Fifty years ago, Ernest Hemingway died by his own hand. The quintessentially American writer—and poster bear for burly masculinity—is undergoing one of his periodic revivals, spurred not only by the anniversary of his suicide but by Woody Allen’s Midnight in Paris, much of which takes place in the 1920s Left Bank of Hemingway’s Moveable Feast.
Re-reading the “restored edition” of that book, which inspired controversy when it was published last year, we encounter the young Hemingway before he morphed into the mythical Papa. And what a queer character he is, fraught with sexual anxieties and unsettled in his masculinity—an accidental theorist, whether he knows it or not.
MORE HERE, at Thought Catalog: “The Importance Of Being Ernest: Hemingway Meets The Gay Gothic.”