we begin again and again...

B. Conrad and J. Creel, and E. Mathis’ project on Hemingway and the hope of mapping the textual landscape of his vision, particularly in The Sun Also Rises. What follows is an overview of the source material tentatively planned and outline of the vignettes that will be the terrains from which design inversely simulate:

Primary sources to the vignettes:

1. Hemingway, In our time: Hemingway’s Second Book. A Facsimile of the 1924 edition Which was Limited to 170 Copies.

It's important to note that the chapters themselves were first released and then, grafted onto the short stories. How might Heminway have created his short stories in light of these larger chapters, post-partum?

2. Hemingway, Ernest. The Fifth Column and the First Forty-Nine Stories. NewYork: Scribners, 1938. [This matches the Finca Vigia ed.]

3. The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition.

Within this canon, we will be relying on the Part I (1-369), chapters (also the vignettes) 1 through 18, in which, quite suprisingly, the final chapter consists from 181 to 369.

Secondary sources:

1. Cohen. Hemingway’s Laboratory: The Paris in our time

This captures the graphic process of the 18 short vignettes as chapters that are interspersed between Hemingway’s first 49 short stories, but do they receive the credit they deserve? (ix)- use the block text here (x).

The chapters acts a subjects of violence, often on a grand scale while the actual stories are more relational and dampen the larger chapter themes and I like Cohen’s assessment of the chapters as a series of explosions when removed from the stories. For instance, after the first reading of chapter one relates to Hemingway’s influences and how he gained much from his exposure to the Chicago and emigre scene. this might be more appropriate to reference this section or to enquire about the role of dedication markers in architecture.

2. Levias? (Amend this please). Radical reconstruction (Read this. John suggested it as the basis for a template).

3. Kingston, Michelle Hong. The Five Precepts of Peace.

4. Wegner, Phillip E. Imaginary Communities: Utopia, The Nation, and the Spatial Histories of Modernity.

An overview of the chapters and short stories are as follows:

Preface to the First Forty-nine (3-4):

“The short happy life of Francis Macomber” (5-28)
“The Capital of the world” (29-38)
“The Snows of Kilimanjaro” (39-56)
“Old Man at the Bridge” (57-8)
“Up in Michigan” (59-62)
“On the Quai at Smyrna” (63-4)

Chapter One: “Everybody was drunk.” (65):

“Indian Camp” (67-70)

Chapter Two: “Minarets stuck up in the rain...” (71):

“The Doctor and the Doctor’s Wife” (73-6)

Chapter Three: “We were in the garden at Mons.” (77):

“The End of Something” (79-82)

Chapter Four: “It was a frightfully hot day.” (83):

“The Three-day Blow” (85-93)

Chapter Five: “They shot the six cabinet ministers...” (95):


“The Battler” (97-104)

Chapter Six: “Nick sat against the wall...” (105):


“A Very Short Story” (107-8)

Chapter Seven: “While the bombardment was knocking...” (109):

“Soldier’s home” (111-6)

Chapter Eight: “At two o’clock...” (117):

“The Revolutionist” (119-20)

Chapter Nine: “The first matador got the horn...” (121):


“Mr. and Mrs. Elliot” (123-5)

Chapter Ten: “They whack-whacked the white house...” (126):

“Cat in the Rain” (129-31)

Chapter Eleven: “The crowd shouted all the time...” (133):

“Out of Season” (135-9)

Chapter Twelve: “If it happened right down close...” (141):

“Cross-Country Snow” (143-7)

Chapter Thirteen: “I heard the drums coming...” (149):

“My Old Man” (151-60)

Chapter Fourteen: “Maera lay still...” (161):

“Big Two-Hearted River: Part I” (163-9)

Chapter Fifteen: “They hanged Sam Cardinella...” (171):

“Big Two-Hearted River: Part II” (173-80)

Final Chapter / L’ENVOI: “The King was working...” (181):

The most dense collections of short stories follows the final chapter, but we need to reflect on how to critically select which stories are most useful to the task JC.

“The Undefeated”
“In Another Country”
“Hills Like White Elephants”
“The Killers”
“Che Ti Dice La Patria?”
“Fifty Grand”
“A Simple Enquiry”
“Ten Indians”
“A Canary for One”
“An Alpine Idyll”
“A Pursuit of Race”
“Today is Friday”
“Banal Story”
“Now I Lay Me”
“After the Storm”
“A Clean, Well-Lighted Place”
“The Light of the World”
“God Rest You Merry, Gentlemen”
“The Sea Change”
“A Way You’ll Never Be”
“The Mother of a Queen”
“One Reader Writes”
“Homage to Switzerland”
“A Day’s Wait”
“A Natural History of the Dead”
“Wine of Wyoming”
“The Gambler, the Nun, and the Radio”
“Fathers and Sons”

MANIFESTO

We seek to express the inexpressible, or rather, we seek to recast narrative, personhood, and trauma through crafts that narratives do not house, only suggest: Using Hemingway’s narratives, we wish to chart, map, and build the terrains of those subterranean worlds Hemingway’s lived experience, his fictionalized narratives, hide.
In the spirit of Maxine Hong Kingston’s appeal to former veterans - who had hid their traumatic experiences formerly in order to be truthful to their present experiences through narrative and poetic revisions to make peace – we too plea for a truth that only creation can bring. Unlike Kingston but akin to her The Fifth book of Peace, we seek to change Hemingway’s trauma narratives into open and beautiful cascades that are eventful, narrative, but primarily, architectural designs molded to embody our buried histories. We must remake this stories unlike Kingston’s approach, for trauma narratives hid from honesty, and therefore we cannot begin from the standpoint that these experience only must be retold through another narrative as Kingston directs. Furthermore, the truth is not fully known except through the eyes that no longer exist. Yet, we can take narrative as traces that can be challenged, redirected, and critically supported. We hope: By remaking trauma, to create selfless exposes that narratives only elude.

E.Mathis: Using Milton A. Cohen’s work on Hemingway’s textual honesty in crafting his first vignettes for his 1923 French publication of In Our Time, I will seek to capture how these short but graphic traces can be connected to longer but hidden features in other works through a sampling of Hemingway’s short stories, The Finca Vigia edition. Primarily, I will focus on the Nick Adams tales, additional war stories, and Hemingway’s obsession with Spain’s violent turnings in history. From unearthing trauma - as if these Vignettes were graphite spades - as a feature that connects both the vignettes and the short stories that share history, character, and war, I will then seek to make arguments on how these wounds align with other theories on trauma narrative.

J.Creel: There is a tendency in architectural design, to develop concept with the utilization of drawings. The two dimensional maps and diagrams are then conceptualized if not simply "extruded". What is the filter we use and why? Can we not start in the third dimension? is there a better measuring plane than the Cartesian graph (for our purposes)? By connecting his earliest works to trauma and by unearthing trauma, I will tie these declarations to treatments that designate scenes into extended and graphic traumas: I will mold these buried treatments of loss through aided designs that no longer hide but project pain. The end product will be UPHEAVAL of structure- the earth unearthed, projected planes that are machines of loving grace.

edit this manifesto...

we design alternative vignettes to express something that the man, his narrative words, his person, trauma, and past cannot express: we are trying to create a world that unearths and brings to light. The new design is to open things that are restricted from simpler forms narration. It must narrate without a persona attached. It is a another kind of body. It is not a container for events to unfold, but it is OPEN to interpretation. It is might be another approach to what makes an event. through the reading of the vignettes, a site or parcel of existence becomes our base. with this we begin to apply our (independent or dependent?) enclosements which in themselves, are similar interpretations of stories the man wrote.

list of stories:

The vignettes
The Sun Also Rises
The Old Man and the Sea
Snows of Kilimanjaro
A Warm Well Lit Place
(please add all others we work with E.)

E. Mathis on Defamiliarization:

I wish...
...to rid myself of the assumption of an author, of an author’s modus..., or of a sense that there exist such a self - one who writes, a writer (authorial intent).
...to remove the plot from a narrator or narrative for that matter. Narration is more than what is said by one commentator and is certainly beyond narrative events. Yet, events are indexical; they are stored in more: temporality and space (narration).
...to not read as if I were just one of many readers who seeks commonalities. I am not a part of the crowd, but the chorus itself. My take matters more than the millions of readers now and then who have read, felt (audience).
...to face the assumption that my structure comes before the text. It is a grid that limits, not expands, but the question remains, what approach then (structuralism)?
...to approach the text with a fuller knowledge that I am not seeking Hemingway’s past; rather, his past is only a wave in a stream of literariness; it is his story but not the whole story (history).
...to better reflect that trauma is history; a person’s history. When speaking of trauma I must constantly grapple with the fact that I cannot make a psycho out of a text (trauma/psychology).
...to realize that any move to graph a model from one construction onto another is a new act; it is not necessarily intended by the text, nor absolutely reasonable to do such. It is creation. It is designed (manipulation?)

Tenative Manifesto:

I am proposing we design alternative vignettes to express something that the man, his narrative words, his person, trauma, and past cannot express: we are trying to create a world that unearths. The building might be a concept, a key, a spade, but it is a building that cannot house things or contain them either. The new design is to open things that are restricted from simpler forms narration. It must narrate without a persona attached. It is a another kind of body. It is not a container for events to unfold, but it is OPEN to performances. It is might be another approach to what makes an event.

jcreel_manifesto_(what we don't want.)

Design, as far as architectural conception goes, is often a reaction to artistic or scientific innovation- a response to it. In innovations such as film, the architect develops ways of invoking movement (animation as opposed to motion). In innovation of music, design concepts tackle the difficulty of making music, an intangible art-- static (music frozen). Our objective now is to pull from literature, primarily the works of Ernest Hemingway, to create what we call
The Lost City.


The initial idea, in regard to my influence, came from the artwork of my brother, who developed a style which invokes ideas of urban chaos. one would think that the fabric of a diagrammed city was punctured by gunshot. The balance of an artistic piece resides, but the viewers eye scours frantically to find a focus. E. Mathis once made a comment to me about the way that Hemingway wrote (Trauma Theory) which diverted from a primary emphasis, and in doing so, created a mode and theme.


so it begins...

begin transmission...

take 1 part 1
development of think tank.
analysis of narrative space.

solaris redux might be too specific for our needs. let's meet and edit. use the theory of the paper as our primary analysis of the first project. hemingway will be project #1.

the first step is to understand who we are and what we are trying to do. we require manifesto.
let's make this the primary focus. once we have this, things will be more fluid.