I have my work cut out for me withHemingway, since he used many type-writers: a gigantic Royal No. 10 desk-top with glass side panels from his earlyKey West days, an Underwood Noise-less that helped him fi nish For Whomthe Bell Tolls and fi le dispatches fromhotel rooms while he was a World WarII correspondent, and black matte Roy-als from the early 1940s—especiallythe Quiet DeLuxe and Arrow—he fa-vored while at Finca Vigía in Cuba.

Deluxe Noiseless on display at MarjorieK innan Rawlings’s screened frontporch at Cross Creek, Florida; Flan-nery O’Connor’s 1930s Royal Stan-dard; Faulkner’s famed UnderwoodUniversal; Hemingway’s 1940 RoyalArrow; and the tiny, folding CoronaNo. 3 favored by both Ernie Pyle andIsak Dinesen.

As socialist realism was imposed on Soviet writers, one form of permissible resistance, of finding an inner freedom, was to read translations of foreign writers. No private library was complete without Hemingway, Faulkner, London, Fitzgerald, Steinbeck, Salinger—all officially permitted as “progressive writers” exposing the “ulcers of the capitalist world.”

“Hemingway read Garnett’s Dostoyevsky and he said it influenced him,” he continued. “But Hemingway was just as influenced by Constance Garnett as he was by Fyodor Dostoyevsky. Garnett breaks things into simple sentences, she Hemingwayizes Dostoyevsky, if you see what I mean.”

Ernest Hemingway’s idea of the ‘crap detector’

Novelists Ernest Hemingway and Wil-liam Faulkner, for example, went backand forth about the virtues of simplic-ity in writing. Faulkner once criticizedHemingway, who he said “had nocourage, never been known to use aword that might send the reader to thedictionary.” “Poor Faulkner,” Heming-way responded, “Does he really thinkbig emotions come from big words?He thinks I don’t know the ten-dollarwords. I know them all right. But thereare older and simpler and better words,and those are the ones I use.”15

ErnestHemingway once said that good prose is architecture,not interior decorating.

Ernest Hemingway was one of the most recognized and influentialnovelists of the twentieth century. He wrote in an economical,understated style that profoundly influenced a generation of writersand led to his winning the Nobel Prize in Literature in 1954.

Hemingway Bridge.” He wouldalways end a writing session only when he knew what came next inthe story. Instead of exhausting every last idea and bit of energy, hewould stop when the next plot point became clear. This meant thatthe next time he sat down to work on his story, he knew exactlywhere to start. He built himself a bridge to the next day, using today’senergy and momentum to fuel tomorrow’s writing.