P. 99 I really loved him, but of course it wore out like a love affair. The fairies have spoiled all that.
147 Ernest—until we began trying to walk over each other with cleats.
189 Ernest Hemingway, while careful to avoid cliches in his work, fairly revels in them in his private life, his favorite being Parbleu (“So what?”) French, and “Yes, We Have No Bananas.” Contrary to popular opinion he is not as tall as Thomas Wolfe, standing only six feet five in his health belt. He is naturally clumsy with his body, but shooting from a blind or from adequate cover, makes a fine figure of a man. We are happy to announce that his work will appear in future exclusively on United States postage stamps.
125 They have more money (Earnest’s wisecrack)
174 As to Ernest as a boy—reckless, adventurous, etc. Yet it is undeniable that the dark was peopled for him. His bravery and acquired characteristics.
176 Nevertheless value of Ernest’s feeling about the pure heart when writing—in other words the comparatively pure heart, the “house in order.”
176 That Willa Cather’s poem shall stand at beginning of Mediaval and that it shall be the story of Ernest.
177 Just as Stendahl’s portrait of a Byronic man made Le Rouge et Noir so couldn’t my portrait of Ernest as Phillipe make the real modern man.
177 But there was one consolation:
They could never use any of Mr. Hemingway’s four letter words, because that was for fourth class and fourth class has been abolished—
(The first class was allowed to cheat a little on the matter.)
But on the other hand they could never use any two letter words like NO. They had to use three letter words like YES!
178 Didn’t Hemmingway say this in effect:
If Tom Wolfe ever learns to separate what he gets from books from what he gets from life he will be an original. All you can get from books is rhythm and technique. He’s half-grown artistically—this is truer than what Ernest said about him. But when I’ve criticized him (several times in talk) I’ve felt bad afterwards. Putting sharp weapons in the hands of his inferiors.
181 I talk with the authority of failure—Ernest with the authority of success. We could never sit across the table again.
200 Very strong personalities must confine themselves in mutual conversation to very gentle subjects. Everything eventually transpired—but if they start at a high pitch as at the last meeting of Ernest, Bunny and me their meeting is spoiled. It does not matter who sets the theme or what it is.
224 Most Pleasant Trips: … Auto Ernest and I North …
176 T. S. P. A Romance and a Reading List
Sun also Rises. A Romance and a Guide Book
Ernest Hemingway and Ernest Lubitsch—Dotty “We’re all shits.”
People like Ernest and me were very sensitive once and saw so much that it agonized us to give pain. People like Ernest and me love to make people very happy, caring desperately about their happiness. And then people like Ernest and me had reactions and punished people for being stupid, etc., etc. People like Ernest and me——
Ideas on Fear as being removed as well as profit motive. We know the latter can—but the former. Some day when the psycho-an are forgotten E.H. will be read for his great studies into fear.
An inferiority complex comes simply from not feeling you’re doing the best you can—Ernest’s “drink” was simply a form of this.
It is so to speak Ernest’s ’Tale of Two Cities’ though the comparison isn’t apt. I mean it is a thoroughly superficial book which has all the profundity of Rebecca.
I want to write scenes that are frightening and inimitable. I don’t want to be as intelligible to my contemporaries as Ernest who as Gertrude Stein said, is bound for the Museums. I am sure I am far enough ahead to have some small immortality if I can keep well.
Snubs—… Ernest apartment.
Parallel of Ernest’s and French conversation as opposed to Gerald and me and U.S.A. emotional bankruptcy.
Do you know what your affair was founded on? On sorrow. You got sorry for each other. (Did Ernest borrow this one?)
Day with a busy man. Combine the day of Ernest’s pictures, the man of genius episode, [Cuppy and McKisco.]
Ernest taking me to that bum restaurant. Change of station implied.
Bald Hemingway characters.
Tom Fast’s story of Ernest.
Ernest and “Farewell to Arms”—producer story.
Bradogue steals Hemingway
Ernest would always give a helping hand to a man on a ledge a little higher up.
Note: All page references for 'The Crack-Up' selection.
Selection taken from Scott and Ernest: The Authority of Failure and the Authority of Success (Appendix), by Matthew J. Bruccoli.
Перевод: The (Антон Руднев).