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4,3 von 5 Sternen
A Moveable Feast
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am 25. April 2012
Was habe ich nur an diesem Macho gefunden, als ich jung und begeisterungsfähig (zu sehr) war. Sein Erzählstil ähnelt Schulaufsätzen, seine ständigen Wortwiederholungen wirken nicht beabsichtigt und stilbildend sondern der Unfähigkeit, andere Wörter zu finden, geschuldet, und die pointenlosen Erzählungen, in denen immer wieder irgendwer mit irgendwem irgendwo etwas trinkt sind unsäglich öd.
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am 10. Januar 2011
My God, if you're a writer or hoping to be -- you will love this book! A short time ago I was rereading this, and I'm just struck by how enjoyable it is. Maybe it's even one of the reasons I set out to be a writer in the first place.

These are sketches of Hemingway's early days in Paris as he joined other expatriate writers and artists living there. Need I say more? How about that he recalls meeting the likes of Ezra Pound, Gertrude Stein, Scott Fitzgerald, and that the writing is quite beautifully understated and so easy to read.

What do I think of Hemingway, in general? In my opinion, he remains a model for that whole Raymond Chandler/James Cain school of noir writers.

Hemingway's short stories remain vital and are wonders of economy and understatement. If you pick up Collected Stories (Everyman's Library Classics), here's a few I recommend:

"The Killers"

"A Clean, Well-lighted Place"

"Indian Camp"

"The Short Happy Life of Francis Macomber"

Hemingway, more or less, invented "minimalism." Just remember that when you're reading Raymond Carver stories. Bukowski has said that Hemingway was his model, too (only that Buk's work is less crafted and more intentionally primitive -- and injected with more vulgarity and humor). That Hemingway-esque striped-down, simple use of language is something that we (as writers) should all try to go for. Simple is always better.

What's interesting about Hemingway is that his writing is minimal yet also concrete. He uses language to evoke the physical, tactile experience of his characters, which very unlike the work of most well-known minimalist writers like Chuck Palahniuk, whose work, in my opinion, is more sketchy, with characters who are less real and three-dimensional.

Hemingway's novels have aged less well, in my opinion. The descriptive parts in all his books remain beautiful, but the terse dialogue and macho posturing/simplicity has dated them. We hardly ever get inside the heads of the characters and are subjected to view them from the outside, understanding them only from their limited behavior and dialogue (like in a movie). Others might disagree with my assessment.

Getting back to Hemingway's A MOVEABLE FEAST, it's highly recommended for all the impractical dreamers out there, like myself, in love with the romance 1920s Paris and the "Writing Life."
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am 19. Juli 2000
Hemingway's writing was always very auto-biographical, but in A Moveable Feast, published after his lifetime and written late in Hem's life, he actually uses real character names in recreating Paris of the 1920's. For any Hemingway fan, or for those interested in first hand accounts of life with Gertrude Stein, Alice Toklas, F. Scott Fitzgerald, James Joyce and others, this is truly a must read.
The book is everything that most late fiction by Hemingway is not. It is lean, romantic, and genuine, without the blustery heroes and stilted dialogue of missed efforts like the dreadful Across the River and Into the Trees.
Here Hemingway looks back fondly on his days with Hadley in Paris, slipping into cafes to sit all day and attempt to write over a cup of coffee. He remembers trips to the racetrack, a hysterical road trip adventure with Fitzgerald to retrieve a car, and other memorable details from the lives of the Lost Generation living abroad. He also takes shots at some so-called friends who turned on him, not passing up on an opportunity to get in the last word. There is some doubt as to whether Hemingway ever wanted this book published, but I am very glad that they did. It is a book to cherish and come back to every couple of years, and it had aged better than anything else Hemingway had written.
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am 18. Juli 2000
Good old Hemingway at his best? Certainly not. There are stories far better written, far more entertaining and also more famous by Papa Hemingway and if you are looking for a masterpiece of American literature you should try something else. "A moveable feast" lacks a plot or any logical order BUT - and that's what it's about - so does Paris. I was far from enjoying this book - I loved it. I lived in Paris myself and I tell you, nothing makes you feel more bound to the city than sitting in the Jardin de Louxembourg yourself or sipping a café au lait somewhere in the Quartier Latin whilst reading this book, knowing that Paris hasn't changed but it would change you - feeling just fine about it and thinking of Hemingway as a good old friend, whom you might bump into any minute!
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am 25. Juni 2000
Whenever friends ask me why, at my age, I still love Hemingway, I smile and think about this book. They say "Hemingway' and conjure up familiar visions of the older, bloated and blighted boozer bragging about his macho accomplishments in the world of war and sports, while I consider the young Hemingway in Paris. I am thinking of a much younger, intellectually virile man, a far more alert, aware and alive Hemingway as a 'moveable feast' walking through the streets of a rain-swept Paris on a quiet Monday morning, heading to a café for some café au lait and to begin his long day's labor.
In this single, slim tome Hemingway beautifully and unforgettably evokes a world of beauty and innocence now so utterly lost and irretrievable both to himself, through his fame, alcohol, and dissipation, but also to us, for Paris as she was in the 1920s was a place made to order for the lyrical descriptive songs he sings about her in this remembrance; endlessly interesting, instantly unforgettable, and also accessible to the original "starving young artist types" so well depicted here. As anyone visiting Paris today knows, that magical time and place has utterly vanished. Tragically, Paris is just another city these days.
Yet this is a book that unforgettably captures the essence of what the word 'romance' means, and does so in the spare and laconic style that Hemingway developed while sitting in the bistros and watching as the world in all its colors and hues flowed by him. The stories he tells are filled with the kinds of people one usually meets only in novels, yet because of who they were and who they later became in the world of arts and letters, it is hard to doubt the veracity or honesty he uses to such advantage here. This is a portrait of an artist in full possession of his creative powers, full of the vinegary spirit and insight that made him a legend in his own time, and consequently ruined him as an artist and as a human being.
There are few books I would endorse for everyone as a lifelong friend. This, however, is a book I can recommend for anyone who wants the reading enjoyment and intellectual experience Hemingway offers in such wonderful abundance in these pages. Take my advice, though. Buy it first in paper, read it until it begins to fray and fall apart (and you will), and then go out and buy yourself a new hardcover edition to adorn your shelf, so on that proverbial rainy afternoon when the house is quiet, the kids are gone, and you just want to escape from the ordinary ennui and humdrum of life, pull "A Moveable Feast" down and hold it close enough to read. A cup of steaming tea by your side, return all by yourself to a marvelous world of blue city skyscapes, freshly washed cobblestone and unforgettable romance; return once more to Paris in the twenties, when life was simple, basic, and good.
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am 6. Dezember 1998
SIMPLY BEAUTIFUL. After this novel, I would do anything to be able to have a coffee with Hemingway and his expatriates at the Closerie de Lillas cafe. The most astounding part is that this novel is TRUTH, maybe colored with nostalgia but are amazingly touching portraits of some of the greatest literary giants of the century. When I put the novel down, I felt like I KNEW Hemingway. There were so many times he would make me laugh out loud or sigh with regret! I've read a great deal of his more reknown novels, but this novel is tied for my favorite novel of his along with Farewell to Arms. It's inconcievable that such extraordinarily talented people collected in a few Parisian cafes in a few years, and they were all acquaintences. What an idea! His stories of F.Scott Fitzgerald were especially illuminating and hilarious, but my favorites were: Ford Madox Ford & the Devil's Disciple, Birth of a New School ( especially funny ), With Pascin at the Dome, & Ezra Pound and the Bel Esprit. Hemingway's wit and sarcasm are so real, they leap off the pages and he seems to be engaging you in conversation. This novel really opened up my eyes to my perspective of Hemingway, most of his novels are stories that are semi-autobiographical so we have to decipher truth from plot. There is no need to figure out what is Hemingway--because it is ALL Hemingway!
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am 23. Juni 1999
Altmeister Hemingways Tagebuch über seine Jahre in Paris, welches allerdings erst in den 50er Jahren auf Kuba verfasst wurde. Darin erzählt er von seinem Leben von 1921 bis 1926, von den Leute, die er in Paris traf (unter anderem Autor F. Scott Fitzgerald und Gertrude Stein) und seinen Schwierigkeiten beim Schreiben und dabei, seine Familie zu ernähren. Schön das es nicht nur uns manchmal so geht, das wir eine Schreibblockade haben, Nobelpreisträger 'Papa Hem' teilte dieses Schicksal mit uns. In gewohnt anschaulicher Weise schildert er Paris in den buntesten Farben und erweckt im Leser Fernweh nach der Stadt an der Seine. Zitate wie "When the cold rains kept on and killed the spring, it was as though a young person had died for no reason" wurden kürzlich für den Film City of Angels wiederentdeckt, wo Engel Seth (Nicholas Cage) sie als Liebeswerben um die irdische Ärztin Maggie (Meg Ryan) benutzte. Zusammenfassend gesagt ist das Buch wie geschaffen für alle Parisfans und solche, die es noch werden wollen, sowie natürlich Hemingwayfreunde und Menschen mit Schreibblockade (Hemingways Ratschlag: "All you have to do is write one true sentence. Write the truest sentence that you know.") oder Lebensangst. Wir sind nicht allein!!! (Dies ist eine Amazon.de an der Uni-Studentenrezension.)
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am 28. Februar 2000
Of Hemingway's works, this one may contain the greatest number of memorable and lyrical lines. It was tough for me to put it down and to me it felt like I already knew the people depicted and like I was looking and listening through a parlor or bedroom window.
But I first read it 25 years ago and the next generation has grown up at a greater temporal distance from H than I did. So, I suggest that it would be a good idea for someone reading this for the first time to have already read at least a couple of H's novels. (At a minimum I would read "The Sun Also Rises" and a few of the short stories before reading "A Moveable Feast"). It also might help to have at least some passing acquaintance with H's biography. Appreciation of this book will also be enhanced with some minimal knowledge of the history of the early part of the last century, alien times to many of us. (I assume that in Paris today it is no longer possible to buy milk directly from the goat from a man with a herd who brings them to your apartment every morning). However, reading the early H. novels should well acquaint one with the relevant history.
This book contains my all-time favorite H sentence: "People are always the limiters of happiness, except for those very few that are as good as the spring itself."
How can you not love a book with a sentence like that in it?
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am 11. Januar 1998
"A Moveable Feast" is a wonderous quick read that manages to transport the reader back to the bohemian Paris of the 1920s like a magical time machine. Hemingway's personal, casual and intimate accounts of such figures as Ford Maddox Ford, F. Scott Fitzgerald, Alistair Crowley and Gertrude Stein make the reader feel as though the reader has become great old friends with each of these romantic figures as well as with dear old grumpy Ernest himself. I read this book in preparation for a trip to Paris and when I got there, I almost expected to see Mssr. Hemingway at his favorite table at the Closerie de Lilas with a drink, his notebook and two blue pencils still writing observations about passers-by. Reading this marvelous little book is like taking a vacation back in time and as such brings renewal to a modern world weary soul.
(As a footnote, the Closerie de Lilas is still there but it is now one of the nicest restaurants in Paris and the sort of place Mssr. Hemingway would not have dreamed about stepping into; no matter how much money he had won on the horses. Read the book, you'll know what I mean)
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am 28. März 1997
To live and die and breath at sixteen swallowing the whole of Hemingway's writing is walking on a field of grass--dark brown and burned. Having spent my life the elaborate conformer of elaborate sentences elaborate in structured elaborance, yet knowing just the same that clarity is compassioned understanding, I look at Hem as a part of me. A Moveable Feast has changed me in a way unlike any book--at least since On the Road, which turned previously unrampent bohemianism deep within me into rampant deepness previously unbohemian. It opened up the world of Joyce and Stein, introduced me to Picabo and Duchamp, and made me view my dusty copy of Marx and the Existentialists as suitable reading for Montparnasse. When Hemingway speaks he opens up a new world for me, and I breathe air knowing and feeling all he says. This compact, simple language speaks a volume it took years to understand, until I could finally comprehend that his writing is his being, and A Moveable Feast is nothing more than existence, which is perhaps all anything could ever be
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