Reviewed by: One True Sentence: Writers & Readers on Hemingway’s Art by Mark Cirino and Michael Von Cannon Kayla Forrest One True Sentence: Writers & Readers on Hemingway’s Art. By Mark Cirino & Michael Von Cannon. Godine, 2022. 240 pp. Hardcover $26.95. In July of 2019, Mark Cirino and Michael Von Cannon released the first episode of One True Podcast, a project based on a seemingly simple question: “What is your ‘one true sentence’ and why?” Since the premier episode, Cirino and Von Cannon have interviewed over 100 individuals, discussing all things Hemingway and inviting listeners to learn more about the writer and his work. One True Sentence: Writers & Readers on Hemingway’s Art brings the podcast to print, highlighting excerpts of 38 episodes, organized as individual chapters, and presented as questions and answers, reflecting the relaxed, conversational tone of the podcast. Each chapter offers a significant portion of the original episode, and begins by identifying “one true sentence” (or “sentences,” as some individuals admit to bending the rules). Regardless of whether one has been a faithful subscriber to the podcast, the book is an excellent read for Hemingway aficionados, casual readers, and all those in between. The appeal of this volume lies in both its organization, as a series of interviews about Hemingway’s work and life, and in its breadth, examining simple and complex sentences, pulling from a wide range of texts (including letters), and featuring a varied array of guests. Moreover, the book’s emphasis on close reading illuminates a clear understanding of Hemingway’s style and explores the myriad interpretations of “true sentences.” As a whole, One True Sentence looks at truth from two perspectives: the “truth” of the chosen sentences and the meaning of “true” in Hemingway’s famous “one true sentence” dictum. The focus on a specific Hemingway sentence as the starting point for each chapter reflects the power of close reading to elucidate meaning, or the “truth” of any given text from a reader’s perspective. The conversations between Cirino, the interviewer, and each guest tease out the significance of each chosen sentence. As Ken Burns and Lynn Novick write, in their introduction to the book, the discussions inspired by the elected sentences “reveal the power of Hemingway’s iceberg principle, as the dialogue works to [End Page 120] unpack the meaning Hemingway often leaves buried” (13). Guests also discuss their personal connections to and interest in Hemingway and his writing, including historical, biographical, and theoretical approaches to his work. The guest interviews in One True Sentence include many Hemingway scholars, such as Verna Kale, who explores an affecting line of dialogue from Harold Krebs’s mother in “Soldier’s Home,” and the late Scott Donaldson, who discusses the opening sentence of A Farewell to Arms. There are also a number of fiction writers, who often relate Hemingway’s impact on their work or writing process. Several of the included conversations are with PEN/Hemingway Award winners, like Jennifer Haigh, who reflects on writing her own true sentences, and Kawai Strong Washburn, who describes conveying truth to readers. The collection also includes guests whose professions and experiences diverge from studying or writing literature. Actors, Adrian Sparks and Stacy Keach, tell stories of reading Hemingway’s prose to prepare to play him on the stage and screen, and John McCain’s longtime aide and speechwriter, Mark Salter, explains the impact of Robert Jordan on the senator. While the interviewees, perspectives, and topics often vary significantly from one chapter to the next, the organization of the chapters in no overt order, with relatively similar chapter lengths, results in a unified feel to the collection as a whole. While the interviewees offer varying backgrounds, professions, and experiences with Hemingway’s life and work, one of the more intriguing elements of this text is the delightful diversity of sentences chosen for this project. In their preface to the book, Cirino and Von Cannon challenge readers to really consider what it means for a text to be “Hemingwayesque,” especially by examining sentences that are long and complex or unremarkable at first glance. One example of such a sentence, is Mark P. Ott’s choice from “Big Two-Hearted...
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