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Ernest Hemingway

Ernest Miller Hemingway (July 21, 1899 – July 2, 1961) was an American novelist, short-story writer and journalist. Best known for an economical, understated style that significantly influenced later 20th-century writers, he is often romanticized for his adventurous lifestyle, and outspoken and blunt public image. Most of Hemingway's works were published between the mid-1920s and mid-1950s, including seven novels, six short-story collections and two non-fiction works. His writings have become classics of American literature; he was awarded the 1954 Nobel Prize in Literature, while three of his novels, four short-story collections and three nonfiction works were published posthumously.

Hemingway was raised in Oak Park, Illinois, in the Chicago area. After high school, he spent six months as a cub reporter for The Kansas City Star before enlisting in the Red Cross. He served as an ambulance driver on the Italian Front in World War I and was seriously wounded in 1918. His wartime experiences formed the basis for his 1929 novel A Farewell to Arms. He married Hadley Richardson in 1921, the first of four wives. They moved to Paris where he worked as a foreign correspondent for the Toronto Star and fell under the influence of the modernist writers and artists of the 1920s' "Lost Generation" expatriate community. His debut novel The Sun Also Rises was published in 1926.

He divorced Richardson in 1927 and married Pauline Pfeiffer. They divorced after he returned from the Spanish Civil War, where he had worked as a journalist and which formed the basis for his 1940 novel For Whom the Bell Tolls. Martha Gellhorn became his third wife in 1940. He and Gellhorn separated after he met Mary Welsh in London during World War II. Hemingway was present with Allied troops as a journalist at the Normandy landings and the liberation of Paris. He maintained permanent residences in Key West, Florida, in the 1930s and in Cuba in the 1940s and 1950s. On a 1954 trip to Africa, he was seriously injured in two plane accidents on successive days, leaving him in pain and ill health for much of the rest of his life. In 1959 he bought a house in Ketchum, Idaho, where, on July 2, 1961, he shot himself in the head.

Early life
Ernest Miller Hemingway was born on July 21, 1899, in Oak Park, Illinois, an affluent suburb just west of Chicago, to Clarence Edmonds Hemingway, a physician, and Grace Hall Hemingway, a musician. His parents were well-educated and well-respected in Oak Park, a conservative community about which resident Frank Lloyd Wright said, "So many churches for so many good people to go to." When Clarence and Grace Hemingway married in 1896, they lived with Grace's father, Ernest Miller Hall, after whom they named their first son, the second of their six children. His sister Marcelline preceded him in 1898, and his younger siblings included Ursula in 1902, Madelaine in 1904, Carol in 1911, and Leicester in 1915. Grace followed the Victorian convention of not differentiating children's clothing by gender. With only a year separating the two, Ernest and Marcelline resembled one another strongly. Grace wanted them to appear as twins, so in Ernest's first three years she kept his hair long and dressed both children in similarly frilly feminine clothing.

Grace Hemingway was a well-known local musician, and taught her reluctant son to play the cello. Later he said music lessons contributed to his writing style, as evidenced in the "contrapuntal structure" of For Whom the Bell Tolls. As an adult Hemingway professed to hate his mother, although they shared similar enthusiastic energies. His father taught him woodcraft during the family's summer sojourns at Windemere on Walloon Lake, near Petoskey, Michigan, where Ernest learned to hunt, fish and camp in the woods and lakes of Northern Michigan. These early experiences instilled in him a life-long passion for outdoor adventure and living in remote or isolated areas.

Hemingway went to Oak Park and River Forest High School in Oak Park between 1913 and 1917, where he competed in boxing, track and field, water polo, and football. He performed in the school orchestra for two years with his sister Marcelline, and received good grades in English classes. During his last two years at high school he edited the school's newspaper and yearbook (the Trapeze and Tabula); he imitated the language of popular sportswriters and contributed under the pen name Ring Lardner Jr.—a nod to Ring Lardner of the Chicago Tribune whose byline was "Line O'Type". After leaving high school, he went to work for The Kansas City Star as a cub reporter. Although he stayed there only for six months, the Star's style guide, which stated "Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative", became a foundation for his prose.

World War I
Hemingway wanted to go to war and tried to enlist in the U.S. Army but was not accepted because he had poor eyesight. Instead he volunteered to a Red Cross recruitment effort in December 1917 and signed on to be an ambulance driver with the American Red Cross Motor Corps in Italy. In May 1918, he sailed from New York, and arrived in Paris as the city was under bombardment from German artillery. That June he arrived at the Italian Front. On his first day in Milan, he was sent to the scene of a munitions factory explosion to join rescuers retrieving the shredded remains of female workers. He described the incident in his 1932 non-fiction book Death in the Afternoon: "I remember that after we searched quite thoroughly for the complete dead we collected fragments." A few days later, he was stationed at Fossalta di Piave.

On July 8, right after bringing chocolate and cigarettes from the canteen to the men at the front line, the group came under mortar fire. Hemingway was seriously wounded. Despite his wounds, he assisted Italian soldiers to safety, for which he was decorated with the Italian War Merit Cross, the Croce al Merito di Guerra. He was only 18 at the time. Hemingway later said of the incident: "When you go to war as a boy you have a great illusion of immortality. Other people get killed; not you ... Then when you are badly wounded the first time you lose that illusion and you know it can happen to you." He sustained severe shrapnel wounds to both legs, underwent an immediate operation at a distribution center, and spent five days at a field hospital before he was transferred for recuperation to the Red Cross hospital in Milan. He spent six months at the hospital, where he met "Chink" Dorman-Smith. The two formed a strong friendship that lasted for decades.

While recuperating Hemingway fell in love with Agnes von Kurowsky, a Red Cross nurse seven years his senior. When Hemingway returned to the United States in January 1919, he believed Agnes would join him within months and the two would marry. Instead, he received a letter from her in March with news that she was engaged to an Italian officer. Biographer Jeffrey Meyers writes Agnes's rejection devastated and scarred the young man; in future relationships Hemingway followed a pattern of abandoning a wife before she abandoned him. His return home in 1919 was a difficult time of readjustment. Before the age of 20, he had gained from the war a maturity that was at odds with living at home without a job and with the need for recuperation. As Reynolds explains, "Hemingway could not really tell his parents what he thought when he saw his bloody knee." He was not able to tell them how scared he had been "in another country with surgeons who could not tell him in English if his leg was coming off or not."

That September, he went on a fishing and camping trip with high school friends to the back-country of Michigan's Upper Peninsula. The trip became the inspiration for his short story "Big Two-Hearted River", in which the semi-autobiographical character Nick Adams takes to the country to find solitude after coming home from war. A family friend offered Hemingway a job in Toronto, and with nothing else to do, he accepted. Late that year he began as a freelancer and staff writer for the Toronto Star Weekly. He returned to Michigan the next June and then moved to Chicago in September 1920 to live with friends, while still filing stories for the Toronto Star. In Chicago, he worked as an associate editor of the monthly journal Cooperative Commonwealth, where he met novelist Sherwood Anderson.

He met Hadley Richardson through his roommate's sister. Later he claimed, "I knew she was the girl I was going to marry." Red-haired, with a "nurturing instinct", Hadley was eight years older than Hemingway. Despite the age difference, she seemed less mature than usual for a young woman her age, probably because of her overprotective mother. Bernice Kert, author of The Hemingway Women, claims Hadley was "evocative" of Agnes, but that Agnes lacked Hadley's childishness. After exchanging letters for a few months, Hemingway and Hadley decided to marry and travel to Europe. They wanted to visit Rome, but Sherwood Anderson convinced them to go to Paris instead, writing letters of introduction for the young couple. They were married on September 3, 1921; two months later Hemingway signed on as a foreign correspondent for the Toronto Star and the couple left for Paris. Of Hemingway's marriage to Hadley, Meyers claims: "With Hadley, Hemingway achieved everything he had hoped for with Agnes: the love of a beautiful woman, a comfortable income, a life in Europe."

Paris

Anderson suggested Paris because it was inexpensive and it was where "the most interesting people in the world" resided. There Hemingway would meet writers such as Gertrude Stein, James Joyce and Ezra Pound who "could help a young writer up the rungs of a career". Hemingway was a "tall, handsome, muscular, broad-shouldered, brown-eyed, rosy-cheeked, square-jawed, soft-voiced young man." He lived with Hadley in a small walk-up at 74  in the Latin Quarter, and rented a room nearby for work. Stein, who was the bastion of modernism in Paris, became Hemingway's mentor and godmother to his son Jack; she introduced him to the expatriate artists and writers of the Montparnasse Quarter, whom she referred to as the "Lost Generation"—a term Hemingway popularized with the publication of The Sun Also Rises. A regular at Stein's salon, Hemingway met influential painters such as Pablo Picasso, Joan Miró, and Juan Gris. He eventually withdrew from Stein's influence, and their relationship deteriorated into a literary quarrel that spanned decades.

Pound was older than Hemingway by 14 years when they met by chance in 1922 at Sylvia Beach's bookstore Shakespeare and Company. They visited Italy in 1923 and lived on the same street in 1924. The two forged a strong friendship; in Hemingway Pound recognized and fostered a young talent. Pound—who had just finished editing T. S. Eliot's The Waste Land—introduced Hemingway to the Irish writer James Joyce, with whom Hemingway frequently embarked on "alcoholic sprees".

During his first 20 months in Paris, Hemingway filed 88 stories for the Toronto Star newspaper. He covered the Greco-Turkish War, where he witnessed the burning of Smyrna, and wrote travel pieces such as "Tuna Fishing in Spain" and "Trout Fishing All Across Europe: Spain Has the Best, Then Germany". Almost all his fiction and short stories were lost, when in December 1922 as she was traveling to join him in Geneva, Hadley lost a suitcase filled with his manuscripts at the train station Gare de Lyon. He was devastated and furious. Nine months later the couple returned to Toronto, where their son John Hadley Nicanor was born on October 10, 1923. During their absence, Hemingway's first book, Three Stories and Ten Poems, was published in Paris. All that remained after the loss of the suitcase were two of the stories the volume contained; he wrote the third story early in 1923 while in Italy. A few months later, in our time (without capitals) was produced in Paris. The small volume included 18 vignettes, a dozen of which he wrote the previous summer during his first visit to Spain, where he discovered the thrill of the corrida. He considered Toronto boring, missed Paris, and wanted to return to the life of a writer, rather than live the life of a journalist.

Hemingway, Hadley, and their son (nicknamed Bumby) returned to Paris in January 1924 and moved into an apartment on the rue Notre-Dame des Champs. Hemingway helped Ford Madox Ford edit The Transatlantic Review, which published works by Pound, John Dos Passos, Baroness Elsa von Freytag-Loringhoven, and Stein, as well as some of Hemingway's own early stories such as "Indian Camp". When Hemingway's first collection of stories, In Our Time, was published in 1925, the dust jacket bore comments from Ford. "Indian Camp" received considerable praise; Ford saw it as an important early story by a young writer, and critics in the United States praised Hemingway for reinvigorating the short-story genre with his crisp style and use of declarative sentences. Six months earlier, Hemingway had met F. Scott Fitzgerald, and the pair formed a friendship of "admiration and hostility". Fitzgerald had published The Great Gatsby the same year: Hemingway read it, liked it, and decided his next work had to be a novel.

The year before, Hemingway visited the Festival of San Fermín in Pamplona, Spain, for the first time, where he became fascinated by bullfighting. The Hemingways returned to Pamplona again in 1924 and a third time in June 1925; that year they brought with them a group of American and British expatriates: Hemingway's Michigan boyhood friend Bill Smith, Donald Ogden Stewart, Lady Duff Twysden (recently divorced), her lover Pat Guthrie, and Harold Loeb.

A few days after the fiesta ended, on his birthday (July 21), he began to write the draft of what would become The Sun Also Rises, finishing eight weeks later. A few months later, in December 1925, the Hemingways left to spend the winter in Schruns, Austria, where Hemingway began extensively revising the manuscript. Pauline Pfeiffer, the daughter of a wealthy Catholic family in Arkansas, who came to Paris to work for Vogue magazine, joined them in January. Against Hadley's advice, Pfeiffer urged Hemingway to sign a contract with Scribner's. He left Austria for a quick trip to New York to meet with the publishers and, on his return, began an affair with Pfeiffer during a stop in Paris, before returning to Schruns to finish the revisions in March. The manuscript arrived in New York in April; he corrected the final proof in Paris in August 1926, and Scribner's published the novel in October.

The Sun Also Rises epitomized the post-war expatriate generation, received good reviews and is "recognized as Hemingway's greatest work". Hemingway himself later wrote to his editor Max Perkins that the "point of the book" was not so much about a generation being lost, but that "the earth abideth forever"; he believed the characters in The Sun Also Rises may have been "battered" but were not lost.

Hemingway's marriage to Hadley deteriorated as he was working on The Sun Also Rises. In early 1926, Hadley became aware of his affair with Pfeiffer, who came to Pamplona with them that July. On their return to Paris, Hadley asked for a separation; in November she formally requested a divorce. They split their possessions while Hadley accepted Hemingway's offer of the proceeds from The Sun Also Rises. They were divorced in January 1927, and Hemingway married Pfeiffer in May.

Before his marriage to Pfeiffer, Hemingway converted to Catholicism. They honeymooned in Le Grau-du-Roi, where he contracted anthrax, and he planned his next collection of short stories, Men Without Women, which was published in October 1927, and included his boxing story "Fifty Grand". Cosmopolitan magazine editor-in-chief Ray Long praised "Fifty Grand", calling it, "one of the best short stories that ever came to my hands ... the best prize-fight story I ever read ... a remarkable piece of realism."

By the end of the year Pauline was pregnant and wanted to move back to America. Dos Passos recommended Key West, and they left Paris in March 1928. Hemingway suffered a severe head injury in their Paris bathroom when he pulled a skylight down on his head thinking he was pulling on a toilet chain. This left him with a prominent forehead scar, which he carried for the rest of his life. When Hemingway was asked about the scar, he was reluctant to answer. After his departure from Paris, Hemingway "never again lived in a big city".

Key West
Hemingway and Pauline went to Kansas City, Missouri, where their son Patrick was born on June 28, 1928. Pauline had a difficult delivery; Hemingway wrote a fictionalized version of the event in A Farewell to Arms. After Patrick's birth, they traveled to Wyoming, Massachusetts, and New York. On December 6, Hemingway was in New York visiting Bumby, about to board a train to Florida, when he received the news that his father Clarence had killed himself. Hemingway was devastated, having earlier written to his father telling him not to worry about financial difficulties; the letter arrived minutes after the suicide. He realized how Hadley must have felt after her own father's suicide in 1903, and said, "I'll probably go the same way."

Upon his return to Key West in December, Hemingway worked on the draft of A Farewell to Arms before leaving for France in January. He had finished it the previous August but delayed the revision. The serialization in Scribner's Magazine was scheduled to appear in May. In April, he was still working on the ending, which he may have rewritten as many as seventeen times. The completed novel was published on September 27, 1929. Biographer James Mellow believes A Farewell to Arms established Hemingway's stature as a major American writer and displayed a level of complexity not apparent in The Sun Also Rises. In Spain in mid-1929, Hemingway researched his next work, Death in the Afternoon. He wanted to write a comprehensive treatise on bullfighting, explaining the toreros and corridas complete with glossaries and appendices, because he believed bullfighting was "of great tragic interest, being literally of life and death."

During the early 1930s, Hemingway spent his winters in Key West and summers in Wyoming, where he found "the most beautiful country he had seen in the American West" and hunted deer, elk, and grizzly bear. He was joined there by Dos Passos. In November 1930, after bringing Dos Passos to the train station in Billings, Montana, Hemingway broke his arm in a car accident. He was hospitalized for seven weeks, with Pauline tending to him. The nerves in his writing hand took as long as a year to heal, during which time he suffered intense pain.

His third child, Gloria Hemingway, was born a year later on November 12, 1931, in Kansas City as "Gregory Hancock Hemingway". Pauline's uncle bought the couple a house in Key West with a carriage house, the second floor of which was converted into a writing studio. He invited friends—including Waldo Peirce, Dos Passos, and Max Perkins —to join him on fishing trips and on an all-male expedition to the Dry Tortugas. He continued to travel to Europe and to Cuba, and—although in 1933 he wrote of Key West, "We have a fine house here, and kids are all well"—Mellow believes he "was plainly restless".

In 1933, Hemingway and Pauline went on safari to Kenya. The 10-week trip provided material for Green Hills of Africa, as well as for the short stories "The Snows of Kilimanjaro" and "The Short Happy Life of Francis Macomber". The couple visited Mombasa, Nairobi, and Machakos in Kenya; then moved on to Tanganyika Territory, where they hunted in the Serengeti, around Lake Manyara, and west and southeast of present-day Tarangire National Park. Their guide was the noted "white hunter" Philip Percival who had guided Theodore Roosevelt on his 1909 safari. During these travels, Hemingway contracted amoebic dysentery that caused a prolapsed intestine, and he was evacuated by plane to Nairobi, an experience reflected in "The Snows of Kilimanjaro". On Hemingway's return to Key West in early 1934, he began work on Green Hills of Africa, which he published in 1935 to mixed reviews.

He purchased a boat in 1934, naming it the Pilar, and began to sail the Caribbean. He arrived at Bimini in 1935, where he spent a considerable amount of time. During this period he worked on To Have and Have Not, published in 1937 while he was in Spain, which became the only novel he wrote during the 1930s.

Spanish Civil War

Hemingway had been following developments in Spain since early in his career and from 1931 it became clear that there would be another European war. Hemingway predicted war would happen in the late 1930s. Baker writes that Hemingway did not expect Spain to "become a sort of international testing-ground for Germany, Italy, and Russia before the Spanish Civil War was over". Despite Pauline's reluctance, he signed with North American Newspaper Alliance to cover the Spanish Civil War, and sailed from New York on February 27, 1937. Journalist and writer Martha Gellhorn accompanied Hemingway. He had met her in Key West a year earlier. Like Hadley, Martha was a St. Louis native and, like Pauline, had worked for Vogue in Paris. According to Kert, Martha "never catered to him the way other women did".

He arrived in Spain in March with Dutch filmmaker Joris Ivens. Ivens, who was filming The Spanish Earth, intended to replace John Dos Passos with Hemingway as screenwriter. Dos Passos had left the project when his friend and Spanish translatorJosé Robles was arrested and later executed. The incident changed Dos Passos's opinion of the leftist republicans, and caused a rift with Hemingway. Back in the U.S. that summer, Hemingway prepared the soundtrack for the film. It was screened at the White House in July.

In late August he returned to France and flew from Paris to Barcelona and then to Valencia. In September he visited the front in Belchite and then on to Teruel. On his return to Madrid Hemingway wrote his only play, The Fifth Column, as the city was being bombarded by the Francoist army. He went back to Key West for a few months in January 1938. It was a frustrating time: he found it hard to write, fretted over poor reviews for To Have or Have Not, bickered with Pauline, followed the news from Spain avidly and planned the next trip. He took two trips to Spain in 1938. In November he visited the location of the Battle of the Ebro, the last republican stand, along with other British and American journalists. They arrived to find the last bridge destroyed and had to retreat across the turbulent Ebro in a rowboat, Hemingway at the oars, "pulling for dear life".

In early 1939, Hemingway crossed to Cuba in his boat to live in the Hotel Ambos Mundos in Havana. This was the separation phase of a slow and painful split from Pauline, which began when Hemingway met Martha Gellhorn. Martha soon joined him in Cuba, and they rented Finca Vigía ("Lookout Farm"), a 15 acre property 15 mi from Havana. That summer while visiting with Pauline and the children in Wyoming, she took the children and left him. When his divorce from Pauline was finalized, he and Martha were married on November 20, 1940, in Cheyenne, Wyoming.

Hemingway followed the pattern established after his divorce from Hadley and moved again. He split his time between Cuba and the newly established resort Sun Valley. He was at work on For Whom the Bell Tolls, which he began in March 1939 and finished in July 1940. His pattern was to move around while working on a manuscript, and he wrote For Whom the Bell Tolls in Cuba, Wyoming, and Sun Valley. Published that October, it became a book-of-the-month choice, sold half a million copies within months, was nominated for a Pulitzer Prize, and as Meyers describes, "triumphantly re-established Hemingway's literary reputation".

In January 1941, Martha was sent to China on assignment for Collier's magazine. Hemingway went with her, sending in dispatches for the newspaper PM. Meyers writes that Hemingway had little enthusiasm for the trip or for China; although his dispatches for PM provided incisive insights of the Sino-Japanese War according to Reynolds, with analysis of Japanese incursions into the Philippines sparking an "American war in the Pacific". Hemingway returned to Finca Vigía in August and left for Sun Valley a month later.

World War II
The United States entered the war after the Attack on Pearl Harbor in December 1941. Back in Cuba, Hemingway refitted the Pilar as a Q-boat and went on patrol for German U-boats. He also created a counterintelligence unit headquartered in his guesthouse to surveil Falangists, and Nazi sympathizers. Martha and his friends thought his activities "little more than a diverting racket", but the FBI began watching him and compiled a 124-page file. Martha wanted Hemingway in Europe as a journalist and failed to understand his reticence to take part in another European war. They fought frequently and bitterly and he drank too much, until she left for Europe to report for Collier's in September 1943. On a visit to Cuba in March 1944, Hemingway was bullying and abusive with Martha. Reynolds writes that "looking backward from 1960–61 [anyone] might say that his behavior was a manifestation of the depression that eventually destroyed him". A few weeks later he contacted Collier's who made him their front-line correspondent. He was in Europe from May 1944 to March 1945.

When he arrived in London, he met Time magazine correspondent Mary Welsh, with whom he became infatuated. Martha had been forced to cross the Atlantic in a ship filled with explosives because Hemingway refused to help her get a press pass on a plane, and she arrived in London to find him hospitalized with a concussion from a car accident. She was unsympathetic to his plight; she accused him of being a bully and told him that she was "through, absolutely finished". The last time that Hemingway saw Martha was in March 1945 as he prepared to return to Cuba; their divorce was finalized later that year. Meanwhile, he had asked Mary Welsh to marry him on their third meeting.

Hemingway sustained a severe head-wound that required 57 stitches. Still suffering symptoms of the concussion, he accompanied troops to the Normandy Landings wearing a large head bandage. The military treated him as "precious cargo" and he was not allowed ashore. The landing craft he was on came within sight of Omaha Beach before coming under enemy fire when it turned back. Hemingway later wrote in Collier's that he could see "the first, second, third, fourth and fifth waves of [landing troops] lay where they had fallen, looking like so many heavily laden bundles on the flat pebbly stretch between the sea and first cover". Mellow explains that, on that first day, none of the correspondents were allowed to land and Hemingway was returned to the Dorothea Dix. Late in July, he attached himself to "the 22nd Infantry Regiment commanded by Col. Charles "Buck" Lanham, as it drove toward Paris", and Hemingway became de facto leader to a small band of village militia in Rambouillet outside of Paris. Paul Fussell remarks: "Hemingway got into considerable trouble playing infantry captain to a group of Resistance people that he gathered because a correspondent is not supposed to lead troops, even if he does it well." This was in fact in contravention of the Geneva Convention, and Hemingway was brought up on formal charges; he said that he "beat the rap" by claiming that he only offered advice.

He was present at the liberation of Paris on August 25; however contrary to legend, he was not the first into the city nor did he liberate the Ritz. While there, he visited Sylvia Beach and met Picasso with Mary Welsh, and in a spirit of happiness, forgave Gertrude Stein. Later that year, he observed heavy fighting at the Battle of Hürtgen Forest. On December 17, 1944, he traveled to Luxembourg, in spite of illness, to report on The Battle of the Bulge. As soon as he arrived, however, Lanham referred him to the doctors, who hospitalized him with pneumonia; he recovered a week later, but most of the fighting was over. He was awarded a Bronze Star for bravery in 1947, in recognition for having been "under fire in combat areas in order to obtain an accurate picture of conditions".

Cuba and the Nobel Prize
Hemingway said he "was out of business as a writer" from 1942 to 1945. In 1946 he married Mary, who had an ectopic pregnancy five months later. The Hemingway family suffered a series of accidents and health problems in the years following the war: in a 1945 car accident, he injured his knee and sustained another head wound. A few years later Mary broke first her right ankle and then her left in successive skiing accidents. A 1947 car accident left Patrick with a head wound, severely ill and delirious. The doctor in Cuba diagnosed schizophrenia, and sent him for 18 sessions of electroconvulsive therapy.

Hemingway sank into depression as his literary friends began to die: in 1939 William Butler Yeats and Ford Madox Ford; in 1940 F. Scott Fitzgerald; in 1941 Sherwood Anderson and James Joyce; in 1946 Gertrude Stein; and the following year in 1947, Max Perkins, Hemingway's long-time Scribner's editor, and friend. During this period, he suffered from severe headaches, high blood pressure, weight problems, and eventually diabetes—much of which was the result of previous accidents and many years of heavy drinking. Nonetheless, in January 1946, he began work on The Garden of Eden, finishing 800 pages by June. During the post-war years, he also began work on a trilogy tentatively titled "The Land", "The Sea" and "The Air", which he wanted to combine in one novel titled The Sea Book. Both projects stalled. Mellow writes that Hemingway's inability to write was "a symptom of his troubles" during these years.

In 1948, Hemingway and Mary traveled to Europe, staying in Venice for several months. While there, Hemingway fell in love with the then 19-year-old Adriana Ivancich. The platonic love affair inspired the novel Across the River and into the Trees, written in Cuba during a time of strife with Mary, and published in 1950 to negative reviews. The following year, furious at the critical reception of Across the River and Into the Trees, Hemingway wrote the draft of The Old Man and the Sea in eight weeks, saying that it was "the best I can write ever for all of my life". Published in September 1953, The Old Man and the Sea became a book-of-the-month selection, made Hemingway an international celebrity, and won the Pulitzer Prize in May 1953. A month later he departed Cuba for his second trip to Africa.

While in Africa, Hemingway was almost fatally injured in successive plane crashes, in January 1954. He had chartered a sightseeing flight over the Belgian Congo as a Christmas present to Mary. On their way to photograph Murchison Falls from the air, the plane struck an abandoned utility pole and was forced into a crash landing. Hemingway sustained injuries to his back and shoulder; Mary sustained broken ribs and went into shock. After a night in the brush, they chartered a boat on the river and arrived in Butiaba, where they were met by a pilot who had been searching for them. He assured them he could fly out, but the landing strip was too rough and the plane exploded in flames. Mary and the pilot escaped through a broken window. Hemingway had to smash his way out by battering the door open with his head. Hemingway suffered burns and another serious head injury, that caused cerebral fluid to leak from the injury. They eventually arrived in Entebbe to find reporters covering the story of Hemingway's death. He briefed the reporters and spent the next few weeks recuperating in Nairobi. Despite his injuries, Hemingway accompanied Patrick and his wife on a planned fishing expedition in February, but pain caused him to be irascible and difficult to get along with. When a bushfire broke out, he was again injured, sustaining second-degree burns on his legs, front torso, lips, left hand and right forearm. Months later in Venice, Mary reported to friends the full extent of Hemingway's injuries: two cracked discs, a kidney and liver rupture, a dislocated shoulder and a broken skull. The accidents may have precipitated the physical deterioration that was to follow. After the plane crashes, Hemingway, who had been "a thinly controlled alcoholic throughout much of his life, drank more heavily than usual to combat the pain of his injuries."

In October 1954, Hemingway received the Nobel Prize in Literature. He modestly told the press that Carl Sandburg, Isak Dinesen and Bernard Berenson deserved the prize, but he gladly accepted the prize money. Mellow says Hemingway "had coveted the Nobel Prize", but when he won it, months after his plane accidents and their worldwide press coverage, "there must have been a lingering suspicion in Hemingway's mind that his obituary notices had played a part in the academy's decision." He was still recuperating and decided against traveling to Stockholm. Instead he sent a speech to be read in which he defined the writer's life:

"Writing, at its best, is a lonely life. Organizations for writers palliate the writer's loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day."

Since his return from Africa, Hemingway had been slowly writing his "African Journal". Late in the year and early into 1956 he was bedridden with a variety of illnesses. He was ordered to stop drinking so as to mitigate liver damage, advice he initially followed but eventually disregarded. In October 1956, he returned to Europe and visited ailing Basque writer Pio Baroja, who died a few weeks later. During the trip, Hemingway again became sick and was treated for a variety of ailments including liver disease and high blood pressure.

In November 1956, while staying in Paris, he was reminded of trunks he had stored in the Ritz Hotel in 1928 and never retrieved. Upon re-claiming and opening the trunks, Hemingway discovered they were filled with notebooks and writing from his Paris years. Excited about the discovery, when he returned to Cuba in early 1957, he began to shape the recovered work into his memoir A Moveable Feast. By 1959 he ended a period of intense activity: he finished A Moveable Feast (scheduled to be released the following year); brought True at First Light to 200,000 words; added chapters to The Garden of Eden; and worked on Islands in the Stream. The last three were stored in a safe deposit box in Havana, as he focused on the finishing touches for A Moveable Feast. Author Michael Reynolds claims it was during this period that Hemingway slid into depression, from which he was unable to recover.

Finca Vigía became crowded with guests and tourists, as Hemingway, considered a permanent move to Idaho. In 1959 he bought a home overlooking the Big Wood River, outside Ketchum, and left Cuba—although he apparently remained on easy terms with the Castro government, telling The New York Times he was "delighted" with Castro's overthrow of Batista. He was in Cuba in November 1959, between returning from Pamplona and traveling west to Idaho, and the following year for his 61st birthday; however, that year he and Mary decided to leave after hearing the news that Castro wanted to nationalize property owned by Americans and other foreign nationals. On July 25, 1960, the Hemingways left Cuba for the last time, leaving art and manuscripts in a bank vault in Havana. After the 1961 Bay of Pigs Invasion, Finca Vigía was expropriated by the Cuban government, complete with Hemingway's collection of about 5,000 books.

Idaho and suicide
Hemingway continued to rework the material that was published as A Moveable Feast through the 1950s. In mid-1959, he visited Spain to research a series of bullfighting articles commissioned by Life magazine. Life wanted only 10,000 words, but the manuscript grew out of control. For the first time in his life he could not organize his writing, so he asked A. E. Hotchner to travel to Cuba to help him. Hotchner helped trim the Life piece down to 40,000 words, and Scribner's agreed to a full-length book version (The Dangerous Summer) of almost 130,000 words. Hotchner found Hemingway to be "unusually hesitant, disorganized, and confused", and suffering badly from failing eyesight. He left Cuba for the last time on July 25, 1960. Mary went with him to New York where he set up a small office and attempted unsuccessfully to work. Soon after, he left New York, traveling without Mary to Spain to be photographed for the front cover of Life magazine. A few days later the news reported that he was seriously ill and on the verge of dying, which panicked Mary until she received a cable from him telling her, "Reports false. Enroute Madrid. Love Papa." He was, in fact, seriously ill, and believed himself to be on the verge of a breakdown. Feeling lonely, he took to his bed for days, retreating into silence, despite having the first installments of The Dangerous Summer published in Life that September to good reviews. In October, he went back to New York, where he refused to leave Mary's apartment, presuming that he was being watched. She quickly took him to Idaho, where they were met at the train station in Ketchum by local physician George Saviers.

He was concerned about finances, missed Cuba, his books, and his life there, and fretted that he would never return to retrieve the manuscripts that he had left in a bank vault. He believed the manuscripts that would be published as Islands in the Stream and True at First Light were lost. He became paranoid, believing that the FBI was actively monitoring his movements in Ketchum. Mary was unable to care for her husband and it was anathema for a man of Hemingway's generation to accept he suffered from mental illness. At the end of November, Saviers flew him to the Mayo Clinic in Minnesota on the pretext that he was to be treated for hypertension. He was checked in under Saviers's name to maintain anonymity.

Meyers writes that "an aura of secrecy surrounds Hemingway's treatment at the Mayo" but confirms that he was treated with electroconvulsive therapy (ECT) as many as 15 times in December 1960 and was "released in ruins" in January 1961. Reynolds gained access to Hemingway's records at the Mayo, which document 10 ECT sessions. The doctors in Rochester told Hemingway the depressive state for which he was being treated may have been caused by his long-term use of Reserpine and Ritalin. Of the ECT therapy, Hemingway told Hotchner, "What is the sense of ruining my head and erasing my memory, which is my capital, and putting me out of business? It was a brilliant cure, but we lost the patient." In late January 1961 he was sent home, as Meyers writes, "in ruins". Asked to provide a tribute to President Kennedy in February he could only produce a few sentences after a week's effort. A few months later, on April 21, Mary found him with a shotgun in the kitchen. She called Saviers, who admitted Hemingway to the Sun Valley Hospital under sedation. Once the weather cleared, Saviers flew again to Rochester with his patient. Hemingway underwent three electroshock treatments during that visit. He was released at the end of June and was home in Ketchum on June 30. Two days later he "quite deliberately" shot himself with his favorite shotgun in the early morning hours of July 2, 1961. Meyers writes that he unlocked the basement storeroom where his guns were kept, went upstairs to the front entrance foyer, "pushed two shells into the twelve-gauge Boss shotgun ... put the end of the barrel into his mouth, pulled the trigger and blew out his brains."

When the authorities arrived, Mary was sedated and taken to the hospital. Returning to the house the next day, she cleaned the house and saw to the funeral and travel arrangements. Bernice Kert writes that it "did not seem to her a conscious lie" when she told the press that his death had been accidental. In a press interview five years later, Mary confirmed that he had shot himself. Family and friends flew to Ketchum for the funeral, officiated by the local Catholic priest, who believed that the death had been accidental. An altar boy fainted at the head of the casket during the funeral, and Hemingway's brother Leicester wrote: "It seemed to me Ernest would have approved of it all."

Hemingway's behavior during his final years had been similar to that of his father before he killed himself; his father may have had hereditary hemochromatosis, whereby the excessive accumulation of iron in tissues culminates in mental and physical deterioration. Medical records made available in 1991 confirmed that Hemingway had been diagnosed with hemochromatosis in early 1961. His sister Ursula and his brother Leicester also killed themselves. Hemingway's health was further complicated by heavy drinking throughout most of his life, which exacerbated erratic behavior and his head injuries increased the effects of alcohol. The neuropsychiatrist Andrew Farah's 2017 book Hemingway's Brain, offers a forensic examination of Hemingway's mental illness. In her review of Farah's book, Beegel writes that Farah postulates Hemingway suffered from the combination of depression, the side-effects of nine serious concussions, then, she writes, "Add alcohol and stir". Farah writes that Hemingway's concussions resulted in CTE, which eventually led to a form of dementia, most likely Dementia with Lewy bodies. He bases his hypothesis on Hemingway's symptoms consistent with DLB, such as the various comorbidities, and most particularly the delusions, which surfaced as early as the late 1940s and were almost overwhelming during the final Ketchum years. Beegel writes that Farah's study is convincing and "should put an end to future speculation".

Writing style
Following the tradition established by Mark Twain, Stephen Crane, Theodore Dreiser, and Sinclair Lewis, Hemingway was a journalist before becoming a novelist. The New York Times wrote in 1926 of Hemingway's first novel, "No amount of analysis can convey the quality of The Sun Also Rises. It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame." The Sun Also Rises is written in the spare, tight prose that made Hemingway famous, and, according to James Nagel, "changed the nature of American writing". In 1954, when Hemingway was awarded the Nobel Prize for Literature, it was for "his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style." Henry Louis Gates believes Hemingway's style was fundamentally shaped "in reaction to [his] experience of world war". After World War I, he and other modernists "lost faith in the central institutions of Western civilization" by reacting against the elaborate style of 19th-century writers and by creating a style "in which meaning is established through dialogue, through action, and silences—a fiction in which nothing crucial—or at least very little—is stated explicitly."

Because he began as a writer of short stories, Baker believes Hemingway learned to "get the most from the least, how to prune language, how to multiply intensities and how to tell nothing but the truth in a way that allowed for telling more than the truth." Hemingway called his style the iceberg theory: the facts float above water; the supporting structure and symbolism operate out of sight. The concept of the iceberg theory is sometimes referred to as the "theory of omission". Hemingway believed the writer could describe one thing (such as Nick Adams fishing in "Big Two-Hearted River") though an entirely different thing occurs below the surface (Nick Adams concentrating on fishing to the extent that he does not have to think about anything else). Paul Smith writes that Hemingway's first stories, collected as In Our Time, showed he was still experimenting with his writing style, and when he wrote about Spain or other countries he incorporated foreign words into the text, which sometimes appears directly in the other language (in italics, as occurs in The Old Man and the Sea) or in English as literal translations. In general, he avoided complicated syntax. About 70 percent of the sentences are simple sentences without subordination—a simple childlike grammar structure.

Jackson Benson believes Hemingway used autobiographical details as framing devices about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out with "what if" scenarios: "what if I were wounded in such a way that I could not sleep at night? What if I were wounded and made crazy, what would happen if I were sent back to the front?" Writing in "The Art of the Short Story", Hemingway explains: "A few things I have found to be true. If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff that you, not your editors, omit."

The simplicity of the prose is deceptive. Zoe Trodd believes Hemingway crafted skeletal sentences in response to Henry James's observation that World War I had "used up words". Hemingway offers a "multi-focal" photographic reality. His iceberg theory of omission is the foundation on which he builds. The syntax, which lacks subordinating conjunctions, creates static sentences. The photographic "snapshot" style creates a collage of images. Many types of internal punctuation (colons, semicolons, dashes, parentheses) are omitted in favor of short declarative sentences. The sentences build on each other, as events build to create a sense of the whole. Multiple strands exist in one story; an "embedded text" bridges to a different angle. He also uses other cinematic techniques of "cutting" quickly from one scene to the next; or of "splicing" a scene into another. Intentional omissions allow the reader to fill the gap, as though responding to instructions from the author and create three-dimensional prose. Conjunctions such as "and" are habitually used in place of commas; a use polysyndeton that conveys immediacy. Hemingway's polysyndetonic sentence—or in later works his use of subordinate clauses—uses conjunctions to juxtapose startling visions and images. Benson compares them to haikus.

Many of Hemingway's followers misinterpreted his style and frowned upon expression of emotion; Saul Bellow satirized this style as "Do you have emotions? Strangle them." Hemingway's intent was not to eliminate emotion, but to portray it realistically. As he explains in Death in the Afternoon: "In writing for a newspaper you told what happened ... but the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or in ten years or, with luck and if you stated it purely enough, always, was beyond me". He tried to achieve conveying emotion with collages of images. This use of an image as an objective correlative is characteristic of Ezra Pound, T. S. Eliot, James Joyce, and Marcel Proust. Hemingway's letters refer to Proust's Remembrance of Things Past several times over the years, and indicate he read the book at least twice.

Themes
Hemingway's writing includes themes of love, war, travel, expatriation, wilderness, and loss. Critic Leslie Fiedler sees the theme he defines as "The Sacred Land"—the American West—extended in Hemingway's work to include mountains in Spain, Switzerland and Africa, and to the streams of Michigan. The American West is given a symbolic nod with the naming of the "Hotel Montana" in The Sun Also Rises and For Whom the Bell Tolls. In Hemingway's Expatriate Nationalism, Jeffrey Herlihy describes "Hemingway's Transnational Archetype" as one that involves characters who are "multilingual and bicultural, and have integrated new cultural norms from the host community into their daily lives by the time plots begin." In this way, "foreign scenarios, far from being mere exotic backdrops or cosmopolitan milieus, are motivating factors in-character action".

In Hemingway's fiction, nature is a place for rebirth and rest; it is where the hunter or fisherman might experience a moment of transcendence at the moment they kill their prey. Nature is where men exist without women: men fish; men hunt; men find redemption in nature. Although Hemingway does write about sports, such as fishing, Carlos Baker notes the emphasis is more on the athlete than the sport. At its core, much of Hemingway's work can be viewed in the light of American naturalism, evident in detailed descriptions such as those in "Big Two-Hearted River".

Fiedler notes evil a "Dark Woman" contrasts the good "Light Woman". The dark woman—Brett Ashley of The Sun Also Rises—is a goddess; the light woman—Margot Macomber of "The Short Happy Life of Francis Macomber"—is a murderess. Robert Scholes says early Hemingway stories, such as "A Very Short Story", present "a male character favorably and a female unfavorably". According to Rena Sanderson, early Hemingway critics lauded his male-centric world of masculine pursuits, and the fiction divided women into "castrators or love-slaves". Feminist critics attacked Hemingway as "public enemy number one", although more recent re-evaluations of his work "have given new visibility to Hemingway's female characters (and their strengths) and have revealed his own sensitivity to gender issues, thus casting doubts on the old assumption that his writings were one-sidedly masculine." Nina Baym believes that Brett Ashley and Margot Macomber "are the two outstanding examples of Hemingway's 'bitch women.

Death permeates much of Hemingway's work. Young believes the death in "Indian Camp" was not so much on the father who kills himself, but on Nick Adams, who witnesses these events and becomes a "badly scarred and nervous young man". Young believes the archetype in "Indian Camp" holds the "master key" to "what its author was up to for some thirty-five years of his writing career". Stoltzfus considers Hemingway's work to be more complex with a representation of the truth inherent in existentialism: if "nothingness" is embraced, then redemption is achieved at the moment of death. Those who face death with dignity and courage live an authentic life. Francis Macomber dies happy because the last hours of his life are authentic; the bullfighter in the corrida represents the pinnacle of a life lived with authenticity. In his paper The Uses of Authenticity: Hemingway and the Literary Field, Timo Müller writes that Hemingway's fiction is successful because the characters live an "authentic life", and the "soldiers, fishers, boxers and backwoodsmen are among the archetypes of authenticity in modern literature".

Emasculation is prevalent in Hemingway's work, notably in God Rest You Merry, Gentlemen and The Sun Also Rises. Emasculation, according to Fiedler, is a result of a generation of wounded soldiers; and of a generation in which women such as Brett gained emancipation. This also applies to the minor character, Frances Clyne, Cohn's girlfriend in the beginning of The Sun Also Rises. Her character supports the theme not only because the idea was presented early on in the novel but also the impact she had on Cohn in the start of the book while only appearing a small number of times. In God Rest You Merry, Gentlemen, the emasculation is literal, and related to religious guilt. Baker believes Hemingway's work emphasizes the "natural" versus the "unnatural". In "An Alpine Idyll" the "unnaturalness" of skiing in the high country late spring snow is juxtaposed against the "unnaturalness" of the peasant who allowed his wife's dead body to linger too long in the shed during the winter. The skiers and peasant retreat to the valley to the "natural" spring for redemption.

In recent decades critics have characterized Hemingway's work as misogynistic and homophobic. Susan Beegel analyzed four decades of Hemingway criticism, and found that "critics interested in multiculturalism" simply ignored Hemingway. Typical is this analysis of The Sun Also Rises: "Hemingway never lets the reader forget that Cohn is a Jew, not an unattractive character who happens to be a Jew but a character who is unattractive because he is a Jew." During the same decade, according to Beegel, criticism was published that investigated the "horror of homosexuality", and racism in Hemingway's fiction. In an overall assessment of Hemingway's work Beegel has written: "Throughout his remarkable body of fiction, he tells the truth about human fear, guilt, betrayal, violence, cruelty, drunkenness, hunger, greed, apathy, ecstasy, tenderness, love and lust."

Influence and legacy
Hemingway's legacy to American literature is his style: writers who came after him either emulated or avoided it. After his reputation was established with the publication of The Sun Also Rises, he became the spokesperson for the post–World War I generation, having established a style to follow. His books were burned in Berlin in 1933, "as being a monument of modern decadence", and disavowed by his parents as "filth". Reynolds asserts the legacy is that "[Hemingway] left stories and novels so starkly moving that some have become part of our cultural heritage." Benson believes the details of Hemingway's life have become a "prime vehicle for exploitation", resulting in a Hemingway industry. The Hemingway scholar believes the "hard-boiled style" and the machismo must be separated from the author himself. Benson agrees, describing him as introverted and private as J. D. Salinger, although Hemingway masked his nature with braggadocio. During World War II, Salinger met and corresponded with Hemingway, whom he acknowledged as an influence. In a letter to Hemingway, Salinger claimed their talks "had given him his only hopeful minutes of the entire war" and jokingly "named himself national chairman of the Hemingway Fan Clubs".

Mary Hemingway established the Hemingway Foundation in 1965, and in the 1970s she donated her husband's papers to the John F. Kennedy Library. In 1980, a group of Hemingway scholars gathered to assess the donated papers, subsequently forming the Hemingway Society, "committed to supporting and fostering Hemingway scholarship", publishing The Hemingway Review. His granddaughter Margaux Hemingway was a supermodel and actress, and co-starred with her younger sister Mariel in the 1976 movie Lipstick. Her death was later ruled a death by suicide.

Selected works
This is a list of work that Ernest Hemingway published during his lifetime. While much of his later writing was published posthumously, they were finished without his supervision, unlike the works listed below.
 * "Big Two-Hearted River" (1925)
 * The Sun Also Rises (1926)
 * A Farewell to Arms (1929)
 * For Whom the Bell Tolls (1940)
 * The Old Man and the Sea (1952)

title: Ernest Hemingway


text:
Young and Innocent

Young and Innocent, released in the US as The Girl Was Young, is a 1937 British crime thriller film directed by Alfred Hitchcock and starring Nova Pilbeam and Derrick De Marney. Based on the 1936 novel A Shilling for Candles by Josephine Tey, the film is about a young man on the run from a murder charge who enlists the help of a woman who must put herself at risk for his cause. An elaborately staged crane shot Hitchcock devised, which appears towards the end of the film, identifies the real murderer.

Plot
On a stormy night, at a retreat on the English coast, Christine Clay, a successful actress, argues passionately with her jealous ex-husband Guy. Not accepting her Reno divorce as valid, he accuses her of having an affair. Finally, she slaps him and he leaves the room. While they had been arguing, his eyes twitched violently; they continue to do so when, once outside, he turns angrily to look at the closed door behind him.

The next morning, Robert Tisdall is walking along the seaside when Christine's dead body washes ashore. He recognizes her, and runs for help. Two young women arrive just in time to see him racing away from the corpse. The police quickly decide that Tisdall is the only suspect. Christine was strangled with the belt from a raincoat; his raincoat is missing and he says it was recently stolen. He admits knowing the victim for three years since he sold her a story, but the authorities assume the two have been having an affair. When they learn that she has left him money in her will (unbeknownst to him), they have a motive and arrest him.

Scotland Yard detectives grill him all night. The next morning, he faints and is revived with the aid of Erica Burgoyne, daughter of the local police Chief Constable. Tisdall is assigned an incompetent solicitor, and is taken into court for his formal arraignment. Doubting if his innocence will ever be established, he takes advantage of overcrowding in the courthouse to escape. He gets away by riding on the running board of Erica's Morris car, revealing himself to her after the car runs out of petrol.

He helps push the car to a filling station, pays for petrol, and convinces her to give him a ride. Though she is initially fearful and unsure about her passenger, Erica eventually becomes convinced of his innocence and decides to help him. They are eventually spotted together, forcing both to stay on the run from the police. Tisdall tries to prove his innocence by tracking down the stolen coat: if it still has its belt, the one found next to Christine's body must not be his.

The duo succeed in tracing Tisdall's coat to Old Will, a homeless, but sociable, china-mender. But Will was not the thief; he was given the coat by a man with "twitchy eyes", and with its belt already missing.

After becoming separated from the others, Erica is taken in by the police. Upon realizing that his daughter has fully allied herself with a murder suspect, her father chooses to resign his position rather than arrest her for assisting a felon. Tisdall sneaks into their house to see Erica, intending to surrender and assert he kidnapped her, but she mentions that the coat had a box of matches from the Grand Hotel in a pocket. As Tisdall has never been there, he surmises perhaps the murderer has a connection to the hotel.

The following evening, Erica and Will go to the hotel together, hoping to find him. In a long, continuous sequence, the camera pans right from their entrance to the hotel and then moves forward from the very back of the hotel ballroom, finally focusing in extreme closeup on the drummer in a dance band performing in blackface. His eyes are twitching. He is Guy, the murderer.

Recognizing Old Will in the audience, and seeing policemen nearby (who have actually followed Will, hoping he would lead them to Tisdall), Guy performs poorly due to fear. He is berated by the conductor and, during a break, takes medicine to try to control the twitching, but it makes him very sleepy. Eventually, in mid-performance, Guy passes out, drawing the attention of Erica and the police. Immediately after being revived and confronted, he confesses his crime and begins laughing hysterically.

Main cast

 * Nova Pilbeam as Erica Burgoyne
 * Derrick De Marney as Robert Tisdall
 * Percy Marmont as Colonel Burgoyne
 * Edward Rigby as Old Will
 * Mary Clare as Erica's aunt Margaret
 * John Longden as Inspector Kent
 * George Curzon as Guy
 * Basil Radford as Erica's uncle Basil
 * Pamela Carme as Christine Clay
 * George Merritt as Detective Sergeant Miller
 * J. H. Roberts as the Solicitor, Henry Briggs
 * Jerry Verno as Lorry Driver
 * H. F. Maltby as Police Sergeant
 * John Miller as Police Constable
 * Syd Crossley as Policeman
 * Torin Thatcher as the owner of Nobby's Lodging House
 * Anna Konstam as Bathing Girl (uncredited)
 * Bill Shine as Manager of Tom's Hat Cafe (uncredited)
 * Beatrice Varley as Accused Man's Wife (uncredited)
 * Peter Thompson as Erica Burgoyne's bespectacled brother (uncredited)

Reception
Variety called the film a "Pleasing, artless vehicle" for Nova Pilbeam, who was "charming" in her role and concluded, "If the pic is not Hitchcock's best effort, it is by no means unworthy of him." Frank Nugent of The New York Times called it a "crisply paced, excellently performed film." The Monthly Film Bulletin wrote, "Innumerable small touches show Hitchcock's keen and penetrating observation and his knowledge of human nature. Comedy, romance, and thrills are skilfully blended." Harrison's Reports wrote, "Good melodramatic entertainment. Because of the novelty of the story, the interesting plot developments, and the expert direction by Alfred Hitchcock, one's attention is held from the beginning to the end."

John Mosher of The New Yorker, however, wrote that it was "rather exasperating and disappointing to me. It begins with a smart murder, but wanders off through the English rural landscape in a fashion so lacking in that sound common sense we like in our mysteries, or like to feel is there anyhow, that one's interest fades away."

Aggregator Rotten Tomatoes reports 100% approval of Young and Innocent, with an average rating of 7.6/10.

Changes from the novel

Significant changes were made in adapting the book for the film. The novel is a whodunit centred on the Scotland Yard inspector, who is Tey's regular character Alan Grant. The storyline involving Robert Tisdall, Erica Burgoyne, and the missing coat is similar to the film story, but in the novel it is only a subplot and ends part way through the book when Erica finds the coat and it is intact. Grant then focuses on other suspects, none of whom (including the actual murderer in the novel) appear in the film. Christine Clay in the novel is not divorced, but is in an unconventional marriage to an aristocrat.

Hitchcock's cameo
Alfred Hitchcock's cameo is a signature occurrence in most of his films. He can be seen outside the courthouse, holding a camera, at 14 minutes into the film.

Copyright status and home media
Young and Innocent is copyrighted worldwide but has been heavily bootlegged for home video. Despite this, licensed releases have appeared on Blu-ray, DVD and video on demand services worldwide from the likes of Network Distributing in the UK, MGM and The Criterion Collection in the US, and others.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Young and Innocent


text:
The Time in Between

The Time in Between is a novel by Canadian author David Bergen. It deals with a man, who mysteriously returns to Vietnam, where he had been a soldier earlier in his life, followed by his children, who also go to Vietnam to search for him. The novel was the recipient of the Scotiabank Giller Prize and the McNally Robinson Book of the Year Award in 2005.

Plot
Charles Boatman, an army veteran suddenly disappears and his daughter Ada and her younger brother Jon on finding some clues go looking out for him in Danang, Vietnam. The novel mixes various stories from different timeframes narrating Charles's days in Washington when he was young. He married Sara and had daughter Ada while living in Fraser Valley of British Columbia. He gets posted in the wartime era to Vietnam and serves there and upon arrival discovers his wife's infidelity. Sara dies early and by then they also had a son Jon. Charles keeps getting nightmares of his Vietnam days on how he killed an innocent civilian boy in one of the operations and this keeps haunting him. On the other hand, Ada is on a mission to find her father and is helped by a local guy Yen who becomes her guide and guardian in the new country. She engages in a sexual relationship with an older man, Hoang Vu who is an artist by profession. Jon indulges in the nightlife of Vietnam, and Ada keeps getting closer to her father as she travels across the country. Charles discovers author Dang Tho's novel chronicling wartime and this helps him find some peace.

Publication and development
The book is author David Bergen's fifth novel. Although generally called a war novel, the author states that he "[doesn't] see The Time in Between as a war novel". The book was released as Audio book by Blackstone Audio in December 2005 and was narrated by Anna Fields, better known as Kate Fleming.

Reviews and reception
Kirkus reviews called the novel a "beautifully composed, unflinching and harrowing story". Nicholas Dinka in their Quill & Quire review mentions that the novel has "much decency and intelligence" and both the stories of the novel are "entirely plausible" but criticises for "remarkable dourness of its prose". While Dennis Lythgoe of Deseret News noted that "Bergen's book lives and breathes the Vietnam experience"; Ron Charles in his The Washington Post review mentioned that "Bergen's ability to dramatize trauma-induced disaffection is undeniable; whether readers will want to sink down that hole with his characters is less clear". Irene Wanner of The Seattle Times appreciated the novel for its writing.

The novel won the Scotiabank Giller Prize in 2005 while being nominated along with Luck (by Joan Barfoot), Sweetness in the Belly (by Camilla Gibb), Alligator (by Lisa Moore), and A Wall of Light (by Edeet Ravel). The judges Warren Cariou, Elizabeth Hay, and Richard B. Wright noted "The Time in Between explores our need to understand the relationship between love and duty....[] This is a subtle and elegantly written novel by an author in complete command of his talent". It also won the McNally Robinson Book of the Year Award in 2005. Bergen had earlier won the award in 1996 for A Year of Lesser and later again won in 2009 for The Retreat. Dan Zigmond of SFGate reviews the novel as "a rich and rewarding novel".

title: The Time in Between


text:
Spain in Flames

Spain in Flames is a 1937 compilation film made by Helen van Dongen during the Spanish Civil War. Hal Erickson has written that the film "... is remarkable in its willingness to offer both sides of the conflict -- though its sympathies are firmly with the Loyalists." The film consists of two parts. The first, "The Fight for Freedom", was based on film footage from a Spanish government documentary Spain and the Fight for Freedom. A foreword by the then Spanish Ambassador to the United States, Fernando de los Ríos, began one of the film's screenings in New York in 1937.

The second part, "They Shalt Not Pass", was based on a short film No Pasaran! done by the Artkino Film Company of the Soviet Union, where van Dongen was working at the time the film was made. John Dos Passos narrated parts of the film, and the commentary was written by Dos Passos, Ernest Hemingway, Archibald MacLeish, and Prudencio de Pareda. Erickson writes that, "The horrendous images of battlefield carnage, not to mention the close-ups of suffering and dying Spanish children, still pack a wallop when seen today."

Later, Hemingway, Dos Passos, Lillian Hellman and others founded the company Contemporary Historians, which produced another film called The Spanish Earth (1937), directed by Joris Ivens and edited by van Dongen.

Spain in Flames was banned in New Brunswick, New Jersey and Waterbury, Connecticut. A screening of the film, accompanied by a speech from Granville Hicks, was also banned in Provincetown, Massachusetts.

title: Spain in Flames


text:
The Downward Spiral

The Downward Spiral is the second studio album by the American industrial rock band Nine Inch Nails, released on March 8, 1994, by Nothing Records in the United States and Island Records in Europe. It is a concept album detailing the self-destruction of a man from the beginning of his misanthropic "downward spiral" to his suicidal breaking point. The album was a commercial success and established Nine Inch Nails as a reputable force in the 1990s music scene, with its sound being widely imitated, and the band receiving media attention and multiple honors.

Trent Reznor, the band’s sole official member at the time, had moved to 10050 Cielo Drive in Benedict Canyon, Los Angeles, the site of the murder of actress Sharon Tate by members of the Manson Family in 1969; it was transformed into a studio for recording the Broken EP (1992) and subsequently The Downward Spiral. The album features elements of industrial rock, techno, metal and ambient soundscapes, in contrast to the band's synth-pop-influenced debut album Pretty Hate Machine (1989). Reznor was strongly influenced by David Bowie's Low and Pink Floyd's The Wall for their themes of introspection and dissociation, and their focus on texture and space.

The Downward Spiral has been regarded by music critics and audiences as one of the most important albums of the 1990s, and was praised for its abrasive and eclectic nature and dark themes, although it was sensationalized by social conservatives for some of its lyrics. The album spawned two lead singles, "March of the Pigs" and "Closer", in addition to the promotional singles "Piggy" and "Hurt". The lead singles were accompanied by music videos, with the former shot twice and the latter being heavily censored. A remix album titled Further Down the Spiral was released in 1995.

Writing and recording
Reznor conceived of The Downward Spiral after Nine Inch Nails' run in the lineup of the Lollapalooza festival tour, feeling increasingly alienated and disinterested. The band's concerts were known for their radical onstage dynamic in which members acted aggressively, injured themselves, destroyed instruments, and polluted stages. Reznor had begun to feud with TVT Records, resulting in him co-founding Nothing Records with his then-manager John Malm, Jr. as a subsidiary of Interscope. Simultaneously, he began fleshing out the concept for The Downward Spiral, focusing on the life and death of a misanthropic man who rebels against humanity, and kills God before attempting suicide. Reznor frequently struggled with drug addiction and depression, and the themes of the album gradually allegorized his living situation. His peers at some point recommended him the antidepressant Prozac, but he declined to be medicated.

Reznor wanted the album's sound to diverge from the abrasion of Broken, emphasizing mood, texture, restraint and subtlety, although he was unsure about its musical direction. He decided to utilize "full range" sound, focusing on texture and space, and avoiding conventional usage of guitars or synthesizers with a recognizable sound palette. Subsequently, he mainly worked with a Macintosh computer, using music editor programs on the computer to distort frequencies in guitar and bass parts as a form of sound design, and creating collages of sounds with Pro Tools.

Reznor searched for and moved to 10050 Cielo Drive in 1992 for recording Broken and The Downward Spiral, a decision made against his initial choice to record the album in New Orleans. 10050 Cielo Drive is referred to as the "Tate House" since Sharon Tate was murdered by members of the Manson Family in 1969; Reznor named the studio "Le Pig" after the message that was scrawled on the front door with Tate's blood by her murderers, and stayed there with Malm for 18 months. He called his first night in 10050 Cielo Drive "terrifying" because he already knew it and read books related to the incident. Reznor chose the Tate house to calibrate his engineering skills and the band bought a large console and two Studer machines as resources, a move that he believed was cheaper than renting.

Reznor collaborated with the Jane's Addiction and Porno for Pyros drummer Stephen Perkins, the progressive rock guitarist Adrian Belew, and the Nine Inch Nails drummer Chris Vrenna. Belew's first visit to the studio involved playing the guitar parts in "Mr. Self-Destruct", and he was told to play freely, think on reacting to melodies, concentrate on rhythm, and use noise. This approach improved Reznor's confidence in the instrument: he found it to be more expressive than the keyboard due to the interface. Belew praised Reznor for his "command of technology," and commented that the music of Nine Inch Nails made innovations "that are in [his] realm." Vrenna and Perkins played drum parts recorded live in the studio; the tracks were rendered into looped samples. Reznor took a similar approach to recording guitar parts: he would tape 20- to 25-minute-long sessions of himself playing guitars on a hard disc recorder with the Studio Vision sequencer.

Reznor frequently sampled excerpts from his guitar session tracks and processed them to sporadic and expressive points to convey the album's themes, also doing the same with drum parts. Digidesign's TurboSynth and Zoom 9030 effects unit were used extensively to process guitar tracks, often in conjunction with a Marshall JMP-1 preamp; Zoom 9030 was also used to distort vocals. Acoustic drums in various settings, as well as Roland's TR-808 and R-70 drum machines were sampled through multiple Akai S1000s and a Kurzweil K2000. Additionally, Vrenna had compiled various movie samples on Digital Audio Tapes for Reznor to sample, which were gradually identified by fans in the decades following the album's release. Other equipments and software Reznor used for recording the album include Oberheim OB-Mx, Minimoog, Prophet VS keyboard, Eventide H3000 Harmonizer, Pro Tools and various Jackson and Gibson guitars.

In December 1993, Reznor was confronted by Patti Tate, who asked if he was exploiting Sharon Tate's death in the house. Reznor responded that he was interested in the house as her death happened there. He later made a statement about this encounter during a 1997 interview with Rolling Stone:

"While I was working on [The] Downward Spiral, I was living in the house where Sharon Tate was killed. Then one day I met her sister [Patti Tate]. It was a random thing, just a brief encounter. And she said: 'Are you exploiting my sister's death by living in her house?' For the first time, the whole thing kind of slapped me in the face. I said, 'No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred.' I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, 'What if it was my sister?' I thought, 'Fuck Charlie Manson.' I went home and cried that night. It made me see there's another side to things, you know?"

The British producer and engineer Flood, known for engineering and producing U2 and Depeche Mode albums, was employed as co-producer on The Downward Spiral; it became his last collaboration with Nine Inch Nails due to creative differences. For instance, a "very dangerously self-destructive" yet humorous short song written for the album, "Just Do It", was not included in the final version, criticized by Flood who said that Reznor had "gone too far." Reznor completed the last song written for the album, "Big Man With a Gun", in late 1993. After the album's recording, Reznor moved out and the house was demolished shortly thereafter. The Downward Spiral entered its mixing and mastering processes, done at the Record Plant and A&M Studios with Alan Moulder, who subsequently took on more extensive production duties for future album releases.

Music and lyrics
Numerous layers of metaphors are present throughout The Downward Spiral, leaving it open to wide interpretation. The album relays nihilism and is defined by a prominent theme of self-abuse and self-control. It is a semi-autobiographical concept album, in which the overarching plot follows the protagonist's descent into madness in his own inner solipsistic world through a metaphorical "downward spiral", dealing with religion, dehumanization, violence, disease, society, drugs, sex, and finally, suicide. Reznor described the concept as consisting of "someone who sheds everything around them to a potential nothingness, but through career, religion, relationship, belief and so on." Media journalists like The New York Times writer Jon Pareles noted the album's theme of angst had already been used by grunge bands like Nirvana, and that Nine Inch Nails' depiction was more generalized.

Using elements of genres such as techno, dance, electronic, heavy metal, and hard rock, The Downward Spiral is considered an industrial rock,  alternative rock, industrial metal,  industrial, and art rock album. Reznor regularly uses noise and distortion in his song arrangements that do not follow verse–chorus form, and incorporates dissonance with chromatic melody or harmony (or both). The treatment of metal guitars in Broken is carried over to The Downward Spiral, which includes innovative techniques such as expanded song structures and unconventional time signatures. The album features a wide range of textures and moods to illustrate the mental progress of the central protagonist. Reznor's singing follows a similar pattern from beginning to end, frequently moving from whispers to screams. These techniques are all used in the song "Hurt", which features a highly dissonant tritone played on guitar during the verses, a B5#11, emphasized when Reznor sings the eleventh note on the word "I" every time the B/E# dyad is played.

"Mr. Self Destruct", a song about a powerful person, follows a build-up sampled from the 1971 film THX 1138 with an "industrial roar" and is accompanied by an audio loop of a pinion rotating. "The Becoming" expresses the state of being dead and the protagonist's transformation into a non-human organism. "Closer" concludes with a chromatic piano motif: The melody is introduced during the second verse of "Piggy" on organ, then reappears in power chords at drop D tuning throughout the chorus of "Heresy", and recurs for the final time on "The Downward Spiral". The album was chiefly inspired by David Bowie's Low, an experimental rock album which Reznor related to on songwriting, mood, and structures, as well as progressive rock group Pink Floyd's The Wall, a concept album featuring themes of abuse, isolation, and mental instability.

Packaging
Committere, an installation featuring artwork and sketches for The Downward Spiral, "Closer" and "March of the Pigs" by Russell Mills was displayed at the Glasgow School of Art. Mills explained the ideas and materials that made up the painting (titled "Wound") that was used for the album's cover art:

"I had been thinking about making works that dealt with layers, physically, materially and conceptually. I wanted to produce works that were about both exposure and revealing and at the same dealt with closure and covering. Given the nature of the lyrics and the power of the music I was working with, I felt justified in attempting to make works that alluded to the apparently contradictory imagery of pain and healing. I wanted to make beautiful surfaces that partially revealed the visceral rawness of open wounds beneath. The mixed media work 'Wound' was the first piece I tackled in this vein (no pun intended) and it became the cover of the album. It is made of plaster, acrylics, oils, rusted metals, insects, moths, blood (mine), wax, varnishes, and surgical bandaging on a wooden panel."

Singles
"March of the Pigs" and "Closer" were released as singles; two other songs, "Hurt" and "Piggy", were issued to radio without a commercial single release. "March of the Pigs" has an unusual meter, alternating three bars of 7/8 time with one of 8/8. The song's music video was directed by Peter Christopherson and was shot twice; the first version scrapped due to Reznor's involvement, and the released second version being a live performance.

"Closer" features a heavily modified bass drum sample from the Iggy Pop song "Nightclubbing" from his album The Idiot. Lyrically, it is a meditation on self-hatred and obsession, but to Reznor's dismay, the song was widely misinterpreted as a lust anthem due to its chorus, which included the line "I wanna fuck you like an animal". Reznor later stated: “It’s supernegative and superhateful. It’s “I am a piece of shit and I am declaring that and if you think you want me, here I am.” I didn’t think it would become a frat-party anthem or a titty-dancer anthem.”

The music video for "Closer" was directed by Mark Romanek and received frequent rotation on MTV, though the network heavily censored the original version, which they perceived to be too graphic. The video shows events in a laboratory dealing with religion, sexuality, animal cruelty, politics, and terror; controversial imagery included a nude bald woman with a crucifix mask, a monkey tied to a cross, a pig's head spinning on a machine, a diagram of a vulva, Reznor wearing an S&M mask while swinging in shackles, and of him wearing a ball gag. A radio edit that partially censored the song's explicit lyrics also received extensive airtime. The video has since been made part of the permanent collection of the Museum of Modern Art in New York City.

"Piggy" uses "nothing can stop me now", a line that recurs in "Ruiner" and "Big Man With a Gun". The frantic drumming on the song's outro is Reznor's only attempt at performing drums on the record, and one of the few "live" drum performances on the album. He had stated that the recording was from him testing the microphone setup in studio, but he liked the sound too much not to include it. It was released as a promotional single in December 1994 and reached the Top 20 on the Billboard Modern Rock Tracks chart.

Released in 1995, "Hurt" includes references to self-harm and heroin addiction.

Tour
The Nine Inch Nails live band embarked on the Self Destruct tour in support of The Downward Spiral. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and the bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down and up for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very few actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.

The tour included a set at Woodstock '94 broadcast on pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair entering his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core—an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.

The main leg of the tour featured Marilyn Manson as the supporting act, who featured the bassist Jeordie White (then playing under the pseudonym "Twiggy Ramirez"); White later played bass with Nine Inch Nails from 2005 to 2007. After another tour leg supporting the remix album Further Down the Spiral, Nine Inch Nails contributed to the Alternative Nation Festival in Australia and subsequently embarked on the Dissonance Tour, which included 26 separate performances with co-headliner David Bowie on his Outside Tour. Nine Inch Nails was the opening act for the tour, and its set transitioned into Bowie's set with joint performances of both bands' songs. However, the crowds reportedly did not respond positively to the pairing due to their creative differences. Despite this, in a 2012 Rolling Stone readers' poll, the tour (pairing Nine Inch Nails with Bowie) was named one of the top 10 opening acts in rock history.

The tour concluded with "Nights of Nothing", a three-night showcase of performances from Nothing Records bands Marilyn Manson, Prick, Meat Beat Manifesto, and Pop Will Eat Itself, which ended with an 80-minute set from Nine Inch Nails. Kerrang! described the Nine Inch Nails set during the Nights of Nothing showcase as "tight, brash and dramatic", but was disappointed at the lack of new material. On the second of the three nights, Richard Patrick was briefly reunited with the band and contributed guitar to a performance of "Head Like a Hole". After the Self Destruct tour, Chris Vrenna, who had been a member of the live band since 1988 and frequent contributor to Nine Inch Nails studio recordings, left the act permanently to pursue a career in producing and to form Tweaker.

Release and reception
The Downward Spiral's release date was delayed at various times to slow down Reznor's intended pace of the album's recording. The first delay caused the process of setting up Le Pig to take longer than he expected, and its release was postponed again as he was educating himself different ways to write songs that did not resemble those on Broken and Pretty Hate Machine. He considered delivering the album to Interscope in early 1993, only to experience a writer's block as he was unable to produce any satisfactory material. Interscope grew impatient and concerned with this progress, but Reznor was not forced by their demands of expediency despite crediting the label for giving him creative freedom. He told the producer Rick Rubin that his motivation for creating the album was to get it finished, thus Rubin responded that Reznor might not do so until he makes music that is allowed to be heard. Reznor realized that he was in the most fortunate situation he imagined when the album was recorded with a normal budget, "cool" equipment, and a studio to work at.

Released on March 8, 1994, to instant success, The Downward Spiral debuted at number two on the US Billboard 200, selling nearly 119,000 copies in its first week. On October 28, 1998, the Recording Industry Association of America (RIAA) certified the album quadruple platinum, and by December 2011, it had sold 3.7 million copies in the United States. The album peaked at number nine on the UK Albums Chart, and on July 22, 2013, it was certified gold by the British Phonographic Industry (BPI), denoting shipments in excess of 100,000 copies in the United Kingdom. It reached number 13 on the Canadian RPM albums chart and received a triple platinum certification from the Canadian Recording Industry Association (CRIA) for shipping 200,000 copies in Canada. A group of early listeners of the album viewed it as "commercial suicide", but Reznor did not make it for profit as his goal was to slightly broaden Nine Inch Nails' scope. Reznor felt that the finished product he delivered to Interscope was complete and faithful to his vision and thought its commercial potential was limited, but after its release he was surprised by the success and received questions about a follow-up single with a music video to be shown on MTV. The album has since sold over four million copies worldwide.

Many music critics and audiences praised The Downward Spiral for its abrasive, eclectic nature and dark themes and commented on the concept of a destruction of a man. The New York Times writer Jon Pareles' review of the album found the music to be highly abrasive. Pareles asserted that unlike other electro-industrial groups like Ministry and Nitzer Ebb, "Reznor writes full-fledged tunes" with stronger use of melodies than riffs. He noticed criticisms of Nine Inch Nails from industrial purists for popularizing the genre and the album's transgression. Village Voice critic Robert Christgau gave it an "honorable mention" in his capsule review column and summed the record up as, "musically, Hieronymus Bosch as postindustrial atheist; lyrically, Transformers as kiddie porn." Jonathan Gold, writing for Rolling Stone, likened the album to cyberpunk fiction. Entertainment Weekly reviewer Tom Sinclair commented: "Reznor's pet topics (sex, power, S&M, hatred, transcendence) are all here, wrapped in hooks that hit your psyche with the force of a blowtorch."

Accolades
The Downward Spiral has been listed on several publications' best album lists. In 2003, the album was ranked number 200 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, then was re-ranked 201 in a 2012 revised list. The Rolling Stone staff wrote: "Holing up in the one-time home of Manson-family victim Sharon Tate, Trent Reznor made an overpowering meditation on NIN's central theme: control." It moved up to 122 on the magazine's revised list in 2020. The album was placed 10th on Spin's 125 Best Albums of the Past 25 Years list; the Spin staff quoted Ann Powers' review that appreciated its bleak, aggressive style. It was ranked number 488 in the book The Top 500 Heavy Metal Albums of All Time by heavy metal music critic Martin Popoff. In 2001, Q named The Downward Spiral as one of the 50 Heaviest Albums of All Time; in 2010, the album was ranked number 102 on their 250 Best Albums of Q's Lifetime (1986–2011) list. The Downward Spiral was featured in Robert Dimery's book 1001 Albums You Must Hear Before You Die. In May 2014, Loudwire placed The Downward Spiral at number two on its "10 Best Hard Rock Albums of 1994" list. In July 2014, Guitar World placed The Downward Spiral at number 43 in their "Superunknown: 50 Iconic Albums That Defined 1994" list.

Legacy
The immediate success of The Downward Spiral established Nine Inch Nails as a reputable force in the 1990s. The band's image and musical style became so recognizable that a Gatorade commercial featured a remix of "Down in It" without their involvement. Reznor felt uncomfortable with the media hype and success the band earned, received false reports of his death, depression, and was falsely reported to have had a relationship with serial killer Jeffrey Dahmer, and was depicted as a sex icon. Nine Inch Nails received several honors, including Grammy Award nominations for Best Alternative Performance for The Downward Spiral and Best Rock Song for "Hurt". After the release of The Downward Spiral, many bands such as Gravity Kills, Stabbing Westward, Filter, and Mötley Crüe made albums that imitated the sound of Nine Inch Nails.

Reznor interpreted The Downward Spiral as an extension of himself that "became the truth fulfilling itself," as he experienced personal and social issues presented in the album after its release. He had already struggled with social anxiety disorder and depression and started his abuse of narcotics including cocaine while he went on an alcohol binge. Around this time, his studio perfectionism, struggles with addiction, and bouts of writer's block prolonged the production of The Fragile, and Reznor completed rehabilitation from drugs in 2001.

One year after The Downward Spiral’s release, the band released an accompanying remix album titled Further Down the Spiral. It features contributions from Coil with Danny Hyde, J. G. Thirlwell, electronic musician Aphex Twin, producer Rick Rubin, and Jane's Addiction guitarist Dave Navarro. The album peaked at number 23 on the Billboard 200 and received mixed reviews. Recoiled, a remix EP of "Gave Up", "Closer", "The Downward Spiral", and "Eraser" by Coil, was released on February 24, 2014, via British record label Cold Spring.

Retrospective reviews regard The Downward Spiral as one of the most important albums of the 1990s and Reznor's greatest work. The 2004 edition of The New Rolling Stone Album Guide gave the album five out of five stars and called it "a powerful statement, and one of the landmark albums of the Nineties." Writing for Entertainment Weekly, Kyle Anderson remembered watching the music video of "Closer" on MTV as an adolescent and expressed that the album changed his perception of popular music from that of songs heard on the radio to albums with cover art. Stereogum's Tom Breihan remains favorable toward the album since influenced youth culture, with teenagers wearing ripped fish nets on their arms. The album was also included in the book 1001 Albums You Must Hear Before You Die.

"Big Man With a Gun" lyrics
The Downward Spiral's emphasis on transgressive themes drew criticism from American social conservatives. Senator Bob Dole, then the head of the Republican Party, sharply denounced Time Warner, the former owner of Interscope's former parent company Warner Music Group, after a meeting between Michael J. Fuchs (head of WMG), William Bennett, and C. Delores Tucker. During the meeting, Tucker and Bennett demanded that Fuchs recite lyrics from "Big Man With a Gun". Interscope had previously been blamed for releasing gangsta rap albums by rappers such as Dr. Dre, Tupac Shakur and Snoop Dogg that were deemed objectionable. Reznor called Tucker (who erroneously referred to Nine Inch Nails as a gangsta rap act) "such a fucking idiot", and claimed that the song was actually a satire of the gangsta rap genre as a whole and was originally about madness. Reznor conceded The Downward Spiral could be "harmful, through implying and subliminally suggesting things", whereas hardcore hip hop could be "cartoonish". Robert Bork also repeatedly referenced "Big Man With a Gun" in his book Slouching Toward Gomorrah as evidence of a supposed cultural decline.

Alleged contribution to the Columbine shooting
Before the Columbine High School massacre, perpetrator Dylan Klebold referenced lyrics from Nine Inch Nails songs multiple times in his journal. Klebold heavily identified with the protagonist of The Downward Spiral as a symbol of his own depression. On May 4, 1999, a hearing on the marketing and distribution practices of violent content to minors by the television, music, film, and video game industries was conducted before the United States Senate Committee on Commerce, Science and Transportation. The committee heard testimony from cultural observers, professors, and mental health professionals, that included conservative William Bennett and the Archbishop of Denver, Reverend Charles J. Chaput. Participants criticized the album, Nine Inch Nails' label-mate Marilyn Manson, and the 1999 film The Matrix for their alleged contribution to the environment that made incidents like Columbine possible. The committee requested that the Federal Trade Commission and the United States Department of Justice investigate the entertainment industry's marketing practices to minors.

iPhone application refusal
In 2009, Apple rejected a proposal for a Nine Inch Nails iPhone software application, citing objectionable content in the title track. Days later, Apple reversed the decision, but refused to explain its reasoning.

Original release
Notes
 * The opening sounds of "Mr. Self Destruct" are a sample from the film THX 1138 in which a man is being beaten by a prison guard.
 * The sample of screams that plays throughout "The Becoming" is from the film Robot Jox, when a giant robot falls on a crowd of spectators.
 * The sample at the beginning of "Big Man With a Gun" comes from a studio-altered recording of a porn star having an orgasm. According to the album booklet, this "sample" is titled "Steakhouse" and is credited to Tommy Lee.
 * Japanese pressings of the album contain a cover of Joy Division's song "Dead Souls", originally included on the soundtrack to the film The Crow. The track is placed in between "Big Man With a Gun" and "A Warm Place".
 * The break in "Reptile" contains an audio sample (starting at 5:06) of a woman falling down a hill from the 1974 film The Texas Chain Saw Massacre.
 * The first Australian pressing has track length errors. Affected tracks do not play at their beginnings when selected individually ("Big Man With a Gun" has the beginning of "A Warm Place" tacked on, likewise all the songs up to "Hurt" start 41 seconds earlier than they should. "Hurt" itself has 44 seconds of silence on the end as a result); however, the disc plays and flows correctly as a whole.

Deluxe edition (Halo 8 DE)
To mark the album's tenth anniversary, The Downward Spiral was re-released on November 23, 2004, in high-resolution SACD and DualDisc formats. Disc one of the album's deluxe edition re-release is nearly identical to the original version; track anomalies such as sounds from previous tracks creeping up on start of tracks are fixed, and it includes a stereo and multi-channel SACD layer. The second bonus disc is a collection of remixes and B-sides and also includes a stereo SACD layer in addition to the Redbook CD layer. The last three tracks on the bonus disc are previously unreleased demo recordings from the original album.

DualDisc (Halo 8 DVD-A)

The DualDisc edition of The Downward Spiral contains the same CD content on Side A as the Deluxe Edition, with a DVD-Audio layer on Side B. When played on DVD-Video players a Dolby Digital 5.1 multi-channel or Dolby Digital 2.0 stereo mix of The Downward Spiral can be selected, along with videos of "March of the Pigs", "Hurt" and an uncensored video of "Closer". There is also an interactive discography and an image gallery. High resolution 24-bit/48 kHz 5.1 Surround sound and stereo versions of The Downward Spiral can be played on a DVD-Audio player, allowing the user a similar high fidelity experience as the SACD layer of the Deluxe Edition. The DualDisc release does not contain the additional B-sides and demo tracks.

Personnel
Credits adapted from the liner notes of The Downward Spiral.

 * Trent Reznor – vocals, all instruments except where noted, arranger, producer (all tracks), mixing (track 14)
 * Mark "Flood" Ellis – producer (tracks 1, 2, 5-7, 10-12), hi-hat (track 5) , ARP 2600 synthesizer (track 7) , drum treatments (track 8)
 * Chris Vrenna – drums (track 14), programming, additional sampling, sound design, additional drums (on "Burn") , additional engineering
 * Adrian Belew – texture generating guitar (track 1), ring mod guitar (track 7)
 * Danny Lohner – additional guitar (track 9)
 * Andy Kubiszewski – drums (track 13)
 * Stephen Perkins – drum performance (track 8)
 * Charlie Clouser – programming, continuity
 * Alan Moulder – mixing engineer (tracks 1-8, 10-13), additional engineering
 * John Aguto – additional engineering
 * Brian Pollack – additional engineering
 * Sean Beavan – mixing engineer (track 9), additional engineering
 * Bill Kennedy – mixing engineer (track 9), additional engineering
 * Tom Baker – mastering
 * Bob Ludwig – high-resolution mastering (reissue)
 * James Brown – 5.1 mix (reissue)
 * Neal Ferrazzani – assistance (reissue)
 * Russell Mills – paintings
 * David Buckland – photography
 * Gary Talpas – package
 * Rob Sheridan – package, additional photography (reissue)

title: The Downward Spiral