In 1921, Hemingway moved to Paris, where he worked as a foreign correspondent for the Toronto Star and was influenced by the modernist writers and artists of the "Lost Generation" expatriate community.

[20] The trip became the inspiration for his short story "Big Two-Hearted River", in which the semi-autobiographical character Nick Adams takes to the country to find solitude after coming home from war.

"[32] He lived with Hadley in a small walk-up at 74 rue du Cardinal Lemoine [fr] in the Latin Quarter, and rented a room nearby for work.

[35] A regular at Stein's salon, Hemingway met influential painters such as Pablo Picasso, Joan Miró, Juan Gris,[36] and Luis Quintanilla.

[note 2][72] Hemingway was devastated, having earlier written to his father telling him not to worry about financial difficulties; the letter arrived minutes after the suicide.

[74] Biographer James Mellow believes A Farewell to Arms established Hemingway's stature as a major American writer and displayed a level of complexity not apparent in The Sun Also Rises.

[83] The couple visited Mombasa, Nairobi, and Machakos in Kenya; then moved on to Tanganyika Territory, where they hunted in the Serengeti, around Lake Manyara, and west and southeast of present-day Tarangire National Park.

During these travels, Hemingway contracted amoebic dysentery that caused a prolapsed intestine, and he was evacuated by plane to Nairobi, an experience reflected in "The Snows of Kilimanjaro".

It was a frustrating time: he found it hard to write, fretted over poor reviews for To Have and Have Not, bickered with Pauline, followed the news from Spain avidly and planned the next trip.

[103] Published that October,[105] it became a book-of-the-month choice, sold half a million copies within months, was nominated for a Pulitzer Prize, and as Meyers describes, "triumphantly re-established Hemingway's literary reputation".

Martha had been forced to cross the Atlantic in a ship filled with explosives because Hemingway refused to help her get a press pass on a plane, and she arrived in London to find him hospitalized with a concussion from a car accident.

Hemingway later wrote in Collier's that he could see "the first, second, third, fourth and fifth waves of [landing troops] lay where they had fallen, looking like so many heavily laden bundles on the flat pebbly stretch between the sea and first cover".

[117] Paul Fussell remarks: "Hemingway got into considerable trouble playing infantry captain to a group of Resistance people that he gathered because a correspondent is not supposed to lead troops, even if he does it well.

[130] During this period, he suffered from severe headaches, high blood pressure, weight problems, and eventually diabetes—much of which was the result of previous accidents and many years of heavy drinking.

The platonic love affair inspired the novel Across the River and into the Trees, written in Cuba during a time of strife with Mary, and published in 1950 to negative reviews.

[134] The following year, furious at the critical reception of Across the River and Into the Trees, Hemingway wrote the draft of The Old Man and the Sea in eight weeks, saying that it was "the best I can write ever for all of my life".

[142] Months later in Venice, Mary reported to friends the full extent of Hemingway's injuries: two cracked discs, a kidney and liver rupture, a dislocated shoulder and a broken skull.

[153] In 1959, he ended a period of intense activity: he finished A Moveable Feast (scheduled to be released the following year); brought True at First Light to 200,000 words; added chapters to The Garden of Eden; and worked on Islands in the Stream.

[166] Meyers writes that "an aura of secrecy surrounds Hemingway's treatment at the Mayo" but confirms that he was treated with electroconvulsive therapy (ECT) as many as 15 times in December 1960.

[174] Meyers writes that he unlocked the basement storeroom where his guns were kept, went upstairs to the front entrance foyer, "pushed two shells into the twelve-gauge Boss shotgun ... put the end of the barrel into his mouth, pulled the trigger and blew out his brains.

"[175] In 2010, however, it was argued that Hemingway never owned a Boss and that the suicide gun was actually made by W. & C. Scott & Son, his favorite one that was used at shooting competitions in Cuba, duck hunts in Italy or at a safari in East Africa.

He bases his hypothesis on Hemingway's symptoms consistent with DLB, such as the various comorbidities, and most particularly the delusions, which surfaced as early as the late 1940s and were almost overwhelming during the final Ketchum years.

"[188] The Sun Also Rises is written in the spare, tight prose that made Hemingway famous, and, according to James Nagel, "changed the nature of American writing".

[189] In 1954, when Hemingway was awarded the Nobel Prize for Literature, it was for "his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style.

[191] Critics Allen Josephs, Mimi Gladstein, and Jeffrey Herlihy-Mera have studied how Spanish influenced Hemingway's prose,[192][191] which sometimes appears directly in the other language (in italics, as occurs in The Old Man and the Sea) or in English as literal translations.

[213] Critic Leslie Fiedler sees the theme he defines as "The Sacred Land"—the American West—extended in Hemingway's work to include mountains in Spain, Switzerland and Africa, and to the streams of Michigan.

[219] According to Rena Sanderson, early Hemingway critics lauded his male-centric world of masculine pursuits, and the fiction divided women into "castrators or love-slaves".

[223] Stoltzfus considers Hemingway's work to be more complex with a representation of the truth inherent in existentialism: if "nothingness" is embraced, then redemption is achieved at the moment of death.

Her character supports the theme not only because the idea was presented early on in the novel but also the impact she had on Cohn in the start of the book while only appearing a small number of times.

[225] In an overall assessment of Hemingway's work Beegel has written: "Throughout his remarkable body of fiction, he tells the truth about human fear, guilt, betrayal, violence, cruelty, drunkenness, hunger, greed, apathy, ecstasy, tenderness, love and lust.