The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself: Difference between revisions

The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself (view source)

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 next” {{sfn|Baker|1972|pp=178}}.<sup>8</sup> For both Harry and Francis, this would be the year.
-How do we read “The Snows of Kilimanjaro,” meaning not only the ti
+How do we read “The Snows of Kilimanjaro,” meaning not only the title
+but the controlling image of the story? Sometimes, we may underestimate
+the crucial role of place in Hemingway’s work, what his character Colonel
+Cantwell called the “accidents of terrain” {{sfn|Kennedy|1999|pp=325}}. Here is Gerald
+Kennedy’s helpful summary,
+:: As a writer, Hemingway was of course intensely interested in
+human conflicts and challenges, but he perceived in the physical
+order an ultimate, irreducible truth that he strove to capture. He
+understood how deeply “accidents of terrain” had shaped his
+work and how important “dreams of places” were to the construction of his stories and novels. As suggested by “The Snows of Kilimanjaro,” that most geographical of his fictions, he also recognized that place is the organizing principle of memory and
+so conceived the last reveries of Harry, the dying writer, as a series of topographical visions. To the end, doing country (or doing city) remained arguably the crux of Hemingway’s poetics, the generative principle of narrative itself. {{sfn|Kennedy|1999|pp=328-329}}.
+Kennedy perceives that in Hemingway “place is the organizing principle
 . . .