Notes
Jerome Charyn, Hemingway. Portrait de l’artiste en guerrier blessé, traduit de l’américain par Cécile Bloc-Rodot, Paris, Gallimard, collection Découvertes, 1999, 70.
Hannes de Vriese, Mobilités écopoétiques et écritures de la nature. Espace et paysage dans la littérature contemporaine en français, Genève : Droz, 2022.
Michel Collot, Un Nouveau sentiment de la nature, Paris : Corti, 2022.
Voir Louis-Patrick Bergot qui cite Michel Collot (faisant référence au Parti-pris des choses de Francis Ponge), « Par-delà le grand partage », Acta Fabula, vol. 24, n° 8, septembre 2023, 11.
Jerome Charyn voit le Hemingway des années quarante comme « un homme hanté, à la dérive, sans véritable plan d’action », Jerome Charyn, Hemingway. op. cit., 80.
Ernest Hemingway, Au-delà du fleuve et sous les arbres, in Œuvres romanesques II, Paris : Gallimard, Bibliothèque de la Pléiade, 1969, 1371.
Ernest Hemingway, Across the River and Into the Trees, New York : Scribner’s, 1978 [1950], 68.
Ernest Hemingway, Îles à la dérive, trad. Jean-René Majo, Paris : Gallimard, « Folio », 1971, 11. « […] you could walk out of the door and down the bluff across the white sand and into the Gulf Stream”, Islands in the Stream, New York : Scribner’s, 1970, 3.
Ibid., 13.« The house felt almost as much like a ship as a house », ibid., 4.
Ibid. « He would like to be there for it and go with the house if she went », ibid.
Ibid., 14. « He had a big pile of driftwood stacked against the south wall of the house », ibid., 5.
Ibid., 465. « There was a long white beach with coconut palms behind it. The reef lay across the entrance to the harbor », ibid., 331.
Ibid., 473. « […] and he watched the sculpture that the wind and sand had made of a piece of driftwood », ibid., 337.
Ernest Hemingway, Les Vertes collines d’Afrique, trad. Jeanine Delpech, in Œuvres romanesques II, Paris : Gallimard, Bibliothèque de la Pléiade, 103. « […] that long, beautiful, unhappy island […] », Ernest Hemingway, The Green Hills of Africa, New York : Scribner’s, 1953 [1935], 149.
Ibid. « […] the feeling comes when you write well and truly of something and know impersonally you have written in that way […]; you know its value absolutely; or when you do something which people do not consider a serious occupation and yet you know, truly, that it is as important and has always been as important as all the things that are in fashion, and when, on the sea, you are alone with it and know that this Gulf Stream you are living with, knowing, learning about, and loving, has moved, as it moves, since before man, and that it has gone by the shoreline of that long, beautiful, unhappy island since before Columbus sighted it and that the things you find out about it, and those that have always lived in it are permanent and of value because that stream will flow, as it has flowed, after the Indians, after the Spaniards, after the British, after the Americans and after all the Cubans and all the systems of governments, the richness, the poverty, the martyrdom, the sacrifice and the venality and the cruelty are all gone as the highpiled scow of garbage, bright-colored, white-flecked, ill-smelling, now tilted on its side, spills off its load into the blue water […] », ibid., 148-149.
Ernest Hemingway, « Sur l’eau bleue », trad. Georges Magnane, Marcel Duhamel et Henri Robillot, in Œuvres romanesques II, Paris : Gallimard, Bibliothèque de la Pléiade, 1969, 361. « […] the Gulf Stream and the other great ocean currents are the last wild country there is left. Once you are out of sight of land and of the other boats you are more alone than you can ever be hunting and the sea is the same as it has been since before men ever went on it in boats. In a season fishing you will see it oily flat as the becalmed galleons saw it while they drifted to the westward; white-capped with a fresh breeze as they saw it running with the trades; and in high, rolling blue hills the tops blowing off them like snow as they were punished by it, so that sometimes you will see three great hills of water with your fish jumping from the top of the farthest one and if you tried to make a turn to go with him without picking your chance, one of those breaking crests would roar down in on you with a thousand tons of water and you would hunt no more elephants […] », Ernest Hemingway, « On the Blue Water », Esquire, April 1936 : https://www.esquire.com/entertainment/books/a35926817/on-the-blue-water/
Ernest Hemingway, Îles à la dérive, op. cit., 344. « Go on out to the porch and look at her. She is not cruel or callous […]. She is just there and the wind moves her and the current moves her and they fight on her surface but down below none of it matters. Be thankful that you are going out on her again and thank her for being your home. She is your home », Ernest Hemingway, Islands in the Stream, op. cit., 239-240.
Ibid., 368. « In the mouth of the harbor the sea was very wild and confused and clear green water was breaking over the rock at the base of the Morro, the tops of the seas blowing white in the sun. It looks wonderful, he said to himself. It not only looks wonderful; it is wonderful », ibid., 257.
Ibid., 32. « Waterspout s», « Schooners that got wrecked », ibid., 17.
Ibid., 538. « Thomas Hudson thought of the canvas of the bathers by Cezanne […] », ibid., 382.
Ibid., 11-12. « At night the sharks came in close to the beach, hunting in the edge of the Stream and from the upper porch of the house on quiet nights you could hear the splashing of the fish they hunted and if you went down to the beach you could see the phosphorescent wakes they made in the water. At night the sharks had no fear and everything else feared them. But in the day they stayed out away from the clear white sand and if they did come in you could see their shadows a long way away », ibid., 3.
Ernest Hemingway, Œuvres romanesques, Paris : Gallimard, Bibliothèque de la Pléiade, tome II, 1969, 369. Ernest Hemingway, « There She Breaches! Or. Moby Dick off the Morro », Esquire, mai 1936, 35, 203-205.
Olivier Rey, Le Testament de Melville, Penser le bien et le mal avec Billy Bud, Paris : Gallimard, coll. « Bibliothèque des Idées », 2011, 208.
Herman Melville, Moby Dick, in Œuvres romanesques III, Paris : Gallimard, Bibliothèque de la Pléiade, 2006, 428-429. « And thus, though surrounded by circle upon circle of consternations and affrights, did these inscrutable creatures […] freely and fearlessly indulge in all peaceful concernments; yea, serenely revelled in dalliance and delight. But even so, amid the tornadoed Atlantic of my being, do I myself still for ever centrally disport in mute calm; and while ponderous planets of unwaning woe revolve round me, deep down and deep inland there I still bathe me in eternal mildness of joy », Herman Melville, Moby Dick, or the Whale, New York: Harper & Brothers, London : Richard Bentley, 1851, 433.
Ernest Hemingway, Pour qui sonne le glas, traduction de Denise Van Moppès, Œuvres romanesques II, Paris : Gallimard, Bibliothèque de la Pléiade, 1969, 619.
Lettre à Patrick Hemingway, 30 octobre 1943, Ernest Hemingway, Lettres choisies, 1917-1961, présentées et annotées par Carlos Baker, traduites de l’anglais par Michel Arnaud, Paris : Gallimard, 1986, 636. Ernest Hemingway, Selected Letters, 1917-1961, Carlos Baker, ed., New York, Scribner’s, 1981, « It is lonesomer than Limbo here. Only the cotsies for company », 553.
Ibidem, 637. « I have trained [Uncle Wolfei] and Boisie to make a pyramid like lions at the circus on the pillars on the front porch », ibidem.
Ernest Hemingway, Îles à la dérive, op. cit., 312-313. « Goats was fond of the man, and Thomas Hudson was fond of him and respected and loved him. But there was no question of Goats being in love with him or he in love with Goats as there had come to be with Boise », Ernest Hemingway, Islands in the Stream, op. cit., 217.
Ibid., 341. « That was the great thing about pictures; you could love them with no hopelessness at all”, ibid., 238.
Ibid., 441. « “Last night with a pillow and a cat making love” », ibid., 311.
Ibid. « “I’ll make up for the cat”, ibid.
Ibid., 457. « “[…] and you’re in something so secret you have to sleep with a cat so you won’t talk —” », 334.
Ibid., 197. « “Oh hell. I don’t hate him. 1 love him” », ibid., 134.
Ibid., 208. « “I couldn’t tell which was him and which was me. […] Then I began to love him more than anything on earth” », ibid., 142.
Ibid., 180. « […] and the great fish rose out of it, rising, shining dark blue and silver, seeming to come endlessly out of the Water, unbelievable », ibid., 121.
Ibid., 471. « […] obscenely white », ibid., 336
Ibid., 472. « Poor old crab, he thought. All he was practicing was his trade », ibid.
Ibid., 590-591. « It is not just their color, he thought. It’s not just the black on that rose pink. It is their size and that they are ugly in detail and yet perversely beautiful. They must be a very old bird from the earliest times », ibid., 420.
Ibid., 626. « He remembered how Tom had stroked the plump white breast and touched the lovely black undermarkings and how he had found the boy asleep that night in his bed with his arms around the bird », ibid., 446.
Ibid., 553. « It was country as unspoiled as when Columbus came to this coast », ibid., 393.
Ibid., 572. « “this beautiful coast Columbus first cast his eyes on” », ibid., 406.
Ibid., 531. Ibid., 377.
Georges-Albert Astre, Hemingway par lui-même, Paris : Éditions du Seuil, 1959, 159.
Jeffrey Meyers, Hemingway, traduit de l’américain par Geneviève Hily Mane et Sylvie Besse, Paris : Belfond, 1987, 369.
Cité par J. Meyers, 370.
Ibid., 376.
Ernest Hemingway, Lettres choisies, op.cit., 619. « War will last at least five years, maybe ten, maybe always. […] I went to all the wars that were fought to prevent this one and comported myself 0 k. Would just as soon see some of the warmongers who brought on this one but would not fight in or work in the wars fought to prevent this one fight in this before I do », Ernest Hemingway, Selected Letters, op. cit., 536.
Ibid., 629. “Actually I think we will be at war for the rest of our lives. That may seem silly but I could argue it at a pinch”, ibid., 545.
Ernest Hemingway, Îles à la dérive, op. cit., 296. Ernest Hemingway, Islands in the Stream, op. cit., 205.
Ibid., 369. « The fighting was in Italy now », ibid., 258.
Ibid., 454. Ibid., 322.
Ernest Hemingway, « Sur l’eau bleue », art. cit., 359.
Ernest Hemingway, Pour qui sonne le glas, traduction de Denise Van Moppès, in Œuvres romanesques II, Paris : Gallimard, Bibliothèque de la Pléiade, 593. « “You hunt as much as you are hunted” », Ernest Hemingway, For Whom the Bell Tolls, New York : Scribner’s, 1995 [1940], 15.
Ibid., 618.
« “[…] And after we have won you must come to hunt.”
“To hunt what?”
“The boar, the bear, the wolf, the ibex—”
“You like to hunt?”
“Yes, man. More than anything. We all hunt in my village. You do not like to hunt?”
“No,” said Robert Jordan. “I do not like to kill animals.”
“With me it is the opposite,” the old man said. “I do not like to kill men.”
“Nobody does except those who are disturbed in the head,” Robert Jordan said. “But I
feel nothing against it when it is necessary. When it is for the cause” »
Ernest Hemingway, Îles à la dérive, op. cit., 542. « They wouldn’t want to fight. They want to get the hell away and on a Spanish ship », Ernest Hemingway, Islands in the Stream, op. cit., 385.
Ibid., 501-502. « Why don’t you think of them as murderers and have the righteous feelings that you should have? […] Because we are all murderers, he told himself”, ibid., 356.
Ibid., 74. « “Being against evil doesn’t make you good” »,, ibid., 47.
Ibid., 15. « On the floor he could feel the pounding of the surf the way he remembered feeling the firing of heavy guns when he had lain on the earth close by some battery a long time ago when he had been a boy », ibid., 5.
Ibid., 541. « You will never have good dreams any more”, “The horrors were what you won in that big crap game that they run », ibid., 384, 385.
Le Rivage des Syrtes (1951) de Julien Gracq, de ce point de vue, est un exemple remarquable de roman géopolitique. Gracq a avoué que tout le roman était « aimanté » par la perspective d’une bataille navale.
Pierre M. Galois, Géopolitique. Les voies de la puissance, Paris : Plon, 1990, 109.
Gérard de Cortanze, « Hemingway, chasseur de U-boote », Historia, n° 927, mars 2024, 28-35.
Ernest Hemingway, Îles à la dérive, op. cit., 284. « […] the long and perfect perspective of the blankness ahead », Ernest Hemingway, Islands in the Stream, op. cit., 196.
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