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The myth of Ernest Hemingway – matured in the most enlightened and critical environments of Italian culture since the years of Fascism but fully asserting itself in the years immediately following the Second World War – appears, from the time of its first reception, as the actual synecdoche (as well as the most accomplished expression) of the myth of American Literature as characterized by a "miraculous expressive immediacy", by a "native sense of the earth and the real" (Pavese 1947); and together, by an irrepressible and even "cosmic" libertarian tension capable of converting itself into the ways of a "stylization"open and autonomous, as well as modeling. So much modeling, that there were those who polemically summarized (but with a certain precision) the literary style of the neorealist generation as directly derived from a Hemingway rib, in particular from A Farewell to Arms, as an "autobiographical and almost journalistic chronicle elevated to lyric level" (Moravia 1990). The essay follows in its various and often controversial critical-theoretical and political junctions, the unfolding of a choral as well as articulated intellectual history. The one for which (for the generation of writers formed in the early 40s, thanks certainly to the partisan struggle but even more perhaps to the opening horizons made possible by the publication of the anthology of rupture Americana) the civil commitment could primarily coincide with the definition of a new style, made of "images and words, shooting, attitude, style, disdain, challenge" (Calvino 1964): that the Italian writers developed, each according to their "individual inflections", taking up the American lesson of Ernest Hemingway. ; Il mito di Hemingway, maturato presso gli ambienti più illuminati e critici della cultura italiana fin dagli anni del Fascismo ma affermandosi appieno negli anni immediatamente successivi alla seconda guerra mondiale, appare, fin dal tempo della sua prima ricezione, come la effettiva sineddoche – oltre che l'espressione maggiormente compiuta – del mito d'una letteratura (quella americana) caratterizzata da una "miracolosa immediatezza espressiva", da un "nativo senso della terra e del reale" (Pavese, 1947), e da una insopprimibile e persino "cosmica" tensione libertaria in grado di tradursi nei modi di una "stilizzazione" aperta e autonoma e, non meno, modellizzante. Al punto che vi fu chi riassunse polemicamente (ma con una certa precisione) lo stile letterario della generazione neorealista come direttamente scaturito da una costola di Hemingway, in particolare da A Farewell to Arms, in quanto "cronaca autobiografica e quasi giornalistica elevata a livello lirico" (Moravia, 1991).Il saggio segue, nei suoi vari e a tratti controversi snodi critico-teorici non meno che politici, lo svolgersi di una storia per cui – per la generazione degli scrittori formatisi nei primi anni '40, grazie certo alla lotta partigiana ma ancor più forse all'apertura di orizzonti resa possibile dalla pubblicazione dell'antologia di rottura Americana, – l'impegno civile poté primariamente coincidere con la definizione di uno stile come "immagini e parola, scatto, piglio, stile, sprezzatura, sfida" (Calvino, 1964), che gli scrittori italiani svilupparono, ciascuno secondo le proprie "inflessioni individuali", facendo propria la lezione americana di Ernest Hemingway.

Il mito di Ernest Hemingway - maturato negli ambienti più illuminati e critici della cultura italiana dagli anni del fascismo, ma poi affermatosi pienamente negli anni immediatamente successivi alla seconda guerra mondiale - appare, sin dal suo primo manifestarsi, come sineddoche stessa del mito della letteratura americana, in quanto caratterizzato da una profonda immediatezza espressiva, e insieme, da una tensione libertaria irrefrenabile e perfino "cosmica", capace di tradursi in modi di "stilizzazione" aperti e autonomi. ; The myth of Ernest Hemingway – matured in the most enlightened and critical environments of Italian culture since the years of Fascism but fully asserting itself in the years immediately following the Second World War – appears, from the time of its first reception, as the actual synecdoche (as well as the most accomplished expression) of the myth of American Literature as characterized by a "miraculous expressive immediacy", by a "native sense of the earth and the real" (Pavese 1947); and together, by an irrepressible and even "cosmic" libertarian tension capable of converting itself into the ways of a "stylization"open and autonomous, as well as modeling. So much modeling, that there were those who polemically summarized (but with a certain precision) the literary style of the neorealist generation as directly derived from a Hemingway rib, in particular from A Farewell to Arms, as an "autobiographical and almost journalistic chronicle elevated to lyric level" (Moravia 1990). The essay follows in its various and often controversial critical-theoretical and political junctions, the unfolding of a choral as well as articulated intellectual history. The one for which (for the generation of writers formed in the early 40s, thanks certainly to the partisan struggle but even more perhaps to the opening horizons made possible by the publication of the anthology of rupture Americana) the civil commitment could primarily coincide with the definition of a new style, made of "images and words, shooting, attitude, style, disdain, challenge" (Calvino 1964): that the Italian writers developed, each according to their "individual inflections", taking up the American lesson of Ernest Hemingway.