Books

Ernest Hemingway, Reporter

The years spent as a reporter painting the scene in Parisian cafes and on tuna fishing boats in Spain sharpened Ernest Hemingway's ability to carefully, confidently build a story.


By-Line: Ernest Hemingway

Publisher: Scribner
Length: 512 pages
Author: Edited by William White
Amazon

A Moveable Feast

Publisher: Scribner
Length: 219 pages
Author: Ernest Hemingway
Amazon

In Our Time

Publisher: Scribner
Length: 160 pages
Author: Ernest Hemingway
Amazon

Between third class train rides and afternoons at the racetrack, Ernest Hemingway filed "Living on $1,000 a Year in Paris" with an editor at the Toronto Daily Star in 1922. After a stint as a cub reporter at the Kansas City Star -- where he was inevitably "forced to write a simple declarative sentence," he later explained -- the young writer was offered a job at the Canadian paper in 1920. Hemingway then took on a correspondent role at their Paris office and moved to France after marrying Elizabeth "Hadley" Richardson.

In less than 600 words, Hemingway tallies in "Living on $1,000 a Year in Paris" the considerable lengths to which he and his wife could go with the Canadian or American dollar in France's capital city at the time. It's due to "prices not having advanced in proportion to" the dollar's "increased value." Meals are compared to the "best restaurants in America" in his piece, and the lodging is "comfortable." These are indeed the spare declarative sentiments of a dry newspaper report, and it's a bit short for what appears to be a meaty collection of nonfiction at Byliner.com, where "Living on $1,000..." was submitted for perusal in early July of this year. Part social network, part digital publisher, Byliner launched in June. It connects readers to writers, but also to other readers, who are free to browse the hub's digital archives for worthwhile narratives as well as submit links to stories not already collected at the site.

As of my writing this, Ernest Hemingway is among the most read authors at Byliner. Even if this particular piece of original reporting from him is a bit skimpy, "Living on $1,000 a Year in Paris" arguably demonstrates Hemingway's acumen with observation at an early point in his career.

In the posthumously published A Moveable Feast, Hemingway wrote that in Paris back then you could forego buying new clothes and sometimes meals to live "very well on almost nothing." This memoir of his life in France during the 1920s may or may not have been pieced together from notes left in a trunk beneath the Ritz Hotel. It's rich with passages like this one, which details the first apartment he shared with Hadley in Paris:

Home in the rue Cardinal Lemoine was a two-room flat that had no hot water and no inside toilet facilities except an antiseptic container, not uncomfortable to anyone who was used to a Michigan outhouse. With a fine view and a good mattress and springs for a comfortable bed on the floor, and pictures we liked on the walls, it was a cheerful, gay flat.

Meals in the book are recounted with similarly palpable enthusiasm:

The beer was very cold and wonderful to drink. The pommes a l'huile were firm and marinated and the olive oil delicious. I ground the black pepper over the potatoes and moistened the bread in the olive oil. After the first heavy draft of beer I drank and ate very slowly. When the pommes a l'huile were gone I ordered another serving and a cervelas. This was a sausage like a heavy, wide frankfurter split in two and covered with a special mustard sauce.

Of Hemingway's writing, William White suggested, "If the details were sometimes slighted, the picture as a whole -- full of the emotional impact of the events on the people -- was clear, lucid in full." White selectively compiled the author's articles and newspaper and magazine dispatches dated between 1920 and 1956 for a bestselling book called, incidentally, By-Line: Ernest Hemingway in 1967.

I've read a lot of Hemingway's short stories, but have only just begun to work my way through By-Line, which includes his contributions to Esquire, Collier's, and more. And save for what was required of me in high school English classes, I hadn't really digested any of his stories until I picked up In Our Time at a used bookstore when I was an undergrad. In finally getting to Hemingway's fluid magazine work, I can't dispute that the years spent painting the scene in Parisian cafes and on tuna fishing boats in Spain sharpened his ability to carefully, confidently build a story.

Charles A. Fenton wrote in The Apprenticeship of Ernest Hemingway that while his subject wasn't earning a lot of money for the Toronto Star Weekly pieces, "he had earned enough and written enough to legitimately think of himself as a writer." Sample the bountifully detailed vignettes that the author fit into his newspaper schedule during the 1920s to absorb the effect that reporting had on him as a storyteller. The crisp opening sentences of In Our Time's "The Three-Day Blow":

The rain stopped as Nick turned into the road that went up through the orchard. The fruit had been picked and the fall wind blew through the bare trees. Nick stopped and picked up a Wagner apple from beside the road, shiny in the brown grass from the rain. He put the apple in the pocket of his Mackinaw coat.

As far as mining Hemingway's journalistic efforts for the dazzling creative phrases that would influence his fiction, one could do worse than to cite "American Bohemians in Paris a Weird Lot," which appeared in the Toronto Star's weekend magazine supplement in 1922. It was nabbed for inclusion in 1962's The Wild Years, and William White subsequently added it to the lot for By-Line, too. "American Bohemians..." boils over with searing criticism of the trendy American expatriate crowd at Cafe Rotonde. The author seizes upon the opportunity to spike his tone here, as it isn't the platform that calls for the straight reporting he toiled over during the week:

For the first dose of Rotonde individuals you might observe a short, dumpy woman with newly blond hair cut Old Dutch Cleanser fashion, a face like a pink enameled ham and fat fingers that reach out of the long blue silk sleeves of a Chinese-looking smock.

In The Paris Review interview, Hemingway told George Plimpton that after a certain point, journalism "can be a daily self-destruction for a serious creative writer." White touches on this in his introduction to By-Line. He discusses Hemingway's sponge-like ability to soak up "matter for his short stories and novels," but cites the author's contention that newspaper writers work on deadline to "make stuff timely rather than permanent." White points out that this better equipped Hemingway for his craft -- not reporting, but fiction, where he could "always use his material to suit his imaginative purposes."

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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