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Hemingway exemplified the spirit of the twenties in America more vividly than any other contemporary American novelist.
—wallace Thurman, Infants of the Spring (1932), 32
I
n a June 28, 1957, letter, Zora Neale Hurston wrote:You know about the literary parties, etc. that sap everything out of you.
Ernest Hemmingway [sic], also a Scribners author, beats me hopping around and living informally. He suggested that I run over to the Isle of Pines [sic], an island belonging to Cuba and buy a spot. It is not so well built up and one can find quiet there to work. He did his last book there and is going back. (Kaplan 1992, 755)
Hurston’s letter implies that she and Hemingway were old pals, chatting frequently at parties and perhaps corresponding on artistic matters. Unfor-tunately there is no evidence that Hemingway and Hurston actually met, and Hurston most likely was merely name-dropping in the letter. Indeed, she misspelled the author’s name. Yet Hurston’s awareness of Heming-way’s work and her willingness to associate herself with him provides evi-dence of how she aligned herself artistically with a fellow modernist: even in an imagined conversation, Hemingway has worthwhile advice to give her, a fellow writer with the shared goal of getting “the work done.”
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