The Hemingway Review is a member of the Council of Editors of Learned Journals (CELJ). This membership elevates the quality of the work submitted and imposes specific guidelines for submissions to discourage ill fitting articles. Additionally, as a member of the CELJ, the Hemingway Review outlines specific regulations regarding inclusion notification and publication. On top of the requirements imposed by the CELJ, the Hemingway Review also has its own set of guidelines that help to ensure quality work is submitted. A word limit of 6,250 words is considered “ideal” by the Hemingway Society and works that have been published elsewhere are not accepted. Additionally, while the journal is open to all academic approaches, it does not publish creative writing such as poetry or fiction. Additionally, those submitting work to the Hemingway Review are strongly encouraged to consult The Elements of Style by E.B White as well as George Orwell’s “Politics and the English Language.” Furthermore, submitters should be very familiar with the existing conversation concerning Hemingway scholarship, his works, and his biography. Each issue of the Hemingway Review contains an updated biography. After observing the past two years in Hemingway scholarship, I have concluded that queer theory, gender identity, and travel are all trends in the most recent Hemingway conversation.
After consulting the past two years worth of issues in the Hemingway Review, I have noticed definitive trends within the current conversation on Hemingway scholarship. The most recent issue, published in fall of 2012, deals with queer theory, lesbian identity, and the works of Ernest Hemingway. These ideas, as observed in Chikako Tanimoto’s “Queering Sexual Practices in ‘Mr. and Mrs. Eliot’” and in Jennifer Haytock’s “Hemingway, Wilhelm, and a Style for Lesbian Representation,” show a clear trend in the most recent Hemingway scholarship and provide a framework for future conversations with this topic.
Last spring’s issue of the Hemingway Review trended several articles dealing with nature in relation to Hemingway’s work. Alexander Hollenberg’s “The Spacious Foreground: Interpreting Simplicity and Ecocritical Ethics in The Old Man and the Sea” and John Voelker’s “Some Post-Fishing Thoughts on Hemingway and Writing” also incorporates Hemingway’s love of the outdoors into its criticism. Another idea trending in this issue is the notion of international travel. It is well know that Hemingway was a proud expat, however these recent articles explore that part of Hemingway’s identity. In “ ‘A Trick Men Learn in Paris’ : Hemingway, Esquire, and Mass Tourism” by Kevin Maier and in “ ‘He Was Sort of a Joke, In Fact’ : Ernest Hemingway in Spain” by Jeffrey Herlihy-Mera one notices a clear renaissance of Hemingway scholarship that deals with his international travels and love of all things foreign.
In the Spring 2011 issue of the Hemingway Review, I noticed clear trends discussing masculinity and race in regards to Hemingway. Josep M. Armegol-Carrera wrote an article titled “Race-ing Hemingway: Revisions of Masculinity and/as Whiteness in Ernest Heningway’s Green Hills of Africa and Under Killmanjaro.” Additionally, in the same issue an article by Andrew Feldman was titled “Leopoldina Rodriguez: Hemingway’s Cuban Lover?” and another article titled “The Elephant in the Writing Room: Sympathy and Weakness in Hemingway’s “Masculine Test,” The Garden of Eden.” These articles all come full circle with the most recent issues’s conversation about queer theory and lesbian representations in Hemingway’s work.
Most important to realize is the gravity of these trends. They are not a coincidence. Rather, they are an insight into the current conversation and new theories circulating around Hemingway’s bibliography. Moving forward, this knowledge will enable me to write about Hemingway in a way that contributes to the current conversation without reiterating someone else’s ideas.
Full text of these and other issues of the Hemingway Review can be found at http://muse.jhu.edu/journals/hemingway_review/