@@ Line 64: / Line 64: @@
 of documentary reportage in the thirties” that worked “by vicarious persuasion:
 the writer partook of the events he reported and bared his feelings
-and attitudes to influence the reader’s own.”{{sfn|Stott|1986|pp=178-9}}{{efn|He specifically includes Hemingway et al (180).}} Stott also observes {{pg|433|434}}
+and attitudes to influence the reader’s own.”{{sfn|Stott|1986|pp=178-9}}{{efn|He specifically includes Hemingway et al (180).}} Stott also observes {{pg|433|434}}another technique to enable documentary reportage to “talk to us, and convince us that we, our deepest interests, are engaged,” in the use of the second person: “Thirties documentaries constantly address ‘you,’ the ‘you’ who is we the audience, and exhorts, wheedles, begs us to identify, pity, participate.” His examples include Dorothy Parker’s Spanish Civil War writing, and Hemingway’s 1935 “First-Hand Report on the Florida Hurricane.”{{sfn|Stott|1986|pp=27-8}} A number of Hemingway’s NANA dispatches employ the second-person as a way of bringing the reader along for the ride.
+Hemingway’s dispatches used personal pronouns more artfully than is
+generally recognized. “A New Kind of War,” which William Braasch Watson
+notes as having been “[w]ritten with more care and imagination” than its
+predecessors, begins in second person: “The window of the hotel is open
+and, as you lie in bed, you hear the firing in the front line seventeen blocks
+away.”{{sfn|Watson|1988|p=29}} He takes “you” outside, to see the damage and the dead from the bombing. “Someone makes a joke about missing teeth and someone else says not to make that joke. And everyone has the feeling that characterizes war. It wasn’t me, see? It wasn’t me.”{{sfn|Watson|1988|p=30}} The tension between the first person and second-person pronouns—the movement toward identification with “you” and the insistence that “it wasn’t me”—continues in the next line. Here the reader is at once still in the narrator’s shoes, but strangely distanced from the narrator through biographical tidbit and, at the same time, asked
+to see himself in the enemy: “The Italian dead up on the Guadalajara weren’t
+you although Italian dead, because of where you had spent your boyhood,
+always seemed, still, like Our Dead.”{{sfn|Watson|1988|p=30}} It is worth quoting at length the dispatch’s transition to first person:
+{{quote|After the shell that lit on the sidewalk in front of the hotel you got
+a beautiful double corner room on that side, twice the size of the
+one you’d had, for less than a dollar. It wasn’t me they killed. See?
+No. Not me. It wasn’t me anymore.
+Then in a hospital given by the American Friends of Spanish
+Democracy located out behind the Morata front along the road
+to Valencia they said, “Raven wants to see you.”
+“Do I know him?”
+“I don’t think so,” they said. “But he wants to see you.”
+“Where is he?”
+“Upstairs.”{{pg|434|435}}
+In the room upstairs they are giving a blood transfusion to a
+man with a very gray face who lay on a cot with his arm out looking
+away from the gurgling bottle and moaning in a very impersonal
+way. He moaned mechanically and at regular intervals and
+it did not seem to be him that made the sound. His lips did not
+move.
+“Where’s Raven?” I asked.
+“I’m here,” said Raven.{{sfn|Watson|1988|p=31}} }}
+The piece simply could not have sustained the second-person for the remaining
+five pages. More significantly, for this deeply personal exchange between
+the writer and the faceless, eyeless soldier, Hemingway could not hide
+in the rhetorical device of the second-person. In the process, he effects a reversal
+of the usual pronoun game; instead of identifying with the all embracing
+“you,” we leave that trick behind and become fully attached to
+the narratorial “I” as ourselves, as we might not have been had the article
+begun in the first person. And even as the narrator identifies himself by name
+for the only time in any of the dispatches—“Hemingway,” and later
+“Ernest”—as decidedly not ourselves. We do not say, It isn’t me. The historian
+Hugh Thomas notes “the refreshing candour” of Hemingway’s naming
+himself “in the world of the International Brigades, where no one’s name
+seemed to be truthfully given.”{{sfn|Thomas|2001|p=591}}{{efn|For Watson, the dispatch “seems, in fact, on the verge of becoming a story” (29).}}
+A year later Hemingway’s “Tortosa Calmly Awaits Assault” resists admitting
+the city’s imminent fall. Yet it does so anyway, by subtly alluding to the
+wartime rhetoric of sacrificed blood irrigating the earth and rejuvenating
+Spain. Such rhetoric was common during the war, appearing in speeches,
+print, and poetry. Many of the poems in Cary Nelson’s anthology The Wound
+and the Dream: Sixty Years of American Poems about the Civil War join in the
+Spanish and international chorus’s general connection between Republican
+soldiers and the land, and the particular singing of their dead nourishing
+the land. We find such language in La Pasionaria’s farewell address to the International Brigades, her epilogue to The Book of the XV Brigade, and Hemingway’s famous eulogy “On the American Dead in Spain”: “For our dead are
+a part of the earth of Spain now and the earth of Spain can never die. Each
+winter it will seem to die and each spring it will come alive again. Our dead
+will live with it forever.”{{sfn|Nelson|1994|p=3}}{{efn| Reprinted in Bruccoli 76 and Nelson, Remembering 37 (the drafts at the JFK are titled “The Dead at Jarama”). In addition to the poems in Nelson’s anthology, see the excerpt from Boris Todrin’s “Spanish Sowing” in Guttmann (Wounded 179–180).}} The Tortosa dispatch implies the deaths of
+cover the war and support the cause—a justification other journalists, those
+who did not return after the spring of 1937, did not enjoy. In his mind too,
+knowing what he heard of fascist atrocities, any reportage against the government
+lessening its chances of victory through killing hopes of increased
+international aid would have led to more deaths at Franco’s hands that the
+much smaller number inspired by fifth column paranoia.12
+The accusation that Hemingway did not write about Republican atrocities
+because he was saving it for his fiction I find baseless (Knightley 232;
+Baker 402).{{sfn|Knightley|2004|p=232}}{{sfn|Baker|1969|p=402}}{{efn|Hemingway’s casual comment to colleagues calling dibs on Pepe Quintanilla, the executioner of
+Madrid, is not sufficient evidence.}}Carolyn Moorehead, in her biography of Martha Gellhorn, describes
+the climate for the Madrid correspondents that first spring: “And so,
+day by day, the correspondents walked a thin and nervous line between truth,
+evasions, and propaganda, telling one another that though it was not all right
+if things were made up and presented as true, it was acceptable to describe
+what you wanted, provided it was true and provided your readers were aware
+of your position.”{{sfn|Moorehead|2003|p=125}} My own sense is that they did not walk the line quite
+so nervously; their passionate commitment, and their principles of position
+disclosure and the eyewitness standard, made that walk relatively easy.
+The problem of committed journalism, even sixty years later, has not been
+resolved—as anyone paying attention to the media and world affairs well
+knows. One person’s truth is another person’s propaganda. Certainly, as
+Knightley notes, reporting from “the heart” affects one’s judgment.{{sfn|Knightley|2004|pp=234-5}}
+Yet to attempt “balance,” per the edits to Matthews’ Guadalajara piece, betrays
+one’s believed truth. Furthermore, the kind of reporting done by the
+correspondents with the Republic—committed, one-sided, optimistic,
+heroic, human interest work by embedded writers—would be practiced
+widely and without reserve during World War II. Such narrative journalism,
+with roots in Louise May Alcott’s “Hospital Sketches” series published in the
+Boston Commonwealth, and more immediately in 1930s social documentary
+writing whose “essence” is “not information”, anticipated postwar
+new journalism’s adoption of novelistic narrative technique for nonfiction
+which culminated with such wartime books as Norman Mailer’s Armies of
+the Night and Michael Herr’s Dispatches.{{sfn|Stott|1986|p=11}} Some of Hemingway’s NANA dispatches
+fall in this line of development.
+Today we might categorize such writing under the awkward umbrella
+term creative nonfiction. That term certainly fits the mixed bag of nonfiction
+narratives and commentaries Hemingway published during the war in
+Ken magazine. These pieces are essays, not journalism, several of which{{pg|439|440}}
+directly appeal for support for the Republic, and most of which really deal
+with the approaching world war. Ken wanted “precisely the kind of opinion
+articles he could not write for NANA.”{{sfn|Donaldson|2009|p=433}} His article, “The
+Cardinal Picks a Winner,” shows a photo of a row of dead children from
+Barcelona and another one with Nationalist officers saluting and Catholic officials
+with raised hands, apparently making the fascist salute as well. He
+ends ironically: “So I don’t believe the people shown in the photo can really
+be making it. I would rather prefer to think that the photograph was faked.”
+{{sfn|Donaldson|2009|p=436}} When Hemingway argues in “A Program for U.S. Realism” that the
+United States should stay out of the next war except to stuff its pockets
+through arms sales, one has to wonder, given his call and the democratic nations’
+failure to save Spain, if we are to sniff sarcasm here.
+The language of the dispatches, with their corrective intent against
+Franco’s propaganda, does risk propagandizing. Hemingway’s optimism and
+anti-fascism certainly colored his correspondence work. His criticism of the
+anarchist and POUM militia for their inactivity on the Aragon front, for example,
+sounds a lot like the Spanish Communist Party’s.{{efn|It at least sounds almost exactly like Dolores Ibarruri in her memoir. To the anarchists’ complaint
+that they had no arms, she retorts “that they had more arms than did many other fronts. . . .
+What they didn’t have and what they were constantly demanding were airplanes and tanks .And
+they didn’t have them because the Republic government didn’t have them either, except for those
+it received as aid from the Soviet Union” (238–284). Yet the various Catalonia militia were not
+as well equipped with small arms as the more regular Popular Army units, and because of the
+terrain tanks and planes were in fact necessary.}}
+ But unlike
+Matthews, Hemingway limited his reports within the Republic to military
+matters. Hemingway may have generally condemned the anarchists in his
+nonfiction, considering their activity as hampering the war effort, but he
+never repeated the accusation of their collaboration with the rebels, as
+Matthews had done. And when Hemingway commented on the Bareclona
+crisis, he referred only to the government—not the communists, as
+Matthews had done.{{efn|Hemingway’s comments in “Hemingway, en Route Home Expects Loyalists to Win” NANA staff
+correspondent dispatch. Though arguably he was propagandizing by hiding the communist influence—
+to mention the communists to an American audience would not gain sympathy for the
+cause.}}Nor did he write articles asserting the limited role of
+the communists in the government, or explaining Spanish anarchism, also
+as Matthews had done.{{efn|An article on the communists’ limited role appeared in late November 1937, as discussed in a
+missive from The Ambassador in Spain (Bowers), then in France, to the Secretary of State on 2
+Dec. 1937 (United States 461). Matthews’ “Anarchism: Spain’s Enigma” appeared in the New York
+Times 22 Aug. 1937: 6, 14.}}
+During one of Hemingway’s stateside breaks between trips to Spain, his
+children asked if he was a “tool” of Stalin, an accusation tossed by a schoolmate
+who, presumably parroting his or her parents, probably understood
+the term no better than Hemingway’s children. {{sfn|Hemingway|nd|p=}}
+Hemingway believed in the Republic’s potential, but he was never a dupe of
+the Spanish Communist Party (PCE) or Comintern. As did many others, he
+accepted PCE’s presence in the government for its discipline and organization
+toward winning the war, and he understood the material necessity for
+Comintern’s support. It should also be noted, as historians Hugh Thomas
+and Helen Graham have reminded us, that the communism associated with
+the Republic wasn’t particularly communist anyway.{{sfn|Thomas|2001|p=628}}{{sfn|Graham|2002|p=184}} {{pg|440|441}}
+Hemingway declined to follow Joris Ivens’ suggestion that he write a
+dispatch on the significant role of the political commissars in the Republican
+military, even though that would have meant
+featuring his brave new friend Gustav Regler.{{sfn|Ivens|1969|p=}} Hemingway also, in a letter
+justifying his work to Jack Wheeler at NANA, wrote about choosing not to
+send a dispatch he had written because it might strike readers as propaganda
+“no matter how true” (Letter to Jack Wheeler).{{sfn|Hemingway|1938b|p=}}
+Hemingway went to Spain to see the war himself and to support the Republic
+through his ambulance fund. The paychecks from NANA and the
+fundraising from The Spanish Earth helped. Whatever propagandistic streak
+colors the dispatches pales in comparison to the documentary. The filmmaker,
+Joris Ivens, was well established in European communist circles. The
+documentary genre then and now has occupied a slippery position between
+the extremes of impossible-to-achieve empirical nonfiction and of the outright
+fictionalized. Evaluations of Hemingway’s journalism are informed by
+knowledge of The Spanish Earth and the Ken essays to the detriment of the
+journalism. And the very nature of the slippery documentary genre may enable
+the film to escape opprobrium. It wasn’t reportage; it was altogether
+something else. But for that matter, Hemingway’s dispatches weren’t purely
+reportage either, and if not altogether something else, still something else,
+and should be reckoned with accordingly.
+===Works Cited===
+* {{cite book
+|last=Bruccoli |first=Matthew |date=2006 |title=Hemingway and the Mechanism of Fame |url= |location=Columbia |publisher=U of South Caronia P |pages= |ref=harv }}
+* {{cite book |last=Cowles |first=Virginia |date=1941 |title=Looking for Trouble |url= |location=New York
+|publisher=Harper & Brothers |pages= |ref=harv }}
+* {{cite journal |last=Davison |first=Richard Allan |title=The Publication of Hemingway’s The Spanish Earth: An Untold Story |url= |journal=Hemingway Review
+|volume=7.2 |issue= |date=1988
+|pages=122-130 |access-date= |ref=harv }}
+* {{cite book |last=Donaldson
+|first=Scott |date=2009 |title=Fitzgerald & Hemingway: Works and Days |url= |location=New York |publisher=Columbia UP |pages= |ref=harv }}
+* {{cite book |last=Franklin |first=Sidney |date=1952 |title=Bullfighter from Brooklyn |url= |location=New York |publisher=Prentice-Hall |pages= |ref=harv }}
+* {{cite book |last=Graham |first=Helen |date=2002 |title=The Spanish Republic at War 1936-1939 |url= |location=Cambridge |publisher=Cambridge UP |pages= |ref=harv }}
+* {{cite book |last=Guttmann |first=Allen |date=1962 |title=The Wound in the Heart: American and the Spanish Civil War |url= |location=New York |publisher=Free Press of Glencoe |pages= |ref=harv }}
+* {{cite book |last=Hemingway |first=Ernest |date=1967 |title=By-Line: Ernest Hemingway |url= |location=New York |publisher=Scibner |pages=
+|ref=harv }}
+* {{cite journal
+|last=Hemingway
+|first=Ernest
+|editor-last=Trogdon
+|editor-first=Robert W.
+|author-mask=1
+|title=Fascism is a Lie
+|url=
+|journal=Ernest Hemingway: A Literary Reference |volume==
+|issue=
+|date=2002
+|pages=193-6
+|location=New York
+|publisher=Carroll & Graf
+|access-date=
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|author-mask=1
+|date=10 May 1937
+|chapter=Hemingway, en Route Home Expects Loyalists to Win
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|author-mask=1
+|date=nd
+|chapter=The Home Front
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|author-mask=1
+|date=10 Dec 1938
+|chapter=Letter to Edmund Wilson
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|author-mask=1
+|date=2 June 1938
+|chapter=Letter to Jack Wheeler
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|author-mask=1
+|date=14 Feb 1939
+|chapter=On the American Dead in Spain
+|title=TS. New Masses
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=3
+|ref=harv }}
+* {{cite book
+|last=Hemingway
+|first=Ernest
+|editor-last=Baker
+|editor-first=Carlos
+|author-mask=1
+|date=2003
+|chapter=The Hadely Mowrer
+|title=Ernest Hemingway: Selected Letters, 1917-1961
+|url=
+|location=New York
+|publisher=Scribner
+|pages=462-3
+|ref=harv }}
+* {{cite book
+|last=Ibarruri
+|first=Dolores
+|date=1966
+|title=They Shall Not Pass: The Autobiography of La Pasionaria
+|url=
+|location=United States
+|publisher=International Publishers
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Ivens
+|first=Joris
+|date=1969
+|title=The Camera and I
+|url=
+|location=New York
+|publisher=International Publishers
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Ivens
+|first=Joris
+|author-mask=1
+|date=26 Apr 1937
+|chapter=Letter to Ernest Hemingway
+|title=MS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=James
+|first=Edwin
+|date=20 Nov 1937
+|chapter=Letter to Bertrand Weaver
+|title=MS. Herbert Matthews Collection, Box 1 Folder 4
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=James
+|first=Edwin
+|author-mask=1
+|date=12 Oct 1937
+|chapter=Letter to Herbert Matthews
+|title=MS. Herbert Matthews Collection, Box 1 Folder 10
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=James
+|first=Edwin
+|author-mask=1
+|date=25 Apr 1939
+|chapter=Letter to M.B. Tenney
+|title=MS. Herbert Matthews Collection, Box 1 Folder 10
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=James
+|first=Edwin
+|author-mask=1
+|date=23 Apr 1937
+|chapter=Letter to Sulzberger
+|title=MS. Herbert Matthews Collection, Box 1 Folder 3
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Knightley
+|first=Phillip
+|date=2004
+|title=The First Casualty: The War Correspondent as Hero and Myth-Maker from the Crimea to Iraq
+|url=
+|location=Baltimore
+|publisher=John Hopkins
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Matthews
+|first=Herbert
+|author-mask=
+|date=9 Apr 1937
+|chapter=Letter to Edwin James
+|title=TS. Herbert Matthews Collection, Box 1 Folder 3
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Matthews
+|first=Herbert
+|author-mask=1
+|date=11 Apr 1937
+|chapter=Letter to Edwin James
+|title=MS. Herbert Matthews Collection, Box 1 Folder 3
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Matthews
+|first=Herbert
+|author-mask=1
+|date=6 July 1937
+|chapter=Letter to Edwin James
+|title=MS. Herbert Matthews Collection, Box 1 Folder 3
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Matthews
+|first=Herbert
+|author-mask=1
+|date=July 1937
+|chapter=Letter to Edwin James
+|title=MS. Herbert Matthews Collection,  Box 1 Folder 4
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Matthews
+|first=Herbert
+|author-mask=1
+|date=22 March 1939
+|chapter=Letter to Sulzberger
+|title=MS. Herbert Matthews Collection, Box 1 Folder 9
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=McCaw
+|first=Raymond
+|author-mask=
+|date=20 May 1937
+|chapter=Letter to Edwin James
+|title=MS. Herbert Matthews Collection, Box 1 Folder 3
+|url=
+|location=Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=McCaw
+|first=Raymond
+|author-mask=1
+|date=20 Dec 1937
+|chapter=Letter to Edwin James
+|title=MS. Herbert Matthews Collection, Box 1 Folder 5
+|url=
+|location=Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=McCaw
+|first=Raymond
+|author-mask=1
+|date=23 Sep 1937
+|chapter=Note to Herbert Matthews
+|title=MS. Herbert Matthews Collection, Box 1 Folder 4
+|url=
+|location= Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Moorehead
+|first=Caroline
+|date=2003
+|title=Gellhorn: A Twentieth-Century Life
+|url=
+|location=New York
+|publisher=Henry Holt
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Moreira
+|first=Peter
+|date=2006
+|title=Hemingway on the China Front: His WWII Spy Mission with Martha Gellhorn
+|url=
+|location=Washington D.C.
+|publisher=Potomac Books
+|pages=
+|ref=harv }}
+* {{cite book
+|last=NANA
+|first=
+|date=5 Feb 1937
+|chapter=Promotion Box: Hemingway, For Immediate Release
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|last=NANA
+|first=
+|author-mask=1
+|date=4 Apr 1938
+|chapter=Promotion Box: American Veterans Tell of Escaping Insurgents
+|title=TS. Ernest Hemingway Collection
+|url=
+|location=John F. Kennedy Library, Boston
+|publisher=
+|pages=
+|ref=harv }}
+* {{cite book
+|editor-last=Nelson
+|editor-first=Card
+|date=1994
+|title=Remembering Spain: Hemingway’s Civil War Eulogy and the Veterans of the Abraham Lincoln Brigade
+|url=
+|location=Urbana
+|publisher=U of Illinois
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Reynolds
+|first=Michael
+|date=1989
+|title=Hemingway: The Paris Years
+|url=
+|location=New York
+|publisher=Norton
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Stott
+|first=William
+|date=1986
+|title=Documentary Expression and Thirties America
+|url=
+|location=Chicago
+|publisher=U of Chicago P
+|pages=
+|ref=harv }}
+* {{cite book
+|last=Thomas
+|first=Hugh
+|date=2001
+|title=The Spanish Civil War, Rev. ed.
+|url=
+|location=New York
+|publisher=Modern Library
+|pages=
+|ref=harv }}
+* {{cite magazine
+|last=''Two Wars and More to Come''
+|first=
+|date=24 Jan 1938
+|title=Best Sellers of the Week Here and Elsewhere
+|type=Advertisement
+|url=
+|magazine=New York Times
+|pages=
+|access-date=
+|ref=harv }}
+* {{cite journal
+|last=
+|first=
+|title=United States. Dept. of State
+|url=
+|journal= Foreign Relations of the Untied States, 1937  |volume==1
+|issue=General
+|date=1954
+|pages=
+|location=Washington
+|publisher=GPO
+|access-date=
+|ref=harv }}
+* {{cite journal
+|last=Watson
+|first=William Braasch
+|title=Hemingway’s Spanish Civil War Dispatches
+|url=
+|journal=The Hemingway Review |volume==7.2
+|issue=
+|date=1988
+|pages=4-121
+|access-date=
+|ref=harv }}
+* {{cite book
+|last=Wheeler
+|first=John H.
+|author-mask=1
+|date=10 Dec 1938
+|chapter=Letter to Hemingway
+|title=MS. Ernest Hemingway Collection, Box 3 Folder 14
+|url=
+|location=Harry Ransom Humanities Research Center, University of Texas-Austin
+|publisher=
+|pages=
+|ref=harv }}

User:MerAtticus/sandbox: Difference between revisions