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In the Same Corner of the Prize Ring: Jack London, Ernest Hemingway, and Boxing

In the Same Corner of the Prize Ring: Jack London, Ernest Hemingway, and Boxing In the Same Corner of the Prize Ring Jack London, Ernest Hemingway, and Boxing , Stephen F. Austin State University Writing of Ernest Hemingway's literary influences as they were in 1919, Michael Reynolds puts forth that, at that time, "[Hemingway's] reading was rooted in nineteenth-century British fiction. Other than Jack London's stories and The Call of the Wild, he had read nothing that could be called modern" (49). Lisa Tyler, too, recognizes this European influence and comments that though not college educated, Hemingway "was extraordinarily well read, particularly in nineteenth- and twentieth-century European literature" (17). In fact, among the different individuals whom Hemingway has recognized as influential, readers will find French, Russian and British authors, but no Americans (17); this is not to say that Hemingway had no American influences, but that these influences, in most cases, came later in his writing career. It was when working with Sherwood Anderson that Hemingway was exposed to literary nationalism (Reynolds 183). In the continued course of Hemingway studies, though, interconnecting Hemingway back to his American predecessors has become a more common project. One intriguing and yet limited discussion is the potential influence of Jack London on Hemingway. As Tyler notes, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Studies in American Naturalism University of Nebraska Press

In the Same Corner of the Prize Ring: Jack London, Ernest Hemingway, and Boxing

Studies in American Naturalism , Volume 11 (1) – Mar 1, 2016

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Publisher
University of Nebraska Press
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Copyright © University of Nebraska Press
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1944-6519
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Abstract

In the Same Corner of the Prize Ring Jack London, Ernest Hemingway, and Boxing , Stephen F. Austin State University Writing of Ernest Hemingway's literary influences as they were in 1919, Michael Reynolds puts forth that, at that time, "[Hemingway's] reading was rooted in nineteenth-century British fiction. Other than Jack London's stories and The Call of the Wild, he had read nothing that could be called modern" (49). Lisa Tyler, too, recognizes this European influence and comments that though not college educated, Hemingway "was extraordinarily well read, particularly in nineteenth- and twentieth-century European literature" (17). In fact, among the different individuals whom Hemingway has recognized as influential, readers will find French, Russian and British authors, but no Americans (17); this is not to say that Hemingway had no American influences, but that these influences, in most cases, came later in his writing career. It was when working with Sherwood Anderson that Hemingway was exposed to literary nationalism (Reynolds 183). In the continued course of Hemingway studies, though, interconnecting Hemingway back to his American predecessors has become a more common project. One intriguing and yet limited discussion is the potential influence of Jack London on Hemingway. As Tyler notes,

Journal

Studies in American NaturalismUniversity of Nebraska Press

Published: Mar 1, 2016

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