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class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Aysberq_n%C9%99z%C9%99riyy%C9%99si" title="Aysberq nəzəriyyəsi – Azerbaijani" lang="az" hreflang="az" data-title="Aysberq nəzəriyyəsi" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%86%E0%A6%87%E0%A6%B8%E0%A6%AC%E0%A6%BE%E0%A6%B0%E0%A7%8D%E0%A6%97_%E0%A6%A4%E0%A6%A4%E0%A7%8D%E0%A6%A4%E0%A7%8D%E0%A6%AC" title="আইসবার্গ তত্ত্ব – Bangla" lang="bn" hreflang="bn" data-title="আইসবার্গ তত্ত্ব" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target"><span>বাংলা</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Teoria_de_l%27iceberg" title="Teoria de l'iceberg – Catalan" lang="ca" hreflang="ca" data-title="Teoria de l'iceberg" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Eisbergmodell_(Literatur)" title="Eisbergmodell (Literatur) – German" lang="de" hreflang="de" data-title="Eisbergmodell (Literatur)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Teor%C3%ADa_del_iceberg" title="Teoría del iceberg – Spanish" lang="es" hreflang="es" data-title="Teoría del iceberg" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%B9%99%EC%82%B0_%EC%9D%B4%EB%A1%A0" title="빙산 이론 – Korean" lang="ko" hreflang="ko" data-title="빙산 이론" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%B1%D5%B5%D5%BD%D5%A2%D5%A5%D6%80%D5%A3%D5%AB_%D5%BD%D5%AF%D5%A6%D5%A2%D5%B8%D6%82%D5%B6%D6%84" title="Այսբերգի սկզբունք – Armenian" lang="hy" hreflang="hy" data-title="Այսբերգի սկզբունք" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/IJsbergtheorie" title="IJsbergtheorie – Dutch" lang="nl" hreflang="nl" data-title="IJsbergtheorie" data-language-autonym="Nederlands" data-language-local-name="Dutch" 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class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Writing technique coined by American writer Ernest Hemingway</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:ErnestHemingway.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/28/ErnestHemingway.jpg/220px-ErnestHemingway.jpg" decoding="async" width="220" height="275" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/28/ErnestHemingway.jpg/330px-ErnestHemingway.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/28/ErnestHemingway.jpg/440px-ErnestHemingway.jpg 2x" data-file-width="1500" data-file-height="1873" /></a><figcaption>Ernest Hemingway as photographed for the 1940 edition of <i><a href="/wiki/For_Whom_the_Bell_Tolls" title="For Whom the Bell Tolls">For Whom the Bell Tolls</a></i></figcaption></figure> <p>The <b>iceberg theory</b> or <b>theory of omission</b> is a <a href="/wiki/Writing" title="Writing">writing</a> technique coined by American writer <a href="/wiki/Ernest_Hemingway" title="Ernest Hemingway">Ernest Hemingway</a>. As a young journalist, Hemingway had to focus his newspaper reports on immediate events, with very little context or interpretation. When he became a writer of short stories, he retained this <a href="/wiki/Minimalism" title="Minimalism">minimalistic</a> style, focusing on surface elements without explicitly discussing underlying themes. Hemingway believed the deeper meaning of a story should not be evident on the surface, but should shine through implicitly. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Like many other writers, Hemingway worked as a journalist before becoming a novelist. After graduating from high school he went to work as a cub reporter for <i><a href="/wiki/The_Kansas_City_Star" title="The Kansas City Star">The Kansas City Star</a></i>,<sup id="cite_ref-Meyers_p23_1-0" class="reference"><a href="#cite_note-Meyers_p23-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> where he quickly learned that truth often lurks below the surface of a story.<sup id="cite_ref-Reynolds_1998_17_2-0" class="reference"><a href="#cite_note-Reynolds_1998_17-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> He learned about <a href="/wiki/Corruption" title="Corruption">corruption</a> in city politics, and that in hospital emergency rooms and police stations a mask of cynicism was worn "like armour to shield whatever vulnerabilities remained".<sup id="cite_ref-Reynolds_1998_17_2-1" class="reference"><a href="#cite_note-Reynolds_1998_17-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> In his pieces he wrote about relevant events, excluding the background. As foreign correspondent for the <i><a href="/wiki/Toronto_Star" title="Toronto Star">Toronto Star</a></i>, while living in Paris in the early 1920s, he covered the <a href="/wiki/Greco-Turkish_War_(1919%E2%80%931922)" title="Greco-Turkish War (1919–1922)">Greco-Turkish War</a> in more than a dozen articles. As his biographer Jeffrey Meyers explains, "he objectively reported only the immediate events in order to achieve a concentration and intensity of focus—a spotlight rather than a stage".<sup id="cite_ref-Meyers_pp98-99_3-0" class="reference"><a href="#cite_note-Meyers_pp98-99-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> From the Greco-Turkish War he gained valuable writing experience that he translated to the writing of <a href="/wiki/Fiction" title="Fiction">fiction</a>. He believed fiction could be based on reality, but that if an experience were to be distilled, as he explained, then "what he made up was truer than what he remembered".<sup id="cite_ref-Meyers_pp98-99_3-1" class="reference"><a href="#cite_note-Meyers_pp98-99-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=2" title="Edit section: Definition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:30em; ;"> <blockquote class="quotebox-quote left-aligned" style=""> <p>If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. </p> </blockquote> <p style="padding-bottom: 0;"><cite class="left-aligned" style="">Ernest Hemingway, <i><a href="/wiki/Death_in_the_Afternoon" title="Death in the Afternoon">Death in the Afternoon</a></i><sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></cite></p> </div> <p>In 1923, Hemingway conceived of the idea of a new theory of writing after finishing his short story "<a href="/wiki/Out_of_Season_(short_story)" title="Out of Season (short story)">Out of Season</a>". In <i><a href="/wiki/A_Moveable_Feast" title="A Moveable Feast">A Moveable Feast</a></i> (1964), his posthumously published <a href="/wiki/Memoir" title="Memoir">memoirs</a> about his years as a young writer in Paris, he explains: "I omitted the real end [of "Out of Season"] which was that the old man hanged himself. This was omitted on my new theory that you could omit anything... and the omitted part would strengthen the story."<sup id="cite_ref-Smith_5-0" class="reference"><a href="#cite_note-Smith-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In chapter sixteen of <i><a href="/wiki/Death_in_the_Afternoon" title="Death in the Afternoon">Death in the Afternoon</a></i> he compares his theory about writing to an iceberg.<sup id="cite_ref-Smith_5-1" class="reference"><a href="#cite_note-Smith-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Hemingway's biographer <a href="/wiki/Carlos_Baker" title="Carlos Baker">Carlos Baker</a> believed that as a writer of short stories Hemingway learned "how to get the most from the least, how to prune language and avoid waste motion, how to multiply intensities, and how to tell nothing but the truth in a way that allowed for telling more than the truth."<sup id="cite_ref-Baker_p117_6-0" class="reference"><a href="#cite_note-Baker_p117-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Baker also notes that the writing style of the "iceberg theory" suggests that a story's narrative and nuanced complexities, complete with symbolism, operate under the surface of the story itself.<sup id="cite_ref-Baker_p117_6-1" class="reference"><a href="#cite_note-Baker_p117-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>For example, Hemingway believed a writer could describe an action, such as Nick Adams fishing in "<a href="/wiki/Big_Two-Hearted_River" title="Big Two-Hearted River">Big Two-Hearted River</a>," while conveying a <i>different</i> message about the action itself—Nick Adams concentrating on fishing to the extent that he does not have to think about the unpleasantness of his war experience.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> In his essay "The Art of the Short Story", Hemingway is clear about his method: "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."<sup id="cite_ref-HemingwaySS_8-0" class="reference"><a href="#cite_note-HemingwaySS-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> A writer explained how it brings a story <i>gravitas</i>: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>Hemingway said that only the tip of the iceberg showed in fiction—your reader will see only what is above the water—but the knowledge that you have about your character that never makes it into the story acts as the bulk of the iceberg. And that is what gives your story weight and gravitas.</p><div class="templatequotecite">— <cite><a href="/wiki/Jenna_Blum" title="Jenna Blum">Jenna Blum</a> in <i>The Author at Work</i>, 2013<sup id="cite_ref-JennaBlum8_9-0" class="reference"><a href="#cite_note-JennaBlum8-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup></cite></div></blockquote> <p>From reading <a href="/wiki/Rudyard_Kipling" title="Rudyard Kipling">Rudyard Kipling</a>, Hemingway absorbed the practice of shortening <a href="/wiki/Prose" title="Prose">prose</a> as much as it could take. Of the concept of omission, Hemingway wrote in "The Art of the Short Story": "You could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood."<sup id="cite_ref-Meyers_p114_10-0" class="reference"><a href="#cite_note-Meyers_p114-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> By making invisible the structure of the story, he believed the author strengthened the piece of fiction and that the "quality of a piece could be judged by the quality of the material the author eliminated."<sup id="cite_ref-Meyers_p114_10-1" class="reference"><a href="#cite_note-Meyers_p114-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> His style added to the aesthetic: using "declarative sentences and direct representations of the visible world" with simple and plain language, Hemingway became "the most influential prose stylist in the twentieth century" according to biographer Meyers.<sup id="cite_ref-Meyers_p114_10-2" class="reference"><a href="#cite_note-Meyers_p114-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>In her paper "Hemingway's Camera Eye", Zoe Trodd explains that Hemingway uses repetition in prose to build a collage of snapshots to create an entire picture. Of his iceberg theory, she claims, it "is also a glacier waterfall, infused with movement by his multi-focal aesthetic".<sup id="cite_ref-Trodd_11-0" class="reference"><a href="#cite_note-Trodd-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Furthermore, she believes that Hemingway's iceberg theory "demanded that the reader feel the <i>whole</i> story" and that the reader is meant to "fill the gaps left by his omissions with their feelings".<sup id="cite_ref-Trodd_11-1" class="reference"><a href="#cite_note-Trodd-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>Hemingway scholar Jackson Benson believes Hemingway used autobiographical details to work as framing devices to write about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out further 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?" By separating himself from the characters he created, Hemingway strengthens the drama. The means of achieving a strong drama is to minimize, or omit, the feelings that produced the fiction he wrote.<sup id="cite_ref-Benson_12-0" class="reference"><a href="#cite_note-Benson-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Hemingway's iceberg theory highlights the symbolic implications of art. He makes use of physical action to provide an interpretation of the nature of man's existence. It can be convincingly proved that, "while representing human life through fictional forms, he has consistently set man against the background of his world and universe to examine the human situation from various points of view."<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Early_fiction_and_short_stories">Early fiction and short stories</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=3" title="Edit section: Early fiction and short stories"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Wendolyn Tetlow believes that Hemingway's early fiction such as "<a href="/wiki/Indian_Camp" title="Indian Camp">Indian Camp</a>" shows his lack of concern for <a href="/wiki/Character_(arts)" title="Character (arts)">character development</a> by simply placing the character in his or her surroundings. However, in "Indian Camp" the use of descriptive detail such as a screaming woman, men smoking tobacco, and an infected wound build a sense of veracity.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> In other words, a story can communicate by <a href="/wiki/Subtext" title="Subtext">subtext</a>; for instance, Hemingway's "<a href="/wiki/Hills_Like_White_Elephants" title="Hills Like White Elephants">Hills Like White Elephants</a>" does not mention the name of the procedure, although in the story the male character seems to be attempting to convince his girlfriend to do it.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> "Big Two-Hearted River", Hemingway explains, "is about a boy ... coming home from the war ... So the war, all mention of the war, anything about the war, is omitted."<sup id="cite_ref-HemingwaySS_8-1" class="reference"><a href="#cite_note-HemingwaySS-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Hemingway intentionally left out something in "Indian Camp" and "Big Two-Hearted River"—two stories he considered to be good.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>Baker explains that Hemingway's stories about sports are often about the athletes themselves and that the sport is incidental to the story. Moreover, the story "<a href="/wiki/A_Clean,_Well-Lighted_Place" title="A Clean, Well-Lighted Place">A Clean, Well-Lighted Place</a>" which on the surface is about nothing more than men drinking in a cafe late at night, is in fact about that which brings the men to the cafe to drink, and the reasons they seek light in the night—none of which is available in the surface of the plot, but lurks in the iceberg below.<sup id="cite_ref-Baker_1972_123–125_17-0" class="reference"><a href="#cite_note-Baker_1972_123–125-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Hemingway's story "Big Two-Hearted River" is ostensibly about nothing, as is "A Clean, Well-Lighted Place", but within nothing lies the crux of the story.<sup id="cite_ref-Baker_1972_123–125_17-1" class="reference"><a href="#cite_note-Baker_1972_123–125-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Novels">Novels</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=4" title="Edit section: Novels"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Hemingway scholar Jackson Benson further believes that the omission Hemingway applies functions as a sort of buffer between himself as the creator of a character and the character. He explains that as an author creates a "distance" between himself and the character he "becomes more practiced, it would seem." Benson says in Hemingway's fiction the distance is necessary, and successful in early fiction such as in <i><a href="/wiki/The_Sun_Also_Rises" title="The Sun Also Rises">The Sun Also Rises</a>,</i> but if "the author does not deliberately create such distance the fiction fails," as in the later works such as <i><a href="/wiki/Across_the_River_and_into_the_Trees" title="Across the River and into the Trees">Across the River and into the Trees</a></i>.<sup id="cite_ref-Benson_12-1" class="reference"><a href="#cite_note-Benson-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Baker calls Hemingway's <i>Across the River and into the Trees</i> a "lyric-poetical novel" in which each scene has an underlying truth presented via <a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">symbolism</a>.<sup id="cite_ref-Baker1972_pp274-255_18-0" class="reference"><a href="#cite_note-Baker1972_pp274-255-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> According to Meyers an example of omission is that Renata, like other heroines in Hemingway's fiction, suffers a major "shock"—the murder of her father and the subsequent loss of her home—to which Hemingway alludes only briefly.<sup id="cite_ref-Meyers1985_p445_19-0" class="reference"><a href="#cite_note-Meyers1985_p445-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Hemingway's pared down narrative forces the reader to solve connections. As Stoltzfus remarks: "Hemingway walks the reader to the bridge that he must cross alone without the narrator's help."<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>Hemingway believed that if context or background had been written about by another, and written about well, then it could be left out of his writing. Of <i><a href="/wiki/The_Old_Man_and_the_Sea" title="The Old Man and the Sea">The Old Man and the Sea</a></i> he explains: "In writing you are limited to by what has already been done satisfactorily. So I have tried to do something else. First I have tried to eliminate everything unnecessary to conveying experience to the reader so that after he has read something it will become part of his experience and seem actually to have happened."<sup id="cite_ref-Smith_5-2" class="reference"><a href="#cite_note-Smith-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Paul Smith, author of <i>Hemingway's Early Manuscript: The Theory and Practice of Omission</i>, believes Hemingway applied the theory of omission in an effort to "strengthen [the] iceberg".<sup id="cite_ref-Smith_5-3" class="reference"><a href="#cite_note-Smith-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=5" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In October 1954, Hemingway received the <a href="/wiki/Nobel_Prize_in_Literature" title="Nobel Prize in Literature">Nobel Prize in Literature</a>. He jokingly told the press he believed <a href="/wiki/Carl_Sandburg" title="Carl Sandburg">Carl Sandburg</a> and <a href="/wiki/Isak_Dinesen" class="mw-redirect" title="Isak Dinesen">Isak Dinesen</a> deserved the prize more than him, but the prize money would be welcome.<sup id="cite_ref-Baker_p338_21-0" class="reference"><a href="#cite_note-Baker_p338-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The prize was awarded to Hemingway "for his mastery of the art of narrative, most recently demonstrated in <i><a href="/wiki/The_Old_Man_and_the_Sea" title="The Old Man and the Sea">The Old Man and the Sea</a></i>, and for the influence that he has exerted on contemporary style."<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> A few days after the announcement, Hemingway spoke with a <i><a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a></i> magazine correspondent while on his boat fishing off the coast of Cuba. When asked about the use of symbolism in his work, and particularly in the most recently published <i>Old Man and the Sea</i>, he explained: </p> <blockquote><p>No good book has ever been written that has in it symbols arrived at beforehand and stuck in ... That kind of symbol sticks out like raisins in raisin bread. Raisin bread is all right, but plain bread is better. ... I tried to make a real old man, a real boy, a real sea, a real fish and real sharks. But if I made them good and true enough they would mean many things. The hardest thing is to make something really true and sometimes truer than true.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=6" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Abductive_reasoning" title="Abductive reasoning">Abductive reasoning</a></li> <li><a href="/wiki/Case-based_reasoning" title="Case-based reasoning">Case-based reasoning</a></li> <li><a href="/wiki/Casuistry" title="Casuistry">Casuistry</a></li> <li><a href="/wiki/Concision" title="Concision">Concision</a></li> <li><a href="/wiki/For_sale:_baby_shoes,_never_worn" title="For sale: baby shoes, never worn">For sale: baby shoes, never worn</a></li> <li><a href="/wiki/Gonzo_journalism" title="Gonzo journalism">Gonzo journalism</a></li> <li><a href="/wiki/I_know_it_when_I_see_it" title="I know it when I see it">I know it when I see it</a></li> <li><a href="/wiki/Purposeful_omission" title="Purposeful omission">Purposeful omission</a></li> <li><a href="/wiki/Show,_don%27t_tell" title="Show, don't tell">Show, don't tell</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-Meyers_p23-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-Meyers_p23_1-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMeyers1985">Meyers 1985</a>, p. 23</span> </li> <li id="cite_note-Reynolds_1998_17-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-Reynolds_1998_17_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Reynolds_1998_17_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFReynolds1998">Reynolds 1998</a>, p. 17</span> </li> <li id="cite_note-Meyers_pp98-99-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Meyers_pp98-99_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Meyers_pp98-99_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMeyers1985">Meyers 1985</a>, pp. 98–99</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">qtd. in <a href="#CITEREFOliver1999">Oliver 1999</a>, p. 322</span> </li> <li id="cite_note-Smith-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-Smith_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Smith_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Smith_5-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Smith_5-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">qtd in <a href="#CITEREFSmith1983">Smith 1983</a></span> </li> <li id="cite_note-Baker_p117-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-Baker_p117_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Baker_p117_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBaker1972">Baker 1972</a>, p. 117</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a href="#CITEREFOliver1999">Oliver 1999</a>, pp. 321–322</span> </li> <li id="cite_note-HemingwaySS-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-HemingwaySS_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-HemingwaySS_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFHemingway,_The_Art_of_the_Short_Story">Hemingway, The Art of the Short Story</a></span> </li> <li id="cite_note-JennaBlum8-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-JennaBlum8_9-0">^</a></b></span> <span class="reference-text">Jenna Blum, 2013, <i>The Modern Scholar</i> published by Recorded Books, <i>The Author at Work: The Art of Writing Fiction</i>, Disk 1, Track 9, <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4703-8437-1" title="Special:BookSources/978-1-4703-8437-1">978-1-4703-8437-1</a>, "... that is what gives your story weight and gravitas. ... "</span> </li> <li id="cite_note-Meyers_p114-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Meyers_p114_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Meyers_p114_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Meyers_p114_10-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMeyers1985">Meyers 1985</a>, p. 114</span> </li> <li id="cite_note-Trodd-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Trodd_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Trodd_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTrodd2007">Trodd 2007</a></span> </li> <li id="cite_note-Benson-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-Benson_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Benson_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBenson1989">Benson 1989</a></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHalliday1956" class="citation journal cs1">Halliday, E.M. (1956). "Hemingway's Ambiguity: Symbolism and Irony". <i>American Literature</i>. <b>28</b> (1): 1–22. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F2922718">10.2307/2922718</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/2922718">2922718</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=American+Literature&rft.atitle=Hemingway%27s+Ambiguity%3A+Symbolism+and+Irony&rft.volume=28&rft.issue=1&rft.pages=1-22&rft.date=1956&rft_id=info%3Adoi%2F10.2307%2F2922718&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F2922718%23id-name%3DJSTOR&rft.aulast=Halliday&rft.aufirst=E.M.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a href="#CITEREFTetlow">Tetlow</a>, pp. 53–55</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><a href="#CITEREFMellow1992">Mellow 1992</a>, p. 348</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><a href="#CITEREFSmith1983">Smith 1983</a></span> </li> <li id="cite_note-Baker_1972_123–125-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-Baker_1972_123–125_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Baker_1972_123–125_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBaker1972">Baker 1972</a>, pp. 123–125</span> </li> <li id="cite_note-Baker1972_pp274-255-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-Baker1972_pp274-255_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBaker1972">Baker 1972</a>, pp. 274–275</span> </li> <li id="cite_note-Meyers1985_p445-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-Meyers1985_p445_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMeyers1985">Meyers 1985</a>, p. 445</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><a href="#CITEREFStoltzfus2003">Stoltzfus 2003</a></span> </li> <li id="cite_note-Baker_p338-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-Baker_p338_21-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBaker1972">Baker 1972</a>, p. 338</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://nobelprize.org/nobel_prizes/literature/laureates/1954/index.html">"The Nobel Prize in Literature 1954"</a>. <i>Nobelprize.org</i>. The Nobel Foundation. 1954<span class="reference-accessdate">. Retrieved <span class="nowrap">2010-04-25</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Nobelprize.org&rft.atitle=The+Nobel+Prize+in+Literature+1954&rft.date=1954&rft_id=http%3A%2F%2Fnobelprize.org%2Fnobel_prizes%2Fliterature%2Flaureates%2F1954%2Findex.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20071103151216/http://www.time.com/time/magazine/article/0,9171,935439-5,00.html">"An American Storyteller"</a>. <i>Time Magazine</i>. Time, Inc. 13 December 1954. Archived from <a rel="nofollow" class="external text" href="http://www.time.com/time/magazine/article/0,9171,935439-5,00.html">the original</a> on November 3, 2007<span class="reference-accessdate">. Retrieved <span class="nowrap">2010-04-25</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Time+Magazine&rft.atitle=An+American+Storyteller&rft.date=1954-12-13&rft_id=http%3A%2F%2Fwww.time.com%2Ftime%2Fmagazine%2Farticle%2F0%2C9171%2C935439-5%2C00.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iceberg_theory&action=edit&section=8" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaker1972" class="citation book cs1"><a href="/wiki/Carlos_Baker" title="Carlos Baker">Baker, Carlos</a> (1972). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/hemingwaywritera00bake"><i>Hemingway: The Writer as Artist</i></a></span> (4th ed.). Princeton University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-691-01305-5" title="Special:BookSources/0-691-01305-5"><bdi>0-691-01305-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hemingway%3A+The+Writer+as+Artist&rft.edition=4th&rft.pub=Princeton+University+Press&rft.date=1972&rft.isbn=0-691-01305-5&rft.aulast=Baker&rft.aufirst=Carlos&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhemingwaywritera00bake&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBenson1989" class="citation journal cs1">Benson, Jackson (1989). "Ernest Hemingway: The Life as Fiction and the Fiction as Life". <i>American Literature</i>. <b>61</b> (3): 345–358. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F2926824">10.2307/2926824</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/2926824">2926824</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=American+Literature&rft.atitle=Ernest+Hemingway%3A+The+Life+as+Fiction+and+the+Fiction+as+Life&rft.volume=61&rft.issue=3&rft.pages=345-358&rft.date=1989&rft_id=info%3Adoi%2F10.2307%2F2926824&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F2926824%23id-name%3DJSTOR&rft.aulast=Benson&rft.aufirst=Jackson&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHemingway,_The_Art_of_the_Short_Story" class="citation book cs1">Hemingway, Ernest (1990). "The Art of the Short Story". In Benson, Jackson (ed.). <i>New Critical Approaches to the Short Stories of Ernest Hemingway</i>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8223-1067-9" title="Special:BookSources/978-0-8223-1067-9"><bdi>978-0-8223-1067-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Art+of+the+Short+Story&rft.btitle=New+Critical+Approaches+to+the+Short+Stories+of+Ernest+Hemingway&rft.pub=Duke+University+Press&rft.date=1990&rft.isbn=978-0-8223-1067-9&rft.aulast=Hemingway&rft.aufirst=Ernest&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMellow1992" class="citation book cs1">Mellow, James R. (1992). <i>Hemingway: A Life Without Consequences</i>. New York: Houghton Mifflin. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-395-37777-3" title="Special:BookSources/0-395-37777-3"><bdi>0-395-37777-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hemingway%3A+A+Life+Without+Consequences&rft.place=New+York&rft.pub=Houghton+Mifflin&rft.date=1992&rft.isbn=0-395-37777-3&rft.aulast=Mellow&rft.aufirst=James+R.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeyers1985" class="citation book cs1">Meyers, Jeffrey (1985). <i>Hemingway: A Biography</i>. London: Macmillan. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-333-42126-4" title="Special:BookSources/0-333-42126-4"><bdi>0-333-42126-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hemingway%3A+A+Biography&rft.place=London&rft.pub=Macmillan&rft.date=1985&rft.isbn=0-333-42126-4&rft.aulast=Meyers&rft.aufirst=Jeffrey&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOliver1999" class="citation book cs1">Oliver, Charles M. (1999). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/ernesthemingwayt0000oliv"><i>Ernest Hemingway A to Z: The Essential Reference to the Life and Work</i></a></span>. New York: Checkmark. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8160-3467-2" title="Special:BookSources/0-8160-3467-2"><bdi>0-8160-3467-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ernest+Hemingway+A+to+Z%3A+The+Essential+Reference+to+the+Life+and+Work&rft.place=New+York&rft.pub=Checkmark&rft.date=1999&rft.isbn=0-8160-3467-2&rft.aulast=Oliver&rft.aufirst=Charles+M.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fernesthemingwayt0000oliv&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPlimpton1958" class="citation journal cs1 cs1-prop-long-vol">Plimpton, George (Spring 1958). <a rel="nofollow" class="external text" href="http://www.theparisreview.org/interviews/4825/the-art-of-fiction-no-21-ernest-hemingway">"Ernest Hemingway, The Art of Fiction No. 21"</a>. <i>The Paris Review</i>. Spring 1958 (18).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Paris+Review&rft.atitle=Ernest+Hemingway%2C+The+Art+of+Fiction+No.+21&rft.ssn=spring&rft.volume=Spring+1958&rft.issue=18&rft.date=1958&rft.aulast=Plimpton&rft.aufirst=George&rft_id=http%3A%2F%2Fwww.theparisreview.org%2Finterviews%2F4825%2Fthe-art-of-fiction-no-21-ernest-hemingway&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReynolds1998" class="citation book cs1">Reynolds, Michael S. (1998). <i>The Young Hemingway</i>. New York: Norton. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-31776-5" title="Special:BookSources/0-393-31776-5"><bdi>0-393-31776-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Young+Hemingway&rft.place=New+York&rft.pub=Norton&rft.date=1998&rft.isbn=0-393-31776-5&rft.aulast=Reynolds&rft.aufirst=Michael+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSmith1983" class="citation journal cs1">Smith, Paul (1983). "Hemingway's Early Manuscripts: The Theory and Practice of Omission". <i>Journal of Modern Literature</i>. <b>10</b> (2). Indiana University Press: 268–288. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3831126">3831126</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Modern+Literature&rft.atitle=Hemingway%27s+Early+Manuscripts%3A+The+Theory+and+Practice+of+Omission&rft.volume=10&rft.issue=2&rft.pages=268-288&rft.date=1983&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3831126%23id-name%3DJSTOR&rft.aulast=Smith&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStoltzfus2003" class="citation journal cs1">Stoltzfus, Ben (2003). "The Stones of Venice, Time and Remembrance: Calculus and Proust in <i>Across the River and into the Trees</i>". <i>The Hemingway Review</i>. <b>22</b> (2): 20–29. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1353%2Fhem.2003.0000">10.1353/hem.2003.0000</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:162371637">162371637</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hemingway+Review&rft.atitle=The+Stones+of+Venice%2C+Time+and+Remembrance%3A+Calculus+and+Proust+in+Across+the+River+and+into+the+Trees&rft.volume=22&rft.issue=2&rft.pages=20-29&rft.date=2003&rft_id=info%3Adoi%2F10.1353%2Fhem.2003.0000&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A162371637%23id-name%3DS2CID&rft.aulast=Stoltzfus&rft.aufirst=Ben&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTetlow" class="citation book cs1">Tetlow, Wendolyn (1992). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/hemingwaysinourt0000tetl"><i>Hemingway's In our time: lyrical dimensions</i></a></span>. Cranbury NJ: Associated University Presses. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8387-5219-5" title="Special:BookSources/0-8387-5219-5"><bdi>0-8387-5219-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hemingway%27s+In+our+time%3A+lyrical+dimensions&rft.place=Cranbury+NJ&rft.pub=Associated+University+Presses&rft.date=1992&rft.isbn=0-8387-5219-5&rft.aulast=Tetlow&rft.aufirst=Wendolyn&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhemingwaysinourt0000tetl&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrodd2007" class="citation journal cs1">Trodd, Zoe (2007). "Hemingway's camera eye: The problems of language and an interwar politics of form". <i>The Hemingway Review</i>. <b>26</b> (2): 7–21. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1353%2Fhem.2007.0012">10.1353/hem.2007.0012</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:146219031">146219031</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Hemingway+Review&rft.atitle=Hemingway%27s+camera+eye%3A+The+problems+of+language+and+an+interwar+politics+of+form&rft.volume=26&rft.issue=2&rft.pages=7-21&rft.date=2007&rft_id=info%3Adoi%2F10.1353%2Fhem.2007.0012&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A146219031%23id-name%3DS2CID&rft.aulast=Trodd&rft.aufirst=Zoe&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIceberg+theory" class="Z3988"></span></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl 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Hemingway"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Ernest_Hemingway" title="Special:EditPage/Template:Ernest Hemingway"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Ernest_Hemingway" style="font-size:114%;margin:0 4em"><a href="/wiki/Ernest_Hemingway" title="Ernest Hemingway">Ernest Hemingway</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Ernest_Hemingway_bibliography" title="Ernest Hemingway bibliography">Bibliography</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Novels</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Torrents_of_Spring" title="The Torrents of Spring">The Torrents of Spring</a></i> (1926)</li> <li><i><a href="/wiki/The_Sun_Also_Rises" title="The Sun Also Rises">The Sun Also Rises</a></i> (1926)</li> <li><i><a href="/wiki/A_Farewell_to_Arms" title="A Farewell to Arms">A Farewell to Arms</a></i> (1929)</li> <li><i><a href="/wiki/To_Have_and_Have_Not" title="To Have and Have Not">To Have and Have Not</a></i> (1937)</li> <li><i><a href="/wiki/For_Whom_the_Bell_Tolls" title="For Whom the Bell Tolls">For Whom the Bell Tolls</a></i> (1940)</li> <li><i><a href="/wiki/Across_the_River_and_into_the_Trees" title="Across the River and into the Trees">Across the River and into the Trees</a></i> (1950)</li> <li><i><a href="/wiki/The_Old_Man_and_the_Sea" title="The Old Man and the Sea">The Old Man and the Sea</a></i> (1952)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Nonfiction</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Death_in_the_Afternoon" title="Death in the Afternoon">Death in the Afternoon</a></i> (1932)</li> <li><i><a href="/wiki/Green_Hills_of_Africa" title="Green Hills of Africa">Green Hills of Africa</a></i> (1935)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Posthumous</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/A_Moveable_Feast" title="A Moveable Feast">A Moveable Feast</a></i> (1964)</li> <li><i><a href="/wiki/Islands_in_the_Stream_(novel)" title="Islands in the Stream (novel)">Islands in the Stream</a></i> (1970)</li> <li><i><a href="/wiki/The_Dangerous_Summer" title="The Dangerous Summer">The Dangerous Summer</a></i> (1985)</li> <li><i><a href="/wiki/The_Garden_of_Eden_(novel)" title="The Garden of Eden (novel)">The Garden of Eden</a></i> (1986)</li> <li><i><a href="/wiki/True_at_First_Light" title="True at First Light">True at First Light</a></i> (1999)</li> <li><i><a href="/wiki/Under_Kilimanjaro" title="Under Kilimanjaro">Under Kilimanjaro</a></i> (2005)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Short stories</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Up_In_Michigan" class="mw-redirect" title="Up In Michigan">Up In Michigan</a>" (1921)</li> <li>"<a href="/wiki/Indian_Camp" title="Indian Camp">Indian Camp</a>" (1924)</li> <li>"<a href="/wiki/The_Doctor_and_the_Doctor%27s_Wife" title="The Doctor and the Doctor's Wife">The Doctor and the Doctor's Wife</a>" (1925)</li> <li>"<a href="/wiki/The_End_of_Something" title="The End of Something">The End of Something</a>" (1925)</li> <li>"<a href="/wiki/The_Three-Day_Blow" title="The Three-Day Blow">The Three-Day Blow</a>" (1925)</li> <li>"<a href="/wiki/The_Battler" title="The Battler">The Battler</a>" (1925)</li> <li>"<a href="/wiki/A_Very_Short_Story" title="A Very Short Story">A Very Short Story</a>" (1925)</li> <li>"<a href="/wiki/Soldier%27s_Home" title="Soldier's Home">Soldier's Home</a>" (1925)</li> <li>"<a href="/wiki/The_Revolutionist" title="The Revolutionist">The Revolutionist</a>" (1925)</li> <li>"<a href="/wiki/Mr._and_Mrs._Elliot" title="Mr. and Mrs. Elliot">Mr. and Mrs. Elliot</a>" (1925)</li> <li>"<a href="/wiki/Cat_in_the_Rain" title="Cat in the Rain">Cat in the Rain</a>" (1925)</li> <li>"<a href="/wiki/Out_of_Season_(short_story)" title="Out of Season (short story)">Out of Season</a>" (1925)</li> <li>"<a href="/wiki/Cross_Country_Snow" title="Cross Country Snow">Cross Country Snow</a>" (1925)</li> <li>"<a href="/wiki/My_Old_Man_(short_story)" title="My Old Man (short story)">My Old Man</a>" (1925)</li> <li>"<a href="/wiki/Big_Two-Hearted_River" title="Big Two-Hearted River">Big Two-Hearted River</a>" (1925)</li> <li>"<a href="/wiki/Banal_Story" title="Banal Story">Banal Story</a>" (1926)</li> <li>"<a href="/wiki/Today_is_Friday" title="Today is Friday">Today is Friday</a>" (1926)</li> <li>"<a href="/wiki/A_Canary_for_One" title="A Canary for One">A Canary for One</a>" (1927)</li> <li>"<a href="/wiki/Fifty_Grand" title="Fifty Grand">Fifty Grand</a>" (1927)</li> <li>"<a href="/wiki/Hills_Like_White_Elephants" title="Hills Like White Elephants">Hills Like White Elephants</a>" (1927)</li> <li>"<a href="/wiki/The_Killers_(Hemingway_short_story)" title="The Killers (Hemingway short story)">The Killers</a>" (1927)</li> <li>"<a href="/wiki/The_Undefeated_(short_story)" title="The Undefeated (short story)">The Undefeated</a>" (1927)</li> <li>"<a href="/wiki/Che_Ti_Dice_La_Patria%3F" title="Che Ti Dice La Patria?">Che Ti Dice La Patria?</a>" (1927)</li> <li>"<a href="/wiki/In_Another_Country" title="In Another Country">In Another Country</a>" (1927)</li> <li>"<a href="/wiki/Now_I_Lay_Me" title="Now I Lay Me">Now I Lay Me</a>" (1927)</li> <li>"<a href="/wiki/A_Simple_Enquiry" title="A Simple Enquiry">A Simple Enquiry</a>" (1927)</li> <li>"<a href="/wiki/Ten_Indians" title="Ten Indians">Ten Indians</a>" (1927)</li> <li>"<a href="/wiki/An_Alpine_Idyll" title="An Alpine Idyll">An Alpine Idyll</a>" (1927)</li> <li>"<a href="/wiki/A_Pursuit_Race" title="A Pursuit Race">A Pursuit Race</a>" (1927)</li> <li>"<a href="/wiki/On_the_Quai_at_Smyrna" title="On the Quai at Smyrna">On the Quai at Smyrna</a>" (1930)</li> <li>"<a href="/wiki/Fathers_and_Sons_(short_story)" title="Fathers and Sons (short story)">Fathers and Sons</a>" (1932)</li> <li>"<a href="/wiki/A_Natural_History_of_the_Dead" title="A Natural History of the Dead">A Natural History of the Dead</a>" (1932)</li> <li>"<a href="/wiki/A_Clean,_Well-Lighted_Place" title="A Clean, Well-Lighted Place">A Clean, Well-Lighted Place</a>" (1933)</li> <li>"<a href="/wiki/A_Day%27s_Wait" title="A Day's Wait">A Day's Wait</a>" (1933)</li> <li>"<a href="/wiki/The_Gambler,_the_Nun,_and_the_Radio" title="The Gambler, the Nun, and the Radio">The Gambler, the Nun, and the Radio</a>" (1933)</li> <li>"<a href="/wiki/A_Way_You%27ll_Never_Be" title="A Way You'll Never Be">A Way You'll Never Be</a>" (1933)</li> <li>"<a href="/wiki/The_Snows_of_Kilimanjaro_(short_story)" title="The Snows of Kilimanjaro (short story)">The Snows of Kilimanjaro</a>" (1936)</li> <li>"<a href="/wiki/The_Capital_of_the_World_(short_story)" title="The Capital of the World (short story)">The Capital of the World</a>" (1936)</li> <li>"<a href="/wiki/The_Short_Happy_Life_of_Francis_Macomber" title="The Short Happy Life of Francis Macomber">The Short Happy Life of Francis Macomber</a>" (1936)</li> <li>"<a href="/wiki/Old_Man_at_the_Bridge" title="Old Man at the Bridge">Old Man at the Bridge</a>" (1938)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Short story<br /> collections</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Three_Stories_and_Ten_Poems" title="Three Stories and Ten Poems">Three Stories and Ten Poems</a></i> (1923)</li> <li><i><a href="/wiki/In_Our_Time_(short_story_collection)" title="In Our Time (short story collection)">In Our Time</a></i> (1925)</li> <li><i><a href="/wiki/Men_Without_Women_(short_story_collection)" title="Men Without Women (short story collection)">Men Without Women</a></i> (1927)</li> <li><i><a href="/wiki/Winner_Take_Nothing" title="Winner Take Nothing">Winner Take Nothing</a></i> (1933)</li> <li><i><a href="/wiki/The_Fifth_Column_and_the_First_Forty-Nine_Stories" title="The Fifth Column and the First Forty-Nine Stories">The Fifth Column and the First Forty-Nine Stories</a></i> (1938)</li> <li><i><a href="/wiki/The_Snows_of_Kilimanjaro_(short_story_collection)" title="The Snows of Kilimanjaro (short story collection)">The Snows of Kilimanjaro</a></i> (1961)</li> <li><span class="wrap"><i><a href="/wiki/The_Fifth_Column_and_Four_Stories_of_the_Spanish_Civil_War" title="The Fifth Column and Four Stories of the Spanish Civil War">The Fifth Column and Four Stories of the Spanish Civil War</a></i> (1969)</span></li> <li><i><a href="/wiki/The_Nick_Adams_Stories" title="The Nick Adams Stories">The Nick Adams Stories</a></i> (1972)</li> <li><i><a href="/wiki/The_Complete_Short_Stories_of_Ernest_Hemingway" title="The Complete Short Stories of Ernest Hemingway">The Complete Short Stories of Ernest Hemingway</a></i> (1987)</li> <li><i><a href="/wiki/Ernest_Hemingway:_The_Collected_Stories" title="Ernest Hemingway: The Collected Stories">Ernest Hemingway: The Collected Stories</a></i> (1995)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Story fragments</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/On_Writing_(Hemingway)" title="On Writing (Hemingway)">On Writing</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Poetry</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/88_Poems" title="88 Poems">88 Poems</a></i> (1979)</li> <li><i><a href="/wiki/Complete_Poems" title="Complete Poems">Complete Poems</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Plays</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Today_is_Friday" title="Today is Friday">Today is Friday</a></i> (1926)</li> <li><i><a href="/wiki/The_Fifth_Column_and_the_First_Forty-Nine_Stories" title="The Fifth Column and the First Forty-Nine Stories">The Fifth Column</a></i> (1938)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Screenplays</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Spanish_Earth" title="The Spanish Earth">The Spanish Earth</a></i> (1937 film)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Letters and<br />journalism</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/By-Line:_Ernest_Hemingway" title="By-Line: Ernest Hemingway">By-Line: Ernest Hemingway</a></i> (1967)</li> <li><i><a href="/wiki/Ernest_Hemingway:_Selected_Letters,_1917%E2%80%931961" title="Ernest Hemingway: Selected Letters, 1917–1961">Ernest Hemingway: Selected Letters, 1917–1961</a></i> (1981)</li> <li><i><a href="/wiki/Dateline:_Toronto" title="Dateline: Toronto">Dateline: Toronto</a></i> (1985)</li> <li><i><a href="/wiki/The_Cambridge_Edition_of_the_Letters_of_Ernest_Hemingway" title="The Cambridge Edition of the Letters of Ernest Hemingway">The Cambridge Edition of the Letters of Ernest Hemingway</a></i> (2011)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Adaptations</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><i>The Sun Also Rises</i></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Sun_Also_Rises_(1957_film)" title="The Sun Also Rises (1957 film)">1957 film</a></li> <li><a href="/wiki/The_Sun_Also_Rises_(1984_film)" title="The Sun Also Rises (1984 film)">1984 film</a></li> <li><a href="/wiki/The_Sun_Also_Rises_(opera)" title="The Sun Also Rises (opera)">Opera</a></li> <li><i><a href="/wiki/The_Select_(The_Sun_Also_Rises)" title="The Select (The Sun Also Rises)">The Select (The Sun Also Rises)</a></i></li> <li><a href="/wiki/The_Sun_Also_Rises_(ballet)" title="The Sun Also Rises (ballet)">Ballet</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">"The Killers"</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Killers_(1946_film)" title="The Killers (1946 film)">1946 film</a></li> <li><a href="/wiki/The_Killers_(1956_film)" title="The Killers (1956 film)">1956 film</a></li> <li><a href="/wiki/The_Killers_(1964_film)" title="The Killers (1964 film)">1964 film</a></li> <li><a href="/wiki/The_Killers_(Bukowski_short_story)" title="The Killers (Bukowski short story)">Bukowski short story</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><i>A Farewell to Arms</i></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/A_Farewell_to_Arms_(1932_film)" title="A Farewell to Arms (1932 film)">1932 film</a></li> <li><a href="/wiki/A_Farewell_to_Arms_(1957_film)" title="A Farewell to Arms (1957 film)">1957 film</a></li> <li><a href="/wiki/A_Farewell_to_Arms_(TV_series)" title="A Farewell to Arms (TV series)">1966 TV series</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><i>To Have and Have Not</i></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/To_Have_and_Have_Not_(film)" title="To Have and Have Not (film)">1944 film</a></li> <li><i><a href="/wiki/The_Breaking_Point_(1950_film)" title="The Breaking Point (1950 film)">The Breaking Point</a></i> (1950)</li> <li><i><a href="/wiki/The_Gun_Runners" title="The Gun Runners">The Gun Runners</a></i> (1958)</li> <li><i><a href="/wiki/Captain_Khorshid" title="Captain Khorshid">Captain Khorshid</a></i> (1987)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><i>For Whom the Bell Tolls</i></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/For_Whom_the_Bell_Tolls_(film)" title="For Whom the Bell Tolls (film)">1943 film</a></li> <li><a href="/wiki/For_Whom_the_Bell_Tolls_(Playhouse_90)" title="For Whom the Bell Tolls (Playhouse 90)">1959 TV play</a></li> <li><a href="/wiki/For_Whom_the_Bell_Tolls_(TV_series)" title="For Whom the Bell Tolls (TV series)">1965 TV series</a></li> <li><a href="/wiki/For_Whom_the_Bell_Tolls_(Metallica_song)" title="For Whom the Bell Tolls (Metallica song)">1984 song</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><i>The Old Man and the Sea</i></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Old_Man_and_the_Sea_(1958_film)" title="The Old Man and the Sea (1958 film)">1958 film</a></li> <li><a href="/wiki/The_Old_Man_and_the_Sea_(1990_film)" title="The Old Man and the Sea (1990 film)">1990 film</a></li> <li><a href="/wiki/The_Old_Man_and_the_Sea_(1999_film)" title="The Old Man and the Sea (1999 film)">1999 animated film</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other film adaptations</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Macomber_Affair" title="The Macomber Affair">The Macomber Affair</a></i> (1947)</li> <li><i><a href="/wiki/Under_My_Skin_(1950_film)" title="Under My Skin (1950 film)">Under My Skin</a></i> (1950)</li> <li><i><a href="/wiki/The_Snows_of_Kilimanjaro_(1952_film)" title="The Snows of Kilimanjaro (1952 film)">The Snows of Kilimanjaro</a></i> (1952)</li> <li><i><a href="/wiki/Hemingway%27s_Adventures_of_a_Young_Man" title="Hemingway's Adventures of a Young Man">Hemingway's Adventures of a Young Man</a></i> (1962)</li> <li><i><a href="/wiki/Islands_in_the_Stream_(film)" title="Islands in the Stream (film)">Islands in the Stream</a></i> (1977)</li> <li><i><a href="/wiki/Soldier%27s_Home_(film)" title="Soldier's Home (film)">Soldier's Home</a></i> (1977)</li> <li><i><a href="/wiki/My_Old_Man_(film)" title="My Old Man (film)">My Old Man</a></i> (1979)</li> <li><i><a href="/wiki/After_the_Storm_(2001_film)" title="After the Storm (2001 film)">After the Storm</a></i> (2001)</li> <li><i><a href="/wiki/The_Garden_of_Eden_(2008_film)" title="The Garden of Eden (2008 film)">The Garden of Eden</a></i> (2008)</li> <li><i><a href="/wiki/Across_the_River_and_into_the_Trees_(film)" title="Across the River and into the Trees (film)">Across the River and into the Trees</a></i> (2022)</li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Homes</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Birthplace_of_Ernest_Hemingway" title="Birthplace of Ernest Hemingway">Birthplace and boyhood home</a></li> <li><a href="/wiki/Ernest_Hemingway_Cottage" title="Ernest Hemingway Cottage">Michigan cottage</a></li> <li><a href="/wiki/Pfeiffer_House_and_Carriage_House" title="Pfeiffer House and Carriage House">Hemingway-Pfeiffer House</a></li> <li><a href="/wiki/Ernest_Hemingway_House" title="Ernest Hemingway House">Key West home</a></li> <li><a href="/wiki/Hotel_Ambos_Mundos_(Havana)" title="Hotel Ambos Mundos (Havana)">Hotel Ambos Mundos, Havana home</a></li> <li><a href="/wiki/Finca_Vig%C3%ADa" title="Finca Vigía">Finca Vigía, Cuba home</a></li> <li><a href="/wiki/Ernest_and_Mary_Hemingway_House" title="Ernest and Mary Hemingway House">Idaho home</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Depictions</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Bacall_to_Arms" title="Bacall to Arms">Bacall to Arms</a></i> (1946 cartoon)</li> <li><i><a href="/wiki/Hemingway:_On_the_Edge" title="Hemingway: On the Edge">Hemingway: On the Edge</a></i> (1987 play)</li> <li><i><a href="/wiki/In_Love_and_War_(1996_film)" title="In Love and War (1996 film)">In Love and War</a></i> (1996 film)</li> <li><i><a href="/wiki/Midnight_in_Paris" title="Midnight in Paris">Midnight in Paris</a></i> (2011 film)</li> <li><i><a href="/wiki/Hemingway_%26_Gellhorn" title="Hemingway & Gellhorn">Hemingway & Gellhorn</a></i> (2012 film)</li> <li><i><a href="/wiki/Cooper_%26_Hemingway:_The_True_Gen" title="Cooper & Hemingway: The True Gen">Cooper & Hemingway: The True Gen</a></i> (2013 documentary)</li> <li><i><a href="/wiki/Papa:_Hemingway_in_Cuba" title="Papa: Hemingway in Cuba">Papa: Hemingway in Cuba</a></i> (2015 film)</li> <li><i><a href="/wiki/Genius_(2016_film)" title="Genius (2016 film)">Genius</a></i> (2016 film)</li> <li><i><a href="/wiki/Hemingway_(film)" title="Hemingway (film)">Hemingway</a></i> (2021 documentary series)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Nick_Adams_(character)" title="Nick Adams (character)">Nick Adams</a></li> <li><a href="/wiki/Floridita" title="Floridita">Floridita</a></li> <li><a href="/wiki/Pilar_(boat)" title="Pilar (boat)"><i>Pilar</i> (boat)</a></li> <li><a class="mw-selflink selflink">Iceberg theory</a></li> <li><a href="/wiki/Ernest_Hemingway_International_Billfishing_Tournament" title="Ernest Hemingway International Billfishing Tournament">Ernest Hemingway International Billfishing Tournament</a></li> <li><a href="/wiki/International_Imitation_Hemingway_Competition" title="International Imitation Hemingway Competition">International Imitation Hemingway Competition</a></li> <li><a href="/wiki/Maxwell_Perkins" title="Maxwell Perkins">Maxwell Perkins</a></li> <li><a href="/wiki/Adriana_Ivancich" title="Adriana Ivancich">Adriana Ivancich</a></li> <li><a href="/wiki/Hemingway_Foundation/PEN_Award" class="mw-redirect" title="Hemingway Foundation/PEN Award">Hemingway Foundation/PEN Award</a></li> <li><a href="/wiki/Premio_Hemingway" title="Premio Hemingway">Premio Hemingway</a></li> <li><i><a href="/wiki/Hello_Hemingway" title="Hello Hemingway">Hello Hemingway</a></i> (1990 film)</li> <li><i><a href="/wiki/Hemingway:_A_Portrait" title="Hemingway: A Portrait">Hemingway: A Portrait</a></i> (1999 documentary)</li> <li><i><a href="/wiki/Michael_Palin%27s_Hemingway_Adventure" title="Michael Palin's Hemingway Adventure">Michael Palin's Hemingway Adventure</a></i> (1999 documentary)</li> <li><a href="/wiki/Hemingway_(crater)" title="Hemingway (crater)">Hemingway crater</a></li> <li><a href="/wiki/John_F._Kennedy_Presidential_Library_and_Museum#The_Ernest_Hemingway_Collection" title="John F. Kennedy Presidential Library and Museum">Kennedy Library Hemingway collection</a></li> <li><i><a href="/wiki/Hemingwaya" title="Hemingwaya">Hemingwaya</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Family</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Hadley_Richardson" title="Hadley Richardson">Elizabeth Hadley Richardson</a> <small>(first wife)</small></li> <li><a href="/wiki/Jack_Hemingway" title="Jack Hemingway">Jack Hemingway</a> <small>(son)</small></li> <li><a href="/wiki/Pauline_Pfeiffer" title="Pauline Pfeiffer">Pauline Pfeiffer</a> <small>(second wife)</small></li> <li><a href="/wiki/Patrick_Hemingway" title="Patrick Hemingway">Patrick Hemingway</a> <small>(son)</small></li> <li><a href="/wiki/Gloria_Hemingway" title="Gloria Hemingway">Gloria Hemingway</a> <small>(daughter)</small></li> <li><a href="/wiki/Martha_Gellhorn" title="Martha Gellhorn">Martha Gellhorn</a> <small>(third wife)</small></li> <li><a href="/wiki/Mary_Welsh_Hemingway" title="Mary Welsh Hemingway">Mary Welsh Hemingway</a> <small>(fourth wife)</small></li> <li><a href="/wiki/Lorian_Hemingway" title="Lorian Hemingway">Lorian Hemingway</a> <small>(granddaughter)</small></li> <li><a href="/wiki/Margaux_Hemingway" title="Margaux Hemingway">Margaux Hemingway</a> <small>(granddaughter)</small></li> <li><a href="/wiki/John_Hemingway" title="John Hemingway">John Hemingway</a> <small>(grandson)</small></li> <li><a href="/wiki/Mariel_Hemingway" title="Mariel Hemingway">Mariel Hemingway</a> <small>(granddaughter)</small></li> <li><a href="/wiki/Grace_Hall_Hemingway" title="Grace Hall Hemingway">Grace Hall Hemingway</a> <small>(mother)</small></li> <li><a href="/wiki/Leicester_Hemingway" title="Leicester Hemingway">Leicester Hemingway</a> <small>(brother)</small></li></ul> </div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Iceberg_theory&oldid=1235911205">https://en.wikipedia.org/w/index.php?title=Iceberg_theory&oldid=1235911205</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Narratology" title="Category:Narratology">Narratology</a></li><li><a href="/wiki/Category:American_literature" title="Category:American literature">American literature</a></li><li><a href="/wiki/Category:Ernest_Hemingway" title="Category:Ernest Hemingway">Ernest Hemingway</a></li><li><a href="/wiki/Category:Literary_theory" title="Category:Literary theory">Literary theory</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:CS1:_long_volume_value" title="Category:CS1: long volume value">CS1: long volume value</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 21 July 2024, at 21:22<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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