The article initially intrigues with its vivid descriptions of the landscape. The detailed portrayal makes the reader feel as if they are right there, experiencing the beauty and vastness of the setting. However, as it progresses, it turns into an endless repetition of machos killing beasts. This aspect becomes rather monotonous and loses the reader's interest. It seems that the focus has shifted from the captivating scenery to a rather one-note and predictable theme of violence and masculinity. There is a missed opportunity to explore other aspects of the story or the characters, perhaps delving into their emotions, motives, or the consequences of their actions. Overall, while the beginning shows promise, the later part of the article fails to maintain the same level of engagement.

The green of Africa’s hills is a sight of such breathtaking beauty that it seems to physically hurt the eyes. I recall looking down from the summit of one terrace of hills, across a valley with a deep blue stream meandering at its bottom, towards the high hills on the other side. This was in the town of Karen, Kenya, southwest of Nairobi, and coincidentally, close to a resort called Hemingway’s. As I took in the view, I couldn’t help but think, “It’s hard to believe that anything on Earth can be this beautiful.” And Ernest Hemingway, in his book Green Hills of Africa (1935), captures this beauty of Africa remarkably well.

Originally published in serial form in Scribner’s Magazine, this book chronicles the experiences of Hemingway, his second wife Pauline, and a group of friends and acquaintances on safari in East Africa. It is filled with numerous examples of Hemingway’s characteristically sparse-yet-poetic prose. Consider this passage describing a foot safari in search of rhinoceros: “I saw something moving over the shoulder of one of the valleys toward a strip of the timber. In the glasses it was a rhino, showing very clear and minute at the distance, red-colored in the sun, moving with a quick waterbug-like motion across the hill. Then there were three more of them that came out of the forest, dark in the shadow, and two that fought, tinily, in the glasses, pushing head-on, fighting in front of a clump of bushes while we watched them and the light failed” (p. 50).

It seems deceptively simple, doesn’t it? To pen a passage of description like that. Just three sentences. And of the 89 words in those three sentences, none has more than three syllables. Yet, who among us can write a passage that can transport us so vividly to East Africa, make us feel as if we are right there with a group of hunters pursuing a rhino, and make us see and feel every detail with such immediacy? That, I suppose, is the essence of why Hemingway is Hemingway. Like every great artist, he makes his art appear effortless.

In Hemingway’s time, Green Hills of Africa was no doubt read with a hint of good-natured envy by armchair adventurers who longed to be out there themselves. Imagine, for instance, in the early morning, getting ready for the day’s hunt: “Breakfast in the dark with a lantern, cool juice-slippery apricots, hash, hot-centered, brown, and catsup spread, two fried eggs and the warm promise-keeping coffee” (p. 201).

Continuing with the kind of fantasy hunting-trip that this book inspires one to envision, I can picture myself as part of the hunting party, along with Ernest and Pauline and Pop and M’Cola and the rest of the group. We feast on our kill, knock back whiskeys, and engage in lively discussions about life and literature with good old Ernest, all while the campfire crackles and roars. I imagine sitting there,融入 the group,参与 the conversation, as Ernest indulges in reflections like this one – perhaps the most famous and non-hunting-related passage from this hunting-focused book: “All modern American literature comes from one book by Mark Twain called Huckleberry Finn….There was nothing before. There has been nothing as good since” (p. 22). And then, because I’m from Maryland, I ask Ernest what he thinks about Edgar Allan Poe, and to my chagrin, Ernest says, “Poe is a skillful writer. It is skillful, marvelously constructed, and it is dead” (p. 20). And so the conversation flows, as I talk late into the night with Ernest and Pauline and Pop, before we all retire to our respective tents and prepare for the next day’s adventures.

And then, reality intrudes. I do not hunt. I do not drink whiskey. And I am aware that the real-life Hemingway, depending on his mood, his state of health, his personal life, and the amount he had had to drink, could be a rather disagreeable companion. But the way the book immerses one there, makes one imagine being an active participant in its action, speaks volumes about its imaginative power.

Hemingway captures the camaraderie, the simpatico, that can exist among a group of hunters. Consider when this hunting party, whose members do not all speak the same language, are tracking some kudu: “You ask how this was discussed, worked out, and understood with the bar of language, and I say it was as freely discussed and clearly understood as though we were a cavalry patrol all speaking the same language. We were all hunters…and the whole thing could be worked out, understood, and agreed to without using anything but a forefinger to signal and a hand to caution” (p. 251).

At the same time, this book must be read in its historical context, as public attitudes towards big-game hunting have changed drastically since 1935. Nowadays, modern readers may view passages like this one, where Hemingway hunts a Cape buffalo with a double-barreled .470, a heavy-calibre gun with which he is not entirely comfortable, with a decidedly post-1935 perspective. In Hemingway’s world, in 1935, what follows is a lengthy discussion among Hemingway and the rest of the hunting party regarding the relative merits of the Springfield and the .470 as hunting weapons, along with speculations about the possibility that the buffalo may have been gut-shot. In our time, however, when most people on contemporary safaris shoot the Big Five (Cape buffalo, elephant, leopard, lion, rhinoceros) only with cameras, many readers may focus more on the animal’s suffering and less on the hunters’ adventures. After all, we live in a world where a Minneapolis-area dentist became, for a time, one of the most hated people on Earth when he killed “Cecil the Lion,” a particularly well-known and beloved lion, near a Zimbabwean national park in 2015. Readers who are staunch anti-hunting humanitarians may wish to avoid this book.

In fairness to Hemingway, however, it must be acknowledged that Green Hills of Africa does contain a passage in which he speculates on the pain that hunting causes to the animal involved and relates it to his own suffering – a time when he was in the hospital with a broken and infected arm: “Alone with the pain in the night in the fifth week of not sleeping I thought suddenly how a bull elk must feel if you break a shoulder and he gets away and in that night I lay and felt it all, the whole thing as it would happen from the shock of the bullet to the end of the business and, being a little out of my head, thought perhaps what I was going through was a punishment for all hunters. Then, getting well, decided if it was a punishment I had paid it and at least I knew what I was doing. I did nothing that had not been done to me. I had been shot and I had been crippled and gotten away. I expected, always, to be killed by one thing or another and I, truly, did not mind that any more. Since I still loved to hunt I resolved that I would only shoot as long as I could kill cleanly and as soon as I lost that ability I would stop.” (p. 148)

It may not be sufficient to appease, say, the national director of PETA; but at least Hemingway is considering the ethics of the hunting he so loves.

Green Hills of Africa offers a powerful glimpse into an earlier time and place. In today’s world, when so much of Africa’s magnificent wildlife is on the verge of extinction – the West African black rhinoceros (Diceros bicornis longpipes), for example, was declared extinct by the International Union for Conservation of Nature (IUCN) in October 2016, just seven months ago – it expresses an attitude towards big-game hunting that is no longer sustainable in our era. But it remains a poetically written and powerful book that conveys the grace and power with which Ernest Hemingway wrote about whatever captured his interest.

Interspersed amongst Hemingway’s innumerable and often dull accounts of tracking and shooting wild game, his rude and disrespectful commentary on native guides and the local inhabitants, whiskey-soaked nights around the campfire while being waited on hand and foot, and the defleshing of trophy heads, come some touching personal insights, tender moments, and pure writing craft.

His descriptions of the African landscape are vivid and evocative, painting a picture of a vast and beautiful continent. The way he captures the emotions and experiences of the people he meets along the way is also quite remarkable. However, his attitude towards the native population is deeply troubling and reflects the colonial mindset of the time.

Despite these flaws, I have to admit that there are some truly beautiful passages in the book. Hemingway’s writing is spare and powerful, and he has a gift for getting to the heart of a matter. I doubt I’ll ever wish to read it again, but I’m glad I read it once. It has given me a better understanding of Hemingway as a writer and as a person, and has made me think more deeply about the complex issues surrounding colonialism and its legacy.

The text seems to be a rather lackluster and monotonous piece, as it solely focuses on the topic of hunting throughout. It can be a bit of a dull experience for the reader who may be seeking more variety and depth.

Nevertheless, one cannot overlook the fact that Hemingway is an exceptionally talented writer. His unique writing style has the power to transform even the most uninteresting subject matter into something captivating.

With his masterful use of language, vivid descriptions, and简洁的 prose, Hemingway manages to compensate for the inherent shortcomings of the text. He draws the reader in and makes them engage with the story, despite its one-sided nature.

Overall, while the content may not be the most exciting, Hemingway's writing prowess elevates the piece and makes it worth reading for those who appreciate great literature.

One of the worst books I’ve ever read is this one. It has truly aged tremendously poorly.

There are copious descriptions of shooting animals, vividly detailing the way their bodies fall to the ground. What's more, there are insufferably long accounts of how people laughed at the shooting of each different animal, which is both disturbing and unappealing.

Moreover, there are a lot of pointless conversations that are extremely difficult to follow. They seem to go nowhere and add little to the overall narrative.

To be honest, I'm truly glad that I didn't waste more time with this book. It simply failed to engage me and left me with a sense of disappointment and dissatisfaction.

I would not recommend this book to anyone, as it offers little in terms of entertainment, value, or meaningful content.

Some truly interesting conversations are hidden away among the lengthy pages of egotistical poaching.

It's rather astonishing how within the self-centered and often illegal act of poaching, there are exchanges that can pique one's curiosity.

These conversations might involve discussions about the techniques used, the value of the hunted animals, or even the justifications (however flimsy) that the poachers come up with.

While the act of poaching is condemnable, exploring these hidden conversations can give us a better understanding of the mindsets and motives of those involved.

It also serves as a reminder of the importance of combating poaching and protecting our precious wildlife.

By shining a light on these conversations, perhaps we can find new ways to address this pressing issue and ensure the survival of our natural world.

This is completely okay.

It means that the situation or thing being referred to is acceptable or satisfactory.

There is no major issue or problem with it.

It could refer to a decision, an action, a result, or any other aspect that meets the expected standards or requirements.

When someone says "This is completely okay," they are indicating that they have no objections or concerns and are content with the way things are.

It gives a sense of approval or agreement.

However, the meaning of "okay" can vary depending on the context and the tone of the speaker.

It might also imply that while it is not perfect, it is still good enough for the present situation.

Overall, "This is completely okay" is a simple and straightforward way to express that something is acceptable.

I do have positive things to say about this book but they are so tragically overshadowed by the negative.

Frankly, I found this book boring. Perhaps I'm not the target audience but Hemingway made an East African hunting safari in 1935 seem unappealing. The book summary is rather simple. Hemingway goes up a hill, looks for kudu, shoots something, his Africans skin it, and he returns to camp and drinks whiskey. This sequence is repeated about 35 times. (Ok, sometimes the beast he kills is bigger and sometimes smaller, and sometimes it takes him three shots to kill it but sometimes just one. So yes, there is a bit of variation.)

However, where are the passages on human nature? Where is the commentary on colonialism? Did Hemingway really take his white privilege/supremacy for granted, or did he omit this interesting and crucial element from the book on purpose? This book is a tragedy, even more so because it comes from the man who had an absolute masterpiece in For Whom the Bell Tolls. It's truly disappointing to see such a talented author produce a work that seems to lack depth and meaningful exploration. One can't help but wonder what could have been if Hemingway had delved deeper into the complex themes that were surely present during that era of East African hunting safaris.

Truthfully, I don't really know precisely what it is that I have such a profound love for when it comes to Papa Hemingway. But there's this undeniable force that pulls me towards his words. It's an attraction that I can't resist, no matter how hard I might try.

Green Hills of Africa chronicles his 1933 big game hunting excursion with his wife and friends. They engage in the hunt, take rests under the shade of a tree, gather around a campfire at night to drink, and then repeat the cycle in the morning. There were numerous occasions where I had the distinct thought that this is essentially a non-fiction rendition of The Sun Also Rises, a book that I hold dear and have read several times.

To be honest, there isn't a whole lot of plot in this work. But then again, welcome to the world of Hemingway. His novels have never been reliant on the story alone to keep the reader turning the pages. This aspect might turn some people away, but for me, it makes his writing all the more impressive. The fact that he can convince me to keep reading, even without a complex and convoluted plot, is a testament to his literary prowess.

This book reads just like any of his fictional works do: it feels like a letter from an old friend. The prose is not overly ornate or artful, but it is thoughtful, real, and deeply meaningful nonetheless. Scattered throughout the hunting tales are Hemingway's insights on writing and literature, on the concept of "pursuit as happiness," and on the invigorating yet sometimes infuriating nature of competition.

In fact, those sections about writing and literature were perhaps the most fascinating. The group engages in discussions about why Hemingway writes. He states, "I have a good life but I must write because if I do not write a certain amount I do not enjoy the rest of my life." They also explore the rewards of writing. When asked, "Do you think your writing is worth doing—as an end in itself?" Hemingway replies, "Oh, yes." And when further probed with "You are sure?" he responds with "Very sure."

Hemingway also shares his thoughts on the cornerstone of American literature, stating, "All modern American literature comes from one book by Mark Twain called Huckleberry Finn.... it’s the best book we’ve had. All American writing comes from that. There was nothing before. There has been nothing as good since."

Of course, there are plenty of hunting scenes as well. While it can sometimes be a bit squeamish for modern sensibilities, his ethic towards hunting is, perhaps surprisingly, well-thought-out. He resolves, "I would only shoot as long as I could kill cleanly and as soon as I lost that ability I would stop." He laments the poor "gut shots" that leave an animal suffering.

Overall, I really enjoyed Green Hills of Africa. It is every bit as worthy of reading as anything else that Hemingway penned. Although he complains about the bugs, the wet heat, and the sting of failure, he also finds satisfaction in those things and manages to make them appealing enough that I even find myself yearning for those same hard-earned and ultimately fulfilling experiences.

In 1933, Ernest Hemingway and his wife Pauline traveled to the African continent and embarked on a magnificent ten-week safari. The material from this experience served as inspiration for, among other works, this "The Green Hills of Africa".

For many of us, this reading will be the closest we can get to living the environment of a hunt.

The majority of the area covered during the safari, including the mountains, steep hills, valleys, and savannas, belongs to Lake Manyara in Tanzania and its surroundings. The great wealth of the book lies in the way the safari was described. It is a summary of the beauty of East Africa in its pure state, with its sounds, colors, and life.

Hemingway leads us, along with his guides, some family members, and friends, on several hunts. We follow the pursuits of herds of kudus, black antelopes, elephants, lions, all properly framed in their environment and tracked with the respective techniques.

For many of us (perhaps the majority), hunting will not be the hobby of choice.

The entire book relates the experience lived during the ten weeks of the safari, with the excesses and privations of that activity. It has memorable moments, beautiful descriptions, moments when we hold our breath to "get the best shot", but, for the most part, following the trail of a "male kudu" for five pages or discussing the desire to hunt a large "black antelope" because, according to the permit they have, they still have the right to hunt two more, will not be a subject that makes us turn the pages with eagerness or follow the reading without some suffering.

Ultimately, Hemingway brilliantly guides us through a hobby that made sense at the time and that takes us (and well!), to a time that we hope no longer exists.

Anyway, I fully assume and understand that this book is a classic, especially for hunters and enthusiasts (whether of hunting or Africa). However, for readers who occasionally stumble upon the theme, despite the good moments read, they will hardly find in this book anything more than the excellent writing of Ernest Hemingway, some tension from the "cat and mouse" game, and the wonderful African fauna and flora.

"Now there was no road - just a goat path - but we were reaching the edge of the plain. Then the plain was behind us and in front of us were big trees and we entered the most beautiful region I saw in Africa. The grass was green and even, short like a watered meadow that was just starting to grow, the trees were big, with high and old branches, no vegetation below. (...) I don't remember lying down or getting up, but only being by the fire in the penumbra, before dawn, with a cup of hot tea in my hand and my breakfast on the spit, no longer looking so appetizing covered in ashes. (...) We stayed in the shade of the trees and sent Wanderoboo-Masai down to the valley to look for tracks. He came back saying there were no tracks in the valley below us or to the west and so we knew they had gone grazing in the valley above. Now the problem was to use the terrain to discover them and get within range without being seen."

Nota: 3.0/5.0

The first thing that caught my attention was the foreword. It was quite unique compared to the typical introductions of fiction books. Instead of denying any resemblance to real people or events, it stated that none of the characters or incidents in the book was imaginary. This alone was very interesting and gave the impression of an antithesis to the norm.

The book begins in the style of a fiction narrative, with dialogue that is typically Hemingway. This new style of an autobiographical account told in fictional prose was fascinating to me. The selective nature of having a theme (game hunting) and a setting (East Africa within a one-year time span) based on real-life experiences made the story both entertaining and realistic.

However, what really made me think was Hemingway's analysis of writing. He believes that writers should write as long as they can, and that the lack of money can force them to rush through deadlines, which he considers a perversion of life. This made me realize the challenges that writers face in making a living.

The chosen passages from early in the book also provided valuable insights into Hemingway's views on American literature. He discussed the fall of American writers, attributing it to economic factors and hurried work. These exchanges, along with others not quoted, revealed a lot about his thoughts on the literature of his time.

In conclusion, Green Hills of Africa is a unique non-fiction book that combines a personal narrative with Hemingway's views on writing and literature. It makes me wonder why he chose to include these exchanges and what his motives were for sharing his personal viewpoints in such an unexpected context.

A book that will charm the lovers of the great African landscapes and its inhabitants, as well as hunters.

This remarkable book offers a captivating exploration of the vast and diverse African continent. It delves into the breathtaking beauty of its landscapes, from the sprawling savannahs teeming with wildlife to the majestic mountains that stand tall and proud.

The author has a keen eye for detail, painting vivid pictures of the African people and their rich cultures. Readers will be introduced to the unique traditions, customs, and way of life of the various tribes and ethnic groups that call Africa home.

For hunters, the book provides valuable insights into the art and science of hunting in Africa. It offers tips and strategies on how to track and hunt different species, as well as information on the legal and ethical aspects of hunting.

Whether you are a nature lover, a cultural enthusiast, or a hunter, this book is sure to captivate and inspire you. It is a must-read for anyone who wants to experience the magic and wonder of Africa.