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...DOESN'T TAKE much to begin to understand what Ezra Pound was like. He and Ernest Hemingway were good--if not close--friends, at least up until the mid-1930s. In 1933 Hemingway had written to Pound in Rapallo, Italy to say that it was from Pound that he had learned more about "how to write and how not to write than from any son of a bitch alive." Pound was an unquestionably important influence on literature in the first half of this century. But by 1934 Hemingway's impressions were shifting. Joyce had asked him to come along with...

Author: By Gregory F. Lawless, | Title: Pound: The Poet and the Fascist | 6/14/1976 | See Source »

Helen Hayes and Gary Cooper in Hemingway's A Farewell to Arms, today at 7:30. Directed by Frank Borzago and worth your while, even--especially...

Author: By Peter Kaplan and Jonathan Zeitlin, S | Title: Film | 5/28/1976 | See Source »

...gets sick, even his sclerosis is multiple. Characteristically, misfortune only intensifies his awareness of an America where executives carry attaché cases "like adult pencil boxes," where a trip through an automatic car wash seems like a sea storm by Joseph Conrad, where professors of English name their dogs Hemingway and stockbrokers name theirs Florida Power & Light...

Author: /time Magazine | Title: Books: A Poet of Profit and Loss | 5/24/1976 | See Source »

...incomprehensible, no mean trick; winning is better than losing, but winning with dignity is better than just plain winning. Oh, and losing with dignity should be in there too, but it's unclear exactly where. The little kids are pretty cute, but Tatum has evolved into the Margaux Hemingway of the pre-teen set, which, as far as we're concerned, is nowheresville...

Author: By H.l. Griggs, M.a. Hamburg, and Peter Kaplan, S | Title: Film | 5/13/1976 | See Source »

...Hemingway seems understandably comfortable in the role of Chris. Too comfortable, at times; she simply walks through many of the scenes, saucereyed, plopping her lines into the laps of others. But her acting improves when she's in good company; she's fine in the rape scene, where Chris Sarandon gives a controlled performance of a moderately sick young man, without resorting to the crazed eyes and maniacal gestures of the stereotype. And her willful strength in the courtroom is the reflected glow of Anne Bancroft's fiery performance as her lawyer. Bancroft, looking rather haggard, uses her familiar tight...

Author: By Kathy Holub, | Title: Moist Lips and Saucer Eyes | 4/22/1976 | See Source »

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