<p><span class="deck">An eyewitness recreates a wonderful, wacky day in August, 1944, when Hemingway, a handful of other Americans, and a s</span>eñorita <span class="deck">named Elena helped rekindle the City of Light. Champagne ran in rivers, and the squeals inside the tanks were not from grit in the bogie wheels.</span></p>
<p><span style="background:white">To Owen Wister, the unlikely inventor of the cowboy legend, the trail rider was a survivor from the Middle Ages – “the last cavalier,” savior of the Anglo-Saxon race</span><span class="deck"> </span></p>
<p><span class="deck"> <span class="typestyle"> The work of Ernest Hemingway and F. Scott Fitzgerald virtually defined what it meant to be American in the first half of this century</span> </span></p>
<p><span class="deck">Many Americans, Hemingway among them, thought him a solemn prig. But Emerson’s biographer discovers a man who found strength and music in the language of the streets.</span></p>
<p><span class="deck"><lead_in> ALBERT MURRAY SEES AMERICAN CULTURE AS AN</lead_in> incandescent fusion of European, Yankee, frontier, and black. And he sees what he calls the “blues idiom” as the highest expression of that culture. </span></p>
