“On the morning of 2 July 1961, Ernest Hemingway took his favourite shotgun and shot himself in the head at his home in rural Idaho. He had finally done it. He had threatened suicide, described the suicides of others and even play-acted it with empty guns. He had been talked out of suicide, and physically restrained from doing it, twice before. Dogged by declining health, difficulty in writing and now a chronic writer’s block, Hemingway chose death. He was haunted by the knowledge that his father had shot himself. Two of Hemingway’s siblings would later commit suicide, with suicide being the suspected cause of death for another sibling. Suicide was a hereditary risk for the Hemingways.
“In Hemingway’s Brain, Andrew Farah, a clinical psychiatric practitioner, has analysed the causes of the mental decline that precipitated Hemingway’s suicide and has come up with a new diagnosis.
“Born in 1899, Hemingway lived a life that was physically precarious. Sometimes due to accident, sometimes by placing himself in dangerous situations, Hemingway courted danger and death. This was in his character and it underpinned a heroic persona that found its way into his writings. As a boxer, deep-sea angler, big-game hunter, trainee bullfighter, war correspondent and hard-drinker, Hemingway lived a life that transcended the macho and became epic.
“During the First World War in northern Italy, Hemingway was wounded by a mortar explosion and hit by machine-gun bullets. He suffered shrapnel and bullet wounds and experienced concussion…”
Read the full review online on Spiked website, 28 July 2017, here:
“Violence has always been a staple of literature, but it became an obsession during the 19th century, first with the Romantics and the vogue for Gothic horror, and later still with the development of detective fiction, which started with Wilkie Collins, Charles Dickens and Edgar Allan Poe in the mid-19th century.
“But as Scott Spector explains in Violent Sensations: Sex, Crime and Utopia in Vienna and Berlin, 1860-1914, it was anxiety about an apparent rise in violence and sexual degeneracy that made Berlin and Vienna twin centres for advances in the legal and scientific discussion of these topics. More specifically, Spector looks at what motivated people of the era to ask ‘Is there something inherent in modernity and urbanisation which causes degeneracy?’ Using German-language sources of the time, Spector examines four aspects of this discourse: biological models of criminal profiling; sexual crime; the emergence of the homosexual as a social and criminal phenomenon; and anti-Semitism.
“The industrial and scientific hubs of Vienna and Berlin were known not only as beacons for culture and enlightenment, but also as centres of squalor and depravity…”
Read the full review on Spiked (30 December 2016) online here: http://www.spiked-online.com/newsite/article/a-violent-obsession/19153#.WGeCRPl_s5k
“When Albert Camus died in a car accident in 1960, the Nobel Laureate was mourned not only as a creative artist but also as a moral philosopher. Camus championed moderation, dialogue and the inalienable dignity of the individual at a time when – in France – partisan loyalty to nation and party often led people to advocate and defend acts of barbarity. Camus refrained from becoming too publicly involved in the debate over Algeria, first in the grip of civil unrest then wracked by civil war, but instead worked to influence events behind the scenes. Acutely sensitive to the suffering of fellow Algerians, he knew his pleas for clemency from the French government and moderation from FLN insurgents would draw condemnation from both ends of the political spectrum.
Even Sartre, Camus’s ally-turned-opponent, admitted he was ‘an admirable conjunction of a person, an action, and a work’.
One of those most deeply touched by Camus’ death was Jacques Monod, a leading microbiologist at the Pasteur Institute…”
Read the full review on SPIKED, 22 November 2013 here: