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newspaper clipping with handwritten notes

A remembrance of Ernest Hemingway [[handwritten: PanoRama Chi Daily News 13 April '68 Is this Farrell or Ernest? [with arrow drawn pointing to photograph in the article] ]] By James T. Farrell

  I MET Ernest Hemingway in Key West, in 1936.  to me, he was very genial, friendly, and hospitable.  I had been in Key West for a few days before I sent him a note.  Upon receiving it at his post box, he came to the rooming house where I was staying, immediately.
  I had known his family in Oak Park.  Ernest expressed disappointment that I had not immediately looked him up in Key West.
  One of the fist  things he said to me was that when he had read the fight scene in "Young Lonigan," he had known that the writer had it, and knew what he was writing about.
  One of my first remarks to Ernest was to josh him.
  "Hemingway," I said, "I am going to write a book, titled "Death at 3 P.M. on the Diamond.' Chapter One will be 'The Heroism of Ty Cobb's Hook Slide.'  Chapter Two will be 'The Pathos of Lefty Grove's Outcurve.'  Chapter Three will be 'The Tragic Stance of Paul Waner in the Batter's Box.'  Chapter Four will be 'The Sadness in the Eyes of Silk McLaughlin When He Calls a Man Out at Home Plate.' "
   Ernest burst out in hearty laughter.  My playful parodying of "Death in the Afternoon" amused him.
   WE TALKED ABOUT prize fighting.  Ernest explained why Gene Tunney defeated Jack Dempsey for the heavyweight championship of the world.
   "Dempsey was a hooker.  Tunney was a straight puncher."
   I quoted this remark to Gene Tunney.
  "Yes, that's true," Gene said.
  Ernest believed that Gene Tunney was one of the greatest of heavyweight champions.  I think I would concur.
  Ernest and Gene Tunney were loyal friends.  Gene Tunney is loyal to Ernest's memory.   He tells interesting anecdotes about his friendship with Ernest.
   I also talked with Ernest about italics:  jai alai, or pelota or fronton.  I was pleased to learn that he was enthusiastic about his sport.  He knew some of the players.
   "Piston and Guillermo are probably the greatest italics: jai alai players in the world," I said.
   Ernest knew them.  He shared my admiration for them both.
   PISTON PLAYED up front, and Guillermo played back.  Sometimes they would be matched against three players.
   Piston was flashy and graceful.  He could catch hard rebounds with his italics:  cesta, while playing up pretty close to the front wall.   He was skillful in placing shots, and frequently he would catch his opposition off balance.  One return he had perfected was a two wall carom shot that was virtually non-returnable.  He would catch a rebound, close up, on his right and close to the side lines.  When he used this carom shot, he let the italics: pelota go out of his italics: cesta quick but with speed and neat precision.  The italics: pelota was directed at an acute angle near to the juncture of the front and side wall.  It bounded off the front wall, to the left, hit the left wall a couple of yards or less from the juncture of the two walls.  Then, the italics: pelota rebounded off the side line, fast, and at an acute angle.  It came back fast and more or less to where Piston had started the shot.  And it hit inside of sidelines by a foot, or even inches.  It was a mean, effective shot.
  Guillermo was a big man, but fast on his feet.  It was a task to get the italics: pelota by him so that he would fail to make a return.  He ran up the walls, and made returns.  He showed what is called "class."
  Ernest agreed, too, that Guillermo was probably the world's greatest italics: pelota player.

Italics James T. Farrell is the author of the Studs Lonigan novels.

PANORAMA--CHICAGO DAILY NEWS, APRIL 13, 1968

handwriting in left margin How is the Coleman Defense performing ? handwriting in bottom margin with arrow pointing to left margin Jack I haven't seen writing this [sic] since I lost my GUFFEY Reader ! - Joe D