted, intersectional explorations of about sexuality, gender, sexual practices, and their intersections with race, class, ability, and nationality. Moddelmog demonstrates that radical changes in Hemingway scholarship around issues of gender and sexuality as well as the studies of his interest in sexology introduced a Hemingway that challenged the iconic masculine persona. Beginning in the 1990s, critics such as Mark Spilka, J. Gerald Kennedy, Carl P. Eby, and Moddelmog herself began examining Hemingway’s newly revealed fascination with androgyny and sexual experimentation. That interest in the new millenium has given way to a richer understanding of the relationship between identity and sexuality, with “queer” and “trans” coming to mean not deviation but exploration from heteronormative standards. Moddelmog argues in particular that sexologist Havelock Ellis provides a useful mirror for redefining Hemingway’s desires, both biographical and in his writing.
Ernest Hemingway's literary career was shaped by the remarkable contexts in which he lived, from the streets of suburban Chicago to the shores of the Caribbean islands, to the battlefields of World War I, Franco's Spain and World War II. This volume examines the various geographic, political, social and literary contexts through which Hemingway crystallized his unmistakable narrative voice. Written by forty-four experts in Hemingway studies, the comprehensive yet concise essays collected here explore how Hemingway is both a product and a critic of his times, touching on his relationship to matters of style, biography, letters, cinema, the arts, music, masculinity, sexuality, the environment, ethnicity and race, legacy and women, among other topics. Fans, students and scholars of Hemingway will turn to this reference time and again for a fuller understanding of this iconic American author.
In the ten years since Scribner's published The Garden of Eden, critics have come to recognize that the book's editor, Tom Jenks, had a heavy hand in its composition — despite his and Charles Scribner Jr.'s comments to the contrary. E. L. Doctorow was among the first to suggest that the publisher's note disclaiming editorial interference in the production of The Garden of Eden is more fictional than the novel itself. Stating that “some cuts” have been made to Hemingway's “manuscript” but nothing added, this note concludes that “in every significant respect the work is all the author's.” Given that the published novel is one-third the length of the longest manuscript, a “cut” of approximately 130,000 words, one would have to agree with Doctorow that the phrase “some cuts” is disingenuous (44).
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