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Life Between Seconds

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Douglas Weissman

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“Having been married twice before, Ernest Hemingway enjoyed the conveniences and trappings of having a wife, but resented the responsibilities, not to mention the constraints, of raising children. He loved his six-toed, polydactyl cats that required far less care, and frequently were left to fend for themselves at his home in Key West, Florida. Writing was his life and having been a reporter and journalist for the Kansas City Star and the Toronto Star Weekly gave him the experience and knowledge needed to write the gritty accounts of the Spanish Civil War and World War II. His work took Papa Hemingway to the far reaches of the globe; however he enjoyed life in Key West where he had fishing friends and drinking buddies. He always enjoyed the company of the people he was with, and Sloppy Joes was his favorite haunt. It was here that he spent hours imbibing and sharing stories with fishermen, beach bums and tourists.”

FamilyHistoryCubaErnest HemingwayKey West Florida
Author:Captain Hank Bracker, "The Exciting Story of Cuba"
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“she wanted to know what American writers I liked. "Hawthorne, Henry James, Emily Dickinson…" "No, living." Ah, well, hmm, let's see: how difficult, the rival factor being what it is, for a contemporary author, or would-be author, to confess admiration for another. At last I said, "Not Hemingway—a really dishonest man, the closet-everything. Not Thomas Wolfe—all that purple upchuck; of course, he isn't living. Faulkner, sometimes: Light in August. Fitzgerald, sometimes: Diamond as Big as the Ritz, Tender Is the Night. I really like Willa Cather. Have you read My Mortal Enemy?" With no particular expression, she said, "Actually, I wrote it.”

Henry JamesErnest HemingwayEmily DickinsonTender Is The NightF Scott FitzgeraldWilliam FaulknerThomas WolfeWilla CatherNathaniel HawthorneLight In AugustDiamond As Big As The Ritz
Book:Portraits and Observations: The Essays of Truman Capote
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“My wife and I had called on Miss Stein, and she and the friend who lived with her had been very cordial and friendly and we had loved the big studio with the great paintings. I t was like one of the best rooms in the finest museum except there was a big fireplace and it was warm and comfortable and they gave you good things to eat and tea and natural distilled liqueurs made from purple plums, yellow plums or wild raspberries. Miss Stein was very big but not tall and was heavily built like a peasant woman. She had beautiful eyes and a strong German-Jewish face that also could have been Friulano and she reminded me of a northern I talian peasant woman with her clothes, her mobile face and her lovely, thick, alive immigrant hair which she wore put up in the same way she had probably worn it in college. She talked all the time and at first it was about people and places. Her companion had a very pleasant voice, was small, very dark, with her hair cut like Joan of Arc in the Boutet de Monvel illustrations and had a very hooked nose. She was working on a piece of needlepoint when we first met them and she worked on this and saw to the food and drink and talked to my wife. She made one conversation and listened to two and often interrupted the one she was not making. Afterwards she explained to me that she always talked to the wives. The wives, my wife and I felt, were tolerated. But we liked Miss Stein and her friend, although the friend was frightening. The paintings and the cakes and the eau-de-vie were truly wonderful. They seemed to like us too and treated us as though we were very good, well-mannered and promising children and I felt that they forgave us for being in love and being married - time would fix that - and when my wife invited them to tea, they accepted.”

FranceParisErnest HemingwayGertrude Stein
Book:A Moveable Feast: The Restored Edition
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“He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.”

MysteryCrimeDetectivesCrime FictionNoirDetectiveCrime ThrillerMystery SuspenseMystery ThrillerNoir FictionDetective StoriesErnest HemingwayDetective FictionDetective NovelF Scott FitzgeraldSartreCornell WoolrichJean Paul SartreDetective NovelsHart CraneRaymond ChandlerDashiel HammettDetective NoirMystery And Crime DramaFrancois TruffautFrançois TruffautTruffaut
Book:The Fantastic Stories of Cornell Woolrich
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