When Ernest Hemingway was interviewed by George Plimpton in 1958, he listed Johann Sebastian Bach fourth among those forebears he learned the most from. “I should think,” he told Plimpton, “what one learns from composers and from the study of harmony and counterpoint would be obvious.” It isn’t.

So, to help us understand how Bach influenced Hemingway's writing – in particular the first page of A Farewell to Arms – we welcome organist and Bach scholar, David Yearsley.

With an expert to guide us, we explore Bach's biography and connections between these two artistic titans, discussing which of Bach's works Hemingway responded to most powerfully and how the music of “Mr. Johann” finds its way into Hemingway’s WWI novel as well as other writings, such as To Have and Have Not.

We are also privileged that David Yearsley agreed to play some Bach for us to illustrate counterpoint and other related ideas, so we hope you enjoy this special show!

Join us as Carl Eby takes us into the nooks and crannies of the Hemingway archives at the John F. Kennedy Presidential Library in Boston. We will discuss the legendary JFK #112 and JFK #113, two discarded and highly provocative chapters from Hemingway’s posthumous novel Islands in the Stream.

We explore where the discarded material in the JFK Library fits into Islands in the Stream, who cut it and why, and how Hemingway studies would have been different if the novel had included this charged material. We also closely examine certain words from these files, such as "perversions" and "surprize" and “devil.”

Eby is President of the Hemingway Society and has focused much of his research on Hemingway's posthumous work. Recently, he published Reading Hemingway's The Garden of Eden for Kent State University Press’s Reading Hemingway series. Eby has joined us previously for an episode on The Garden of Eden manuscripts, and he also inaugurated our One True Sentence series with One True Sentence #1, a discussion of Hemingway's "Paris 1922" sketches.

Thanks for your continued support of One True Podcast!

One True Podcast begins this year’s occasional commemoration of In Our Time’s 100th anniversary with a show devoted to one of its highlights. To discuss Hemingway’s classic story “Soldier’s Home,” we invite the author of Soldiers Once and Still, Alex Vernon.

We discuss Harold Krebs and his war experience on the Western Front of World War I, his painful reentry into his former life, and his strained relationship with his mother. We also examine the extraordinary language Hemingway uses to capture Krebs's tortured consciousness and explore this story’s placement among Hemingway’s career of chronicling men at war. As the author of the first literary biography of Tim O’Brien, Alex describes Krebs’s frustration at the difficulty of telling his own true war stories and compares it with the same idea in O’Brien’s The Things They Carried.

On this, our 150th episode of One True Podcast, join us for a conversation about an essential Hemingway short story. Thank you for listening, rating the program, and spreading the word!

Seventy-five years ago, Lillian Ross published “How Do You Like It Now, Gentlemen?” in The New Yorker, her longform profile of Hemingway’s 1950 visit to New York City. Ross spent time with Hemingway as he shopped for a coat, visited with Marlene Dietrich, took his son Patrick to the Metropolitan Museum of Art, met with Charles Scribner, and talked enthusiastically about his forthcoming novel, Across the River and into the Trees.

This profile has been polarizing since its publication: Did Ross deliver a subtle takedown? Did Hemingway embarrass himself with his odd mannerisms? Should Hemingway never have agreed to it? Should The New Yorker never have published it? Is this, ultimately, the most intimate and penetrating portrait of the later Hemingway ever written?

To explore this iconic profile and the journalist who wrote it, we welcome Susan Morrison, who serves as Lillian Ross’s literary executor. Morrison is the Articles Editor at The New Yorker and the author of Lorne: The Man Who Invented Saturday Night Live.

We hope you enjoy this episode and always remember: “what you win in Boston, you lose in Chicago!”

What was Ernest Hemingway doing in 1925? Where was he? What were his important relationships? What were his challenges? What was he writing?

1925 is the year that put Hemingway on the map. To guide us through this crucial year, we welcome back J. Gerald Kennedy, author of Imagining Paris, editor of the Norton Critical Edition of In Our Time, and co-editor of what will become the final volume of The Letters of Ernest Hemingway. In this episode, we discuss the publication of In Our Time and the events that would inspire The Sun Also Rises; Hemingway's competitive streak and network of famous friends and rivals; the painting he bought and the influence of modern art on his writing; and much more.

We hope you enjoy one of our favorite traditions, spending our first show of the new year by going back one hundred years to explore Hemingway’s life, work, and world. Happy New Year!

Welcome to our eighteenth and final show celebrating the centenary of the Paris edition of Hemingway’s book of vignettes, in our time.

In this quirky narrative that would come to be known as “L’Envoi” in the following year’s In Our Time collection, our narrator meets a king and a queen in the garden, leading us to a discussion of The Beatles, gardens in in our time, Hemingway’s complex use of narrative perspective, the role of America within all of the various settings of these sketches, how his journalism spawns his fiction, and more. We also hand out awards for Favorite Sketch, Favorite Character, and Most Memorable Image in in our time.

Join us -- one more time -- as we explore in our time before it became In Our Time!

Happy holidays from One True Podcast, and it wouldn’t be the holiday season without Suzanne del Gizzo—the celebrated editor of The Hemingway Review—here to discuss another one of Hemingway’s seasonally appropriate works. In previous years, we have talked together about “God Rest You Merry, Gentlemen,” “Christmas on the Roof of the World,” “The Christmas Gift,” and “A North of Italy Christmas.” This year, we explore “The Blind Man’s Christmas Eve,” an article Hemingway wrote for The Toronto Star in December 1923.

With Suzanne, we place the story in its historical and biographical contexts, delve into the relationship between the main character and the curious narrative perspective, examine how physical and metaphorical blindness works in the story, and connect the story to other Hemingway works such as “The Snows of Kilimanjaro," "A Clean, Well-Lighted Place," "Get a Seeing-Eyed Dog," and Islands in the Stream. We also think about the importance of the song “My Old Kentucky Home,” which the main character hears an Italian organ grinder play.

As a special gift to our listeners, we begin the episode with a reading of “The Blind Man’s Christmas Eve” by former guest Mackenzie Astin, star of The Facts of Life, The Magicians, and In Love and War, where he played the young Henry Villard opposite Chris O’Donnell’s Hemingway and Sandra Bullock’s Agnes von Kurowsky. We also end the episode with another treat--a moving rendition of "My Old Kentucky Home" by Hemingway scholar Michael Kim Roos, who appeared as a guest on one of our previous shows on A Farewell to Arms.

Thanks for another great year, everybody. Enjoy!

Welcome to the seventeenth of our eighteen shows celebrating the centenary of the Paris edition of Hemingway’s book of vignettes, in our time.

Hemingway captures a scene out of the American newspapers, the execution by hanging of an Italian-American mobster, Sam Cardinella. We discuss Hemingway’s career-long treatment of executions and the behavior of those facing death, along with the detached behavior of those administering punishment. We parse out the discrepancy of a vocabulary word, and we also analyze the eventual placement of this episode into the dreamscape of a young Nick Adams. The power of this chapter represents one of the great achievements of this book.

Join us as we explore in our time before it became In Our Time!