HEMINGWAY'S PARIS
AND PAMPLONA,
THEN AND NOW
ISBN:
0595089534
Robert
F. Burgess who met Ernest Hemingway during his last Pamplona fiesta,
describes those events. He tells of Ernest's early Paris and Pamplona
years, then returns to Europe to revisit Hemingway's haunts today. He
buses and back-packs into the Spanish Pyrenees to retrace the route
described by Hemingway in The Sun Also Rises. Finding
everything exactly as he described it, including where Jake and Bill
cooled their wine bottles while trout fishing, he realizes that
Hemingway often wrote more fact than fiction into his novels. From new
interviews and perspectives of those who knew him we see a clearer view
of the man behind the legend, a man who just before the end knew what
he valued most and when he had been the happiest. Burgess shows us
where and how Hemingway's legacy still lives on in Paris and Pamplona
today. 392 pages, includes never before published pictures of
Hemingway, and many others. Paperback: 6 x 9-inches. © Jan. 2000
Published by iUniverse.com.
$19.95
TO ORDER PLEASE DIAL 1-800-288-4677 Ext. 5025 FROM 8 A.M. TO 5 P.M. EST.
If
you've ever wondered why Ernest Hemingway returned to Pamplona each
year, or if his novels were often lightly disguised truth, then Robert
F. Burgess' latest book, HEMINGWAY'S PARIS AND PAMPLONA, THEN AND
NOW will answer these questions. Burgess, an American free-lance
writer living in Madrid at the time, met Ernest Hemingway in 1959
during his last Pamplona fiesta. Papa took a liking to the bearded
author who had just back-backed through North Africa, and he invited
him to join his "mob." Burgess describes these events in a way that
enables the reader to vividly relive them as they occurred. How well he
accomplishes it will leave you turning pages to a book readers have
found hard to put down. As internationally acclaimed Hemingway
authority, Professor Emeritus, Robert E. Gajdusek, author of Hemingway's
Paris, said in a letter to the author: "Your writing is...at its best in intricately lovely and
powerful descriptions of landscape, place, and event... you weave in
incidental details against a steady continuing undercurrent of changing
time...You again and again do a very Hemingway thing — 'see it
from their viewpoint' feeling it, the grabbing air, the pounding of the
cobblestones, smelling the smells... Boy, you do play with echoes and
resonance's and overtones. Best of all, for me, is the way your
encounter with Hemingway was forged in silence seized out of
surrounding noise. 'What an odd thing!'"
TABLE OF
CONTENTS:
Acknowledgements
Foreword
Chapters
1. THE ROAD TO PAMPLONA
2. FIESTA OF FIESTAS
3. WHAT A NIGHT
4. HEMINGWAY'S FIRST PARIS
5. THE ODD COUPLE
6. FIRST PAMPLONA
7. AN APARTMENT OVER A SAWMILL
8. PAMPLONA 1924
9. A LADY NAMED DUFF
10. FATAL ATTRACTION
11. PAMPLONA 1925
12. A NOVEL IDEA
13. INTO THE SUN
14. THAT TOO WAS OVER
15. INTERMISSION
16. PRODIGAL'S RETURN
17. PAPA'S LAST PAMPLONA 1959
18. INSIDE THE CUADRILLA
19. STARS AND BIT PLAYERS
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20.
BACK TO MOTHER EARTH
21. THE LAST DANGEROUS SUMMER
22. LOOKING FOR PAPA IN PARIS
23. SHAKESPEARE AND COMPANY
24. A CAFÉ CRÉME AT THE CLOSERIE
25. HEMINGWAY'S HAUNTS TODAY
26. BIRDDOGGING A PIGEON FANCIER
27. PAPA'S PRIVATE PARIS
28. FROM THE RITZ TO THE ROO DOE NOO
29. ECHOES ALONG THE SEINE
30. PAMPLONA AGAIN
31. BLUES IN THE NIGHT
32. A BUS TO BURGUETE
33. UP IN HEMINGWAY'S ROOM
34. THE PIANO
35. PAPA'S QUIET FAN
36. FOLLOWING HEMINGWAY ON THE RIO DE FABRICA
37. THE FOUNTAIN
38. ÁOIZ ON THE IRATI
39. PARIS AGAIN
Bibliography
INDEX |
FROM THE BOOK:
"Looking up and seeing him standing beside me inside the yellow portico
of Pamplona’s bullring is more than a little surprising.
I’m surprised to see him standing there by himself, and surprised
to see that he’s really less of an imposing figure than he seemed
from across the plaza, surrounded by people.
His broad face, white hair and beard set him apart
from everyone. His slightly mussed white hair contrasts sharply with
his broad tan brow and slightly pink cheeks. His face looks fuller from
the bushy beard that squares his features. He’s about my height,
six feet, but he’s hunched up a little like a boxer with no neck
showing, just white head perched on broad shoulders. He’s all
shoulders and barrel chest, red-checkered shirt open at the collar, his
bulk enclosed in a loose-fitting tan vest. Wearing wire-rimmed glasses
he looks at his tickets and then glances up at the numbers over the
concrete aisles. Oddly, no one is crowding us. People flow around us
but keep their distance. We’re alone.
Without really intending to speak to him, I hear
myself in a low voice saying, "I guess you know you’re to blame
for all this."
He looks at me. His lips hardly move but his voice
rolls out of the depths of his barrel chest, "Whatdayamean by that?"
"If you hadn’t written The Sun Also Rises,
we wouldn’t be here."
He glances at my beard, old army bush jacket, faded
GI bill cap and grins. "Who’re you, one of Castro’s boys?"
"They thought so last week in Tunisia." We shake
hands and I introduce myself. Too gun-shy to tell him that I’m a
freelance writer working for a Madrid magazine I tap the Rolleiflex
hanging from my shoulder and tell him I’ve come to photograph the
bulls.
He shakes his head. "Hope you find some worth
photographing. What you doing in Tunisia?"
"Backpacked in with a buddy trying to find Hill 609
where his brother fought in the war. With our beards and gear the
locals took us for Cubans."
"What American outfit was that?"
"894th Tank Destroyer Battalion."
He nods slowly. I notice the raised scar high on his
left forehead where he once accidentally pulled a skylight down on
himself.
"Landed at Oran," he says.
"That’s right." I start to say something else
but a sudden flood of sound and people drowns it out. Out of the crowd
appears a small wiry woman with bright, sharp blue eyes and deeply
tanned, deeply creased features. I recognize Miss Mary, his wife. She
focuses totally on him, grabs his arm just above the elbow and says,
"Okay, let’s go."
Without hesitation she plunges into the crowd
dragging him sideways. He still looks back at me with that fixed grin
on his face, the grin slightly askew now. His hand lifts and waves as
if in apology. "I’ll see you later," he says. Then the crowd
swallows them."
"Brain-numbing decisions. Seeing them from behind the safety of the
barrier was one thing, but seeing them without the safety of the
barrier was to know the heart-throbbing, mouth-drying, prickly-skinned
dull ache of utter fear. If you made it, if the terror thundered past
and for some miraculous reason left you intact, then the sudden
overwhelming blissful realization that you had been spared was so
knee-buckling sweet that it sapped your strength faster than a
double-barreled orgasm. Hemingway never wrote about that, but he knew
it the same way he knew what was below an iceberg."
"... as the bleachers empty in front of me, I see Hemingway striding
purposefully up through the middle of them, up through the empty sombre
section, climbing the steep grade from concrete seat to seat. He sees
me standing alone and angles toward me...
As he comes up he smiles in recognition and
stops to talk.... "My wife and I come here to enjoy ourselves and
everyone pesters us." As he speaks he turns toward me and suddenly
throws an arcing clenched right fist punch at my stomach, stopping it
just short of my shirt.
Being fake-punched by Hemingway is so unexpected I
don't flinch but instinctively tense my stomach muscles. Hemingway must
approve; he doesn't even break stride in his sentence, "But I don't
mind." he says with a grin... 'C'mon and have a drink with me and my
mob.'"
"I open the door to the small room off the hallway where the piano is
kept. Behind the door is the old, black upright piano with its lid
locked. It is a very small room with an obscured window at the other
end. The door to the room has to be closed to see the piano behind it.
Opposite the piano is a door to a woman’s restroom.
I catch Inaki going back-and-forth to the kitchen
and ask if he will unlock the piano for me. He gladly does so. Inaki
takes the time to turn back the cover over the keyboard exposing the
yellowed ivory keys. Then he lifts the lid to the upright part of the
piano and points to something. I lean over and look at the inside of
the lid where he points. Scratched in the wood in one inch tall block
letters is:
E.
HEMINWAY
25-7-1923
Inaki beams at me. All I can do is shrug and say, "Someone didn’t
know how to spell Hemingway’s name!"
Read a
sample chapter: Chapter 29 -
Echoes Along the Seine
Moments of Truth: a unique photographic
review of some of the Spanish bullfights Hemingway attended, as seen
through the author's lens.
WHAT READERS
SAY ABOUT THIS BOOK:
"I
enjoyed [this book] immensely... It is full of fascinating detail, and
Robert Burgess has done an admirable job of making it all accessible to
Hemingway's readers. It is a joy to read, and it brought back many
vivid recollections. The book is a thorough testament to the
verisimilitude of Hemingway's fiction... I have already shared the book
with my students in my graduation class on Hemingway and I am going to
order more copies to share with my friends and colleagues..."
—Professor Douglas E. LaPrade, Department
of English, TheUniversity of Texas-Pan American.
"What I
loved about this book is the conversational tone. I felt as if I were
sitting in a café in Paris sipping a Café Creme (or two)
and listening to the author tell great stories about Hemingway in Paris
and Pamplona - as the title says - Then and Now. The book retraces
Papa's footsteps through the streets of Paris and Pamplona and weaves
biography, history, and field notes into great stories about our
greatest story-teller. I intend it as a high compliment when I say that
the book is an easy read. (I had no problem staying up late the day I
got it and finishing it the next morning over a few cups of coffee -
except being late for work.) It is a great companion piece for
Hemingway's first novel, "The Sun Also Rises," and I plan on bringing
it with me when I make the trip to Paris and Pamplona myself."
—John R. Sullivan, Scottsdale, Arizona.
"A
great place to start!
This book is an outstanding way to get acquainted with Hemingway's
works and life. I have never read any of his books (I have seen several
of the movie versions though) and know very little about Hemingway's
life, so when it was recommended by a friend, I thought it might be
like coming in on a football game at halftime. However, it turned out
to be a very readable, enjoyable and accessible look into this great
American writer's years in France and Spain and the friends and
acquaintances that influenced his life and his writing. The author did
an outstanding job of showing the real life connections between his
life there and the characters and places he used in his first novel
'The Sun Also Rises'. In reading it, I was able to see in my mind's eye
the street cafés of Paris and feel the excitement of the famous
running of the bulls in the streets of Pamplona. I especially enjoyed
the author's return visit to those places to see them as they are
today. His descriptions of the changes that have occurred in the
intervening years are what brought this book together nicely. I think
now I'll go read 'The Sun Also Rises' and see how Hemingway saw it all."
—Doug Bogert, North Florida
"With
this book, Burgess has made a permanent and invaluable contribution to
the collective knowledge-base about one of history's most revered
authors: Ernest Hemingway. With detective-like determination the author
illuminates where Hemingway's fiction intersected with Hemingway's real
life experiences. And with engaging style Burgess takes the reader to
those famous places of long ago, and shows how they survive today. He
even weaves in an interesting literary braid at one point, tying three
different accounts together to complete the picture. A must read for
anyone claiming to be a Hemingway fan."
—Eric Zillmer, Grand Rapids, Michigan
"More
Than A Memoir-A Terrific Read!
I've read a couple biographies about Ernest Hemingway but they seemed
stiff, as though the authors were just compiling facts. If Hemingway's
Paris and Pamplona, Then and Now is considered a biography then it is
one of the most interesting ones I've ever read. Mainly because
Burgess' writing style makes it read more like a novel. From a look at
the book's credits I believe the author has drawn on almost everything
that has ever been written about Mr. Hemingway. He not only brings it
all together very smoothly but I found myself learning things I never
knew about the man on several different levels. Often they were either
details of experiences the author saw himself with Hemingway, or they
were personal accounts from people who knew Hemingway intimately. The
author weaves them in with details of Hemingway's early Paris years
along with personal memoirs that were written after the authors' death.
He even retraces intimate details of Hemingway's real-life character
for Robert Cohen from a biography written by Harold Loeb and published
in 1959, the very year that Hemingway was last in Pamplona. For
Hemingway it was his Last Hurrah. A last happy time with his old
friends. Later, there is even an interview with a matronly friend who
was only 19-years-old when Hemingway hired her in Pamplona to work for
him as a researcher/typist in Cuba after they met at his last fiesta in
1959. Equally interesting to me was Burgess' description of Hemingway's
final fiesta where everything seemed to come together there for him and
he finally realized what was important to him. A year later he died. In
the last half of the book Burgess revisits Hemingway's favorite places
today and shows the reader what still remains of the author's legacy in
Paris and Pamplona. Good stuff! I found the book a fascinating read on
several levels, then and now. He hit the bull's eye both times!"
—Robert Hjellum, a Hemingway fan from San Francisco,
November 28, 2000,
© 2000, 2001 Robert F.
Burgess. All rights reserved.
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