A collection of essays tracing seven decades of literary interaction between Hemingway and notable French authors

In a 1946 Atlantic Monthly essay, Jean-Paul Sartre writes: “The greatest literary development in France between 1929 and 1939 was the discovery of Faulkner, Dos Passos, Hemingway, Caldwell, and Steinbeck.”

When Ernest Hemingway arrived in Paris in 1922, he was an unknown writer from America. The City of Light was where he learned his craft and gained legitimacy. Although much has been written about Hemingway’s apprentice years in Paris, little has been published about his literary convergences with French writers. In Hemingway and French Writers, Ben Stoltzfus illuminates the connections between Hemingway and the most important French intellectuals, such as Gustave Flaubert, Marcel Proust, André Gide, Jacques Lacan, Jean-Paul Sartre, Henry de Montherlant, André Malraux, and Albert Camus. A distinguished scholar of both French literature and Hemingway studies, Stoltzfus compares Hemingway’s major works in chronological order, from The Sun Also Rises to The Old Man and the Sea, with novels by French writers.

While it is widely known that France influenced Hemingway’s writing, Hemingway also had an immense impact on French writers. Over the years, American and French novelists enriched each other’s works with new styles and untried techniques. In this comparative analysis, Stoltzfus discusses the complexities of Hemingway’s craft, the controlled skill, narrative economy, and stylistic clarity that the French, drawn to his emphasis on action, labeled “le style américain.”

A collection of essays tracing seven decades of literary interaction between Hemingway and notable French authors

In a 1946 Atlantic Monthly essay, Jean-Paul Sartre writes: “The greatest literary development in France between 1929 and 1939 was the discovery of Faulkner, Dos Passos, Hemingway, Caldwell, and Steinbeck.”

When Ernest Hemingway arrived in Paris in 1922, he was an unknown writer from America. The City of Light was where he learned his craft and gained legitimacy. Although much has been written about Hemingway’s apprentice years in Paris, little has been published about his literary convergences with French writers. In Hemingway and French Writers, Ben Stoltzfus illuminates the connections between Hemingway and the most important French intellectuals, such as Gustave Flaubert, Marcel Proust, André Gide, Jacques Lacan, Jean-Paul Sartre, Henry de Montherlant, André Malraux, and Albert Camus. A distinguished scholar of both French literature and Hemingway studies, Stoltzfus compares Hemingway’s major works in chronological order, from The Sun Also Rises to The Old Man and the Sea, with novels by French writers.

While it is widely known that France influenced Hemingway’s writing, Hemingway also had an immense impact on French writers. Over the years, American and French novelists enriched each other’s works with new styles and untried techniques. In this comparative analysis, Stoltzfus discusses the complexities of Hemingway’s craft, the controlled skill, narrative economy, and stylistic clarity that the French, drawn to his emphasis on action, labeled “le style américain.”

Equal parts sociological lore and screwball comedy, Dumpster, for God’s Sake bends reality into fiction in a uniquely American exploration of the passions that make us human.

"Profoundly dystopian and completely believable." −Dean MacCannell, author of The Tourist

Loviers City believes that cleanliness leads to Godliness. But order quickly descends into chaos when a sighting of the Virgin occurs. Soon, thousands arrive to visit the spot where She appeared. But the pilgrims leave their mark, discarding refuse and besmirching Loviers City’s All-America vision.

Suspense mounts as Rudy Squazza, the red-bearded ringleader of the homeless, and Jasmine, a rich teenager working on a high school project, fall in love. He is a dumpster diver and the victim of police brutality. She dresses in black leather, rides a red Ducati Supersport 750, and is known as the “Angel from Hell.”  

With compelling prose, canny insight, and artful empathy, BEN STOLTZFUS brilliantly examines group behavior in a timely tale of collective zeal and righteous intent that explores a city’s urgent quest for soul.

A collection of essays tracing seven decades of literary interaction between Hemingway and notable French authors

In a 1946 Atlantic Monthly essay, Jean-Paul Sartre writes: “The greatest literary development in France between 1929 and 1939 was the discovery of Faulkner, Dos Passos, Hemingway, Caldwell, and Steinbeck.”

When Ernest Hemingway arrived in Paris in 1922, he was an unknown writer from America. The City of Light was where he learned his craft and gained legitimacy. Although much has been written about Hemingway’s apprentice years in Paris, little has been published about his literary convergences with French writers. In Hemingway and French Writers, Ben Stoltzfus illuminates the connections between Hemingway and the most important French intellectuals, such as Gustave Flaubert, Marcel Proust, André Gide, Jacques Lacan, Jean-Paul Sartre, Henry de Montherlant, André Malraux, and Albert Camus. A distinguished scholar of both French literature and Hemingway studies, Stoltzfus compares Hemingway’s major works in chronological order, from The Sun Also Rises to The Old Man and the Sea, with novels by French writers.

While it is widely known that France influenced Hemingway’s writing, Hemingway also had an immense impact on French writers. Over the years, American and French novelists enriched each other’s works with new styles and untried techniques. In this comparative analysis, Stoltzfus discusses the complexities of Hemingway’s craft, the controlled skill, narrative economy, and stylistic clarity that the French, drawn to his emphasis on action, labeled “le style américain.”

A collection of essays tracing seven decades of literary interaction between Hemingway and notable French authors

In a 1946 Atlantic Monthly essay, Jean-Paul Sartre writes: “The greatest literary development in France between 1929 and 1939 was the discovery of Faulkner, Dos Passos, Hemingway, Caldwell, and Steinbeck.”

When Ernest Hemingway arrived in Paris in 1922, he was an unknown writer from America. The City of Light was where he learned his craft and gained legitimacy. Although much has been written about Hemingway’s apprentice years in Paris, little has been published about his literary convergences with French writers. In Hemingway and French Writers, Ben Stoltzfus illuminates the connections between Hemingway and the most important French intellectuals, such as Gustave Flaubert, Marcel Proust, André Gide, Jacques Lacan, Jean-Paul Sartre, Henry de Montherlant, André Malraux, and Albert Camus. A distinguished scholar of both French literature and Hemingway studies, Stoltzfus compares Hemingway’s major works in chronological order, from The Sun Also Rises to The Old Man and the Sea, with novels by French writers.

While it is widely known that France influenced Hemingway’s writing, Hemingway also had an immense impact on French writers. Over the years, American and French novelists enriched each other’s works with new styles and untried techniques. In this comparative analysis, Stoltzfus discusses the complexities of Hemingway’s craft, the controlled skill, narrative economy, and stylistic clarity that the French, drawn to his emphasis on action, labeled “le style américain.”

Equal parts sociological lore and screwball comedy, Dumpster, for God’s Sake bends reality into fiction in a uniquely American exploration of the passions that make us human.

"Profoundly dystopian and completely believable." −Dean MacCannell, author of The Tourist

Loviers City believes that cleanliness leads to Godliness. But order quickly descends into chaos when a sighting of the Virgin occurs. Soon, thousands arrive to visit the spot where She appeared. But the pilgrims leave their mark, discarding refuse and besmirching Loviers City’s All-America vision.

Suspense mounts as Rudy Squazza, the red-bearded ringleader of the homeless, and Jasmine, a rich teenager working on a high school project, fall in love. He is a dumpster diver and the victim of police brutality. She dresses in black leather, rides a red Ducati Supersport 750, and is known as the “Angel from Hell.”  

With compelling prose, canny insight, and artful empathy, BEN STOLTZFUS brilliantly examines group behavior in a timely tale of collective zeal and righteous intent that explores a city’s urgent quest for soul.