“A writer’s job is to tell the truth,” said Hemingway in 1942. No other writer of our time had so fiercely asserted, so pugnaciously defended or so consistently exemplified the writer’s obligation to speak truly. His standard of truth-telling remained, moreover, so high and so rigorous that he was ordinarily unwilling to admit secondary evidence, whether literary evidence or evidence picked up from other sources than his own experience. “I only know what I have seen,” was a statement which came often to his lips and pen. What he had personally done, or what he knew unforgettably by having gone through one version of it, was what he was interested in telling about. This is not to say that he refused to invent freely. But he always made it a sacrosanct point to invent in terms of what he actually knew from having been there.
The primary intent of his writing, from first to last, was to seize and project for the reader what he often called “the way it was.” This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingway’s conception of its meaning subtly changed several times in the course of his career-always in the direction of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments; the sense of place the sense of fact and the sense of scene.
The first of these, obviously a strong passion with Hemingway, is the sense of place. “Unless you have geography, background,” he once told George Anteil, “You have nothing.” You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have so carefully charted out the geographical ground work of their novels while managing to keep background so conspicuously unobtrusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner café… Or when, at around six O’s cl
全文主旨是想说明海明威非常尊崇事实,以实际经验为基础写作,因此他对知识的态度应是知识来自于生活,只有自己生活过才能了解。
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