Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.
Interpretation
Focus on the small and meaningful rather than the grand and overwhelming.
In this quote, Hemingway encourages us to appreciate the beauty and significance of smaller, more intimate works of art instead of being dazzled by grandiose creations. He implies that skillful artists can express profound ideas not just through large canvases, but also through smaller, more personal pieces that convey depth and emotion.
In practice
This quote could be used in an art class to encourage students to appreciate smaller, detailed works.
He no longer dreamed of storms, nor of women, nor of great occurrences, nor of great fish, nor fights, nor contests of strength, nor of his wife. He only dreamed of places now and the lions on the beach. They played like young cats in the dusk and he loved them as he loved the boy. He never dreamed about the boy. He simply woke, looked out the open door at the moon and unrolled his trousers and put them on.
How did you go bankrupt?" Two ways. Gradually, then suddenly.
When you have shot one bird flying you have shot all birds flying. They are all different and they fly in different ways but the sensation is the same and the last one is as good as the first.
There is never any ending to Paris and the memory of each person who has lived in it differs from that of any other. We always returned to it no matter who we were or how it was changed or with what difficulties, or ease, it could be reached. Paris was always worth it and you received return for whatever you brought to it. But this is how Paris was in the early days when we were very poor and very happy.
Wine is the most civilized thing in the world.
There is no rule on how to write. Sometimes it comes easily and perfectly; sometimes it's like drilling rock and then blasting it out with charges.
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
I don't live for the accolades. I'm more so about the music. Making it, and putting it out. Those are the two best feelings.
I'm coming from the notion that acting is an art. It is not a business. It is about building characters, not about selling personalities.
The word war itself has a kind of glazing abstraction to it that conjures up bombs and bullets and so on, whereas my goal is to try to, so much as I can, capture the heart and the stomach and the back of the throat of readers who can lie in bed at night and participate in a story.
The Florida in my novels is not as seedy as the real Florida. It's hard to stay ahead of the curve. Every time I write a scene that I think is the sickest thing I have ever dreamed up, it is surpassed by something that happens in real life.
There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk.
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