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| | The New Yorker: PRINTABLES (Site not responding. Last check: 2007-10-20) |
 | | The occasion was the Spanish Civil War, already in its ninth month, but the regular shelling of the Hotel Florida and other privations of the Fascist siege didn’t prevent Ernest Hemingway, John Dos Passos, Josephine Herbst, and Hemingway’s latest distraction from the thought of suicide, Martha Gellhorn, from living well. |
 | | The Spanish critic Arturo Barea, himself a target of the secret police, wrote after the novel’s publication, in 1940, “I find myself awkwardly alone in the conviction that, as a novel about Spaniards and their war, it is unreal and, in the last analysis, deeply untruthful.” |
 | | The failure of the democracies to defend the Spanish Republic convinced Hitler and Mussolini that Fascist takeovers elsewhere in Europe would go unchecked; Soviet interference was inevitable given the weakness of the Republic and the maneuverings of Germany and Italy. |
| www.newyorker.com /printables/critics/051031crbo_books (3143 words) |
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