User:TWietstruk/sandbox - Revision history

TWietstruk: adding harvid data

2025-04-13T13:31:34Z

adding harvid data

← Older revision		Revision as of 09:31, 13 April 2025
Line 134:		Line 134:
	{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}		{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}

	{{cite book\|last=Svoboda\|first=Frederic Joseph\|title=Ernest Hemingway & The Sun Also Rises: The crafting of a Style\|location=Lawrence, KS\|publisher=UP of Kansas\|date=1983\|medium=Print\|ref=~~harv~~}}		{{cite book\|last=Svoboda\|first=Frederic Joseph\|title=Ernest Hemingway & The Sun Also Rises: The crafting of a Style\|location=Lawrence, KS\|publisher=UP of Kansas\|date=1983\|medium=Print\|ref={{harvid\|Ernest Hemingway & The Sun Also Rises: The crafting of a Style\|1983}}}}

	{{cite AV media\|title=When We Were Kings\|people=Perf. Muhammad Ali, George Foreman, Don King, James Brown \|date=1996 \|medium=Film & Print \|ref=~~harv~~}}		{{cite AV media\|title=When We Were Kings\|people=Perf. Muhammad Ali, George Foreman, Don King, James Brown \|date=1996 \|medium=Film & Print \|ref={{harvid\|When We Were Kings\|1996}}}}
	{{Refend}}		{{Refend}}

TWietstruk at 13:11, 13 April 2025

2025-04-13T13:11:08Z

Show changes

TWietstruk: updating sandbox with full article to see if I can remove the SFN and HARV errors that I seem to be getting

2025-04-13T13:08:49Z

updating sandbox with full article to see if I can remove the SFN and HARV errors that I seem to be getting

Show changes

TWietstruk: corrected Fitzgerald citation

2025-04-03T20:22:49Z

corrected Fitzgerald citation

← Older revision		Revision as of 16:22, 3 April 2025
Line 12:		Line 12:
	Lillian Ross reports Hemingway re-telling the story in 1950, about a quarter-century later: “‘One time I asked Jack, speaking of a fight with Benny Leonard,’“How did you handle Benny so easy, Jack?” “Ernie,” he said,“Benny {{pg\|124\|125}}is an awfully smart boxer. All the time he’s boxing, he’s thinking. All the time he was thinking, I was hitting him.” Hemingway gave a hoarse laugh, as though he had heard the story for the first time . . . He laughed again. ‘All the time he was thinking, I was hitting him’”{{sfn\|Ross\|1961\|p=64}}. Ross implies surprise that this stale anecdote is so alive for Hemingway, standing in for the readers who may not have appreciated its importance. In his obnoxious essay “The Art of the Short Story,” written in 1959 and unpublished in his lifetime, Hemingway recollects of “Fifty Grand”: “This story originally started like this: “‘How did you handle Benny so easy, Jack?’ Soldier asked him. ‘Benny’s an awful smart boxer,’ Jack said. ‘All the time he’s in there, he’s thinking. All the time he’s thinking, I was hitting him{{sfn\|Ross\|1961\|p=88}}'". These examples demonstrate that his acquiescence to Fitzgerald’s editorial judgment in 1927 haunted him for three-and-a-half decades, literally until his death.{{efn\|Elsewhere, Hemingway remarks on the intelligence of fighters just as he evaluates their physical skill: in 1922, Hemingway describes Battling Siki, the challenger to Georges Carpentier, “siki tough slowthinker but mauling style may puzzle carp” {{sfn\|Reynolds\|1989\|p=73}}, . In his early journalism, Hemingway reports that, “Jack Dempsey has an imposing list of knockouts over bums and tramps, who were nothing but big slow-moving, slow-thinking set ups for him” {{sfn\|Reynolds\|1998\|p=192}}. Indeed, the payoff of “Fifty Grand”—when Jack Brennan double crosses the double crossers—comes when Jack says, “It’s funny how fast you can think when it means that much money” (CSS 249).}}		Lillian Ross reports Hemingway re-telling the story in 1950, about a quarter-century later: “‘One time I asked Jack, speaking of a fight with Benny Leonard,’“How did you handle Benny so easy, Jack?” “Ernie,” he said,“Benny {{pg\|124\|125}}is an awfully smart boxer. All the time he’s boxing, he’s thinking. All the time he was thinking, I was hitting him.” Hemingway gave a hoarse laugh, as though he had heard the story for the first time . . . He laughed again. ‘All the time he was thinking, I was hitting him’”{{sfn\|Ross\|1961\|p=64}}. Ross implies surprise that this stale anecdote is so alive for Hemingway, standing in for the readers who may not have appreciated its importance. In his obnoxious essay “The Art of the Short Story,” written in 1959 and unpublished in his lifetime, Hemingway recollects of “Fifty Grand”: “This story originally started like this: “‘How did you handle Benny so easy, Jack?’ Soldier asked him. ‘Benny’s an awful smart boxer,’ Jack said. ‘All the time he’s in there, he’s thinking. All the time he’s thinking, I was hitting him{{sfn\|Ross\|1961\|p=88}}'". These examples demonstrate that his acquiescence to Fitzgerald’s editorial judgment in 1927 haunted him for three-and-a-half decades, literally until his death.{{efn\|Elsewhere, Hemingway remarks on the intelligence of fighters just as he evaluates their physical skill: in 1922, Hemingway describes Battling Siki, the challenger to Georges Carpentier, “siki tough slowthinker but mauling style may puzzle carp” {{sfn\|Reynolds\|1989\|p=73}}, . In his early journalism, Hemingway reports that, “Jack Dempsey has an imposing list of knockouts over bums and tramps, who were nothing but big slow-moving, slow-thinking set ups for him” {{sfn\|Reynolds\|1998\|p=192}}. Indeed, the payoff of “Fifty Grand”—when Jack Brennan double crosses the double crossers—comes when Jack says, “It’s funny how fast you can think when it means that much money” (CSS 249).}}

	Fitzgerald’s objection to Hemingway opening the short story with the boxing anecdote was like his misgivings about the original beginning of ''The Sun Also Rises'', what he perceived to be Hemingway’s “tendency to envelope or . . . to ''embalm'' in mere wordiness an anecdote or joke” {{sfn\|~~Hemingway~~\|p=142\|~~1926~~}}. As Susan Beegel notes in her discussion of Hemingway’s impulse to include the anecdote, “Thinking takes time, and boxing is a sport in which speed is of the essence” {{sfn\|Beegel\|1988\|p=15}}. Beegel’s point must be extended: life, at times, is a sport in which speed is of the essence, particularly if it is to be lived to its fullest. As we see in Mailer—think of [[The Naked and the Dead]] and certainly [[The Fight]]—Hemingway placed all his characters in situations in which a quick, strategic, pragmatic response is more appropriate than contemplation and conceptualization, despite the characters’ natural inclinations to indulge their memories, imaginative speculation, and ruminations. Muhammad Ali, after all, is no mindless slugger; he is portrayed as a genius, a scientist, an artist, or a “brain fighter,” in the champ’s own words. More than a boxer, Mailer considers Ali “the first psychologist of the body” {{sfn\|Mailer\|1971\|p=23}}, suggesting that his power is in his mind, as opposed to the brute force, the rage, and the animalistic approach of Foreman and Joe Frazier.		Fitzgerald’s objection to Hemingway opening the short story with the boxing anecdote was like his misgivings about the original beginning of ''The Sun Also Rises'', what he perceived to be Hemingway’s “tendency to envelope or . . . to ''embalm'' in mere wordiness an anecdote or joke” {{sfn\|Fitzgerald\|p=142\|1995}}. As Susan Beegel notes in her discussion of Hemingway’s impulse to include the anecdote, “Thinking takes time, and boxing is a sport in which speed is of the essence” {{sfn\|Beegel\|1988\|p=15}}. Beegel’s point must be extended: life, at times, is a sport in which speed is of the essence, particularly if it is to be lived to its fullest. As we see in Mailer—think of [[The Naked and the Dead]] and certainly [[The Fight]]—Hemingway placed all his characters in situations in which a quick, strategic, pragmatic response is more appropriate than contemplation and conceptualization, despite the characters’ natural inclinations to indulge their memories, imaginative speculation, and ruminations. Muhammad Ali, after all, is no mindless slugger; he is portrayed as a genius, a scientist, an artist, or a “brain fighter,” in the champ’s own words. More than a boxer, Mailer considers Ali “the first psychologist of the body” {{sfn\|Mailer\|1971\|p=23}}, suggesting that his power is in his mind, as opposed to the brute force, the rage, and the animalistic approach of Foreman and Joe Frazier.

	But why did Hemingway’s remorse over deferring to Fitzgerald’s suggestions for “Fifty Grand” fester for the rest of his life? After all, what does one paragraph matter? In “The Art of the Short Story,” Hemingway recounts his version of the circumstances behind the editorial change, and his regret over excising “that lovely revelation of the metaphysics of boxing” {{sfn\|Hemingway\|1981\|p=89}}. {{pg\|125\|126}}		But why did Hemingway’s remorse over deferring to Fitzgerald’s suggestions for “Fifty Grand” fester for the rest of his life? After all, what does one paragraph matter? In “The Art of the Short Story,” Hemingway recounts his version of the circumstances behind the editorial change, and his regret over excising “that lovely revelation of the metaphysics of boxing” {{sfn\|Hemingway\|1981\|p=89}}. {{pg\|125\|126}}

TWietstruk: finished citations...still need to confirm note list

2025-04-03T20:18:43Z

finished citations...still need to confirm note list

Show changes

TWietstruk: updating works cited

2025-04-03T19:39:47Z

updating works cited

Show changes

TWietstruk: updated citations for Reynolds

2025-04-03T18:07:40Z

updated citations for Reynolds

Show changes

TWietstruk at 01:21, 1 April 2025

2025-04-01T01:21:06Z

← Older revision		Revision as of 21:21, 31 March 2025
Line 129:		Line 129:
	{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}

	{{cite book\|last=Reynolds\|first=Michael S.\|~~author mask~~=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|authormask=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}

	{{cite book\|last=Reynolds\|first=Michael S.\|~~author mask~~=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|authormask=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}

	{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}		{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}

TWietstruk: updated author mask for Reynolds

2025-04-01T01:18:30Z

updated author mask for Reynolds

← Older revision		Revision as of 21:18, 31 March 2025
Line 129:		Line 129:
	{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}

	{{cite book\|last=~~____~~\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|author mask=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}

	{{cite book\|last=~~____~~\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|author mask=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}

	{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}		{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}

TWietstruk at 01:16, 1 April 2025

2025-04-01T01:16:58Z

← Older revision		Revision as of 21:16, 31 March 2025
Line 86:		Line 86:

	===Works Cited===		===Works Cited===
	{{~~{{{{~~		{{refbegin}}
	{{Cite book\|author-last=Beegel\|author-first=Susan F.\|title=Hemingway’s Craft of Omission: Four Manuscript Examples\|location=Ann Arbor, MI\|publisher=UMI Research Press\|date=1988\|medium=Print\|ref=harv}}		{{Cite book\|author-last=Beegel\|author-first=Susan F.\|title=Hemingway’s Craft of Omission: Four Manuscript Examples\|location=Ann Arbor, MI\|publisher=UMI Research Press\|date=1988\|medium=Print\|ref=harv}}

← Older revision		Revision as of 16:22, 3 April 2025
Line 12:		Line 12:
	Lillian Ross reports Hemingway re-telling the story in 1950, about a quarter-century later: “‘One time I asked Jack, speaking of a fight with Benny Leonard,’“How did you handle Benny so easy, Jack?” “Ernie,” he said,“Benny {{pg\|124\|125}}is an awfully smart boxer. All the time he’s boxing, he’s thinking. All the time he was thinking, I was hitting him.” Hemingway gave a hoarse laugh, as though he had heard the story for the first time . . . He laughed again. ‘All the time he was thinking, I was hitting him’”{{sfn\|Ross\|1961\|p=64}}. Ross implies surprise that this stale anecdote is so alive for Hemingway, standing in for the readers who may not have appreciated its importance. In his obnoxious essay “The Art of the Short Story,” written in 1959 and unpublished in his lifetime, Hemingway recollects of “Fifty Grand”: “This story originally started like this: “‘How did you handle Benny so easy, Jack?’ Soldier asked him. ‘Benny’s an awful smart boxer,’ Jack said. ‘All the time he’s in there, he’s thinking. All the time he’s thinking, I was hitting him{{sfn\|Ross\|1961\|p=88}}'". These examples demonstrate that his acquiescence to Fitzgerald’s editorial judgment in 1927 haunted him for three-and-a-half decades, literally until his death.{{efn\|Elsewhere, Hemingway remarks on the intelligence of fighters just as he evaluates their physical skill: in 1922, Hemingway describes Battling Siki, the challenger to Georges Carpentier, “siki tough slowthinker but mauling style may puzzle carp” {{sfn\|Reynolds\|1989\|p=73}}, . In his early journalism, Hemingway reports that, “Jack Dempsey has an imposing list of knockouts over bums and tramps, who were nothing but big slow-moving, slow-thinking set ups for him” {{sfn\|Reynolds\|1998\|p=192}}. Indeed, the payoff of “Fifty Grand”—when Jack Brennan double crosses the double crossers—comes when Jack says, “It’s funny how fast you can think when it means that much money” (CSS 249).}}		Lillian Ross reports Hemingway re-telling the story in 1950, about a quarter-century later: “‘One time I asked Jack, speaking of a fight with Benny Leonard,’“How did you handle Benny so easy, Jack?” “Ernie,” he said,“Benny {{pg\|124\|125}}is an awfully smart boxer. All the time he’s boxing, he’s thinking. All the time he was thinking, I was hitting him.” Hemingway gave a hoarse laugh, as though he had heard the story for the first time . . . He laughed again. ‘All the time he was thinking, I was hitting him’”{{sfn\|Ross\|1961\|p=64}}. Ross implies surprise that this stale anecdote is so alive for Hemingway, standing in for the readers who may not have appreciated its importance. In his obnoxious essay “The Art of the Short Story,” written in 1959 and unpublished in his lifetime, Hemingway recollects of “Fifty Grand”: “This story originally started like this: “‘How did you handle Benny so easy, Jack?’ Soldier asked him. ‘Benny’s an awful smart boxer,’ Jack said. ‘All the time he’s in there, he’s thinking. All the time he’s thinking, I was hitting him{{sfn\|Ross\|1961\|p=88}}'". These examples demonstrate that his acquiescence to Fitzgerald’s editorial judgment in 1927 haunted him for three-and-a-half decades, literally until his death.{{efn\|Elsewhere, Hemingway remarks on the intelligence of fighters just as he evaluates their physical skill: in 1922, Hemingway describes Battling Siki, the challenger to Georges Carpentier, “siki tough slowthinker but mauling style may puzzle carp” {{sfn\|Reynolds\|1989\|p=73}}, . In his early journalism, Hemingway reports that, “Jack Dempsey has an imposing list of knockouts over bums and tramps, who were nothing but big slow-moving, slow-thinking set ups for him” {{sfn\|Reynolds\|1998\|p=192}}. Indeed, the payoff of “Fifty Grand”—when Jack Brennan double crosses the double crossers—comes when Jack says, “It’s funny how fast you can think when it means that much money” (CSS 249).}}

	Fitzgerald’s objection to Hemingway opening the short story with the boxing anecdote was like his misgivings about the original beginning of ''The Sun Also Rises'', what he perceived to be Hemingway’s “tendency to envelope or . . . to ''embalm'' in mere wordiness an anecdote or joke” {{sfn\|~~Hemingway~~\|p=142\|~~1926~~}}. As Susan Beegel notes in her discussion of Hemingway’s impulse to include the anecdote, “Thinking takes time, and boxing is a sport in which speed is of the essence” {{sfn\|Beegel\|1988\|p=15}}. Beegel’s point must be extended: life, at times, is a sport in which speed is of the essence, particularly if it is to be lived to its fullest. As we see in Mailer—think of [[The Naked and the Dead]] and certainly [[The Fight]]—Hemingway placed all his characters in situations in which a quick, strategic, pragmatic response is more appropriate than contemplation and conceptualization, despite the characters’ natural inclinations to indulge their memories, imaginative speculation, and ruminations. Muhammad Ali, after all, is no mindless slugger; he is portrayed as a genius, a scientist, an artist, or a “brain fighter,” in the champ’s own words. More than a boxer, Mailer considers Ali “the first psychologist of the body” {{sfn\|Mailer\|1971\|p=23}}, suggesting that his power is in his mind, as opposed to the brute force, the rage, and the animalistic approach of Foreman and Joe Frazier.		Fitzgerald’s objection to Hemingway opening the short story with the boxing anecdote was like his misgivings about the original beginning of ''The Sun Also Rises'', what he perceived to be Hemingway’s “tendency to envelope or . . . to ''embalm'' in mere wordiness an anecdote or joke” {{sfn\|Fitzgerald\|p=142\|1995}}. As Susan Beegel notes in her discussion of Hemingway’s impulse to include the anecdote, “Thinking takes time, and boxing is a sport in which speed is of the essence” {{sfn\|Beegel\|1988\|p=15}}. Beegel’s point must be extended: life, at times, is a sport in which speed is of the essence, particularly if it is to be lived to its fullest. As we see in Mailer—think of [[The Naked and the Dead]] and certainly [[The Fight]]—Hemingway placed all his characters in situations in which a quick, strategic, pragmatic response is more appropriate than contemplation and conceptualization, despite the characters’ natural inclinations to indulge their memories, imaginative speculation, and ruminations. Muhammad Ali, after all, is no mindless slugger; he is portrayed as a genius, a scientist, an artist, or a “brain fighter,” in the champ’s own words. More than a boxer, Mailer considers Ali “the first psychologist of the body” {{sfn\|Mailer\|1971\|p=23}}, suggesting that his power is in his mind, as opposed to the brute force, the rage, and the animalistic approach of Foreman and Joe Frazier.

	But why did Hemingway’s remorse over deferring to Fitzgerald’s suggestions for “Fifty Grand” fester for the rest of his life? After all, what does one paragraph matter? In “The Art of the Short Story,” Hemingway recounts his version of the circumstances behind the editorial change, and his regret over excising “that lovely revelation of the metaphysics of boxing” {{sfn\|Hemingway\|1981\|p=89}}. {{pg\|125\|126}}		But why did Hemingway’s remorse over deferring to Fitzgerald’s suggestions for “Fifty Grand” fester for the rest of his life? After all, what does one paragraph matter? In “The Art of the Short Story,” Hemingway recounts his version of the circumstances behind the editorial change, and his regret over excising “that lovely revelation of the metaphysics of boxing” {{sfn\|Hemingway\|1981\|p=89}}. {{pg\|125\|126}}

← Older revision		Revision as of 21:21, 31 March 2025
Line 129:		Line 129:
	{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}

	{{cite book\|last=Reynolds\|first=Michael S.\|~~author mask~~=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|authormask=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}

	{{cite book\|last=Reynolds\|first=Michael S.\|~~author mask~~=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|authormask=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}

	{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}		{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}

← Older revision		Revision as of 21:18, 31 March 2025
Line 129:		Line 129:
	{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|title=Hemingway’s First War: The Making of A Farewell to Arms\|location=Princeton, NJ\|publisher=Princeton UP\|date=1976\|medium=Print\|ref=harv}}

	{{cite book\|last=~~____~~\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|author mask=1\|title=Hemingway: The Paris Years\|location=Cambridge, MA\|publisher=Basil Blackwell\|date=1989\|medium=Print\|ref=harv}}

	{{cite book\|last=~~____~~\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}		{{cite book\|last=Reynolds\|first=Michael S.\|author mask=1\|title=The Young Hemingway\|location=New York\|publisher=Norton\|date=1998\|medium=Print\|medium=Print\|ref=harv}}

	{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}		{{cite book\|last=Ross\|first=Lillian\|title=Portrait of Hemingway\|location=New York\|publisher=Simon & Schuster\|date=1961\|medium=Print\|ref=harv}}