Dedication

pp vii-viii

Contents

pp ix-x

Acknowledgments

pp xi-xii

Hemingway Works That Address the Bullfight

pp xiii-xvi

A Note on the Text of Death in the Afternoon

pp xvii-xx

Introduction

pp 1-18

Composition, Sources, and Backgrounds

pp 19-20

The Composition, Revision, Publication, and Reception of Death in the Afternoon

pp 21-42

“Devout Again by Cynicism”: Lord Byron and Don Juan in Death in the Afternoon

pp 43-58

“I like you less and less”: The Stein Subtext in Death in the Afternoon

pp 59-78

Subject and Author: The Literary Backgrounds of Death in the Afternoon

pp 79-120

Reading Texts, Paratexts, and Absence

pp 121-122

“The Real Thing–? Representing the Bullfight and Spain in Death in the Afternoon

pp 123-142

“Very Sad but Very Fine”: Death in the Afternoon 's Imagist Interpretation of the Bullfight-Text

pp 143-164

“Far from Simple”: The Published Photographs in Death in the Afternoon

pp 165-188

Deleted “Flashes”: The Unpublished Photographs of Death in the Afternoon

pp 189-204

“¿Qué tal, hombre, qué tal?”: How Paratexts Narrow the Gap between Reader and Text in Death in the Afternoon

pp 205-234

On Authorship and Art

pp 235-236

“Prejudiced through Experience”: Death in the Afternoon and the Problem of Authorship

pp 237-256

“The Sequence of Motion and Fact”: Cubist Collage and Filmic Montage in Death in the Afternoon

pp 257-280

And What Came After

pp 281-282

The Legacy of Death in the Afternoon: Norman Mailer and Barnaby Conrad

pp 283-300

Works Cited

pp 301-318

Notes on the Contributors

pp 319-322

Index

pp 323-339