Suzanne observes that; for decades, Hemingway scholars have used the term remate to describe the uniqueness in Hemingway's approach to autobiography and memoir. She also notes that Mary Hemingway's definition and use of the word remate is wrong. This wrong definition necessitates her to argue that reconsidering how we define and use the term remate would change our understanding about A Moveable Feast. She does manage to convince us through her well-dissected arguments, why Mary's definition and use of the term remate as well as that of other scholars is wrong, and that reconsidering the definition of the word remate would change our understanding about A Moveable Feast.
Suzanne Del Gizzo begins her review by tracing how Hemingway scholars used the term to describe Hemingway's distinctive approach to autobiography and memoir. From her research, she finds out that Mary Hemingway first uses the term in The New York Times Book Review where she discusses her husband's memoir, A Moveable Feast (Del Gizzo 121). According to Mary, her husband idiomatically used the word remate to mean two-wall shot in jai alai, which is "by reflection." This definition prompts Ernest in his discussion with Mary to change the genre from an" autobiography by remate" to the "biography by remate”. Suzanne disputes this subtle shift in genre and supports what Carlos Baker writes in Hemingway: The Writer as Artist (1972) where he identifies this change in the genre as a mistake by writing in a footnote that "Hemingway was trying to do autobiography rather than a biography in A Moveable Feast.” She also notes that most critics have followed Baker’s definition since that time.
Suzanne then shifts to her main discussion, which is, Mary’s use of the word remate. In the discussion, Suzanne tries to track a potential misunderstanding of Hemingway’s notion of autobiography in A Moveable Feast that extends from Mary’s statement that remate means “by reflection.” Suzanne begins by looking at the Spanish definition of the word remate and its translation into English as “to complete”. Del Gizzo then looks at the definition of the word remate from a bullfighting point of view which means, "To finish" conclusively and "to end" entirely (Del Gizzo 122). She defines the term remate from this perspective because of Hemmingway’s love of bullfighting.
Del Gizzo emphasizes that she is not trying to diminish the excellent work done by Hemingway scholars and critics who have adopted Mary’s definition of the term remate. Suzanne then continues to trace the first use of the word remate based on Mary’s definition to Philip Young in his Ernest Hemingway: A Reconsideration (1966). Young maintains that by using the term remate to mean "by reflection," allows the reader to see how there is a persistent sense of Hemingway's presence even when the focus is on someone else. Suzanne then argues that Carlos Baker was technically wrong to define the term remate to mean "a double-walled rebound."Suzanne then proceeds to look at how Bakers tries to correct his misunderstanding of the word remate in his 1972 book, Hemingway: The Writer as Artist.
Through the editorial, Baker had expressed a reservation for Mary’s definition of the terminology. At first, Baker opined that Mary has misremembered as the Hemmingway might have used the term rebote meaning rebound. In spite of Baker’s reservations regarding Mary’s definition and subsequent usage of the terminology, the meaning of remate in the Hemmingway has persisted with minimal changes. Suzanne objectively states illustrates an underlying inconsistency regarding Mary’s exchange with Ernest concerning A Moveable Feast (Del Gizzo 123). Like Baker, Suzanne suggests that Mary might have misremembered the word or derived the wrong translation of the term. Through Suzanne descriptive journal, it is evident that the word remate does not mean ‘a finishing pass in bullfighting’ or a kill shot in jai alai neither does it signify rebound or reflection. Without a doubt, the Hemmingway was well aware of the word’s meaning, usage and application. .
Subsequently, Del Gizzoavails an overview into how scholars and critics have explored the term remate in recent years. She begins with Rosie Marie Burwell, who defines remate as a writing technique where Hemingway’s uses “twinned” characters. She also identifies other scholars who have used the term remate in a similar way. Suzanne also proceeds to argue that it is possible that either Hemingway said rebote and Mary misremembered the word or that Mary simply got the translation wrong given that her Spanish was not strong. The author also argues that other scholars also not correctly define the term remate. She then concludes by claiming that reconsidering the definition of the word remate would change our understanding about A Moveable Feast. Suzanne’s article is useful because it helps the reader understand how the term remate has progressed in its definition since its inception by Mary Hemingway to mean “by reflection.” Suzanne starts by explaining how Mary’s definition causes a shift in genre from an "autobiography by remate” to “biography by remate".
Del Gizzo author then proceeds to explain why this change is wrong and supports what Bakers argues that Hemingway was trying to do an autobiography rather than a biography in A Moveable Feast. She then proceeds to analyse Mary's use of the term remate, possible definitions of the word remate, and how various scholars use and defined the term remate (Del Gizzo 124). In the end, Suzanne in her article disagrees with Mary's definition, and use of the word remates, Suzanne also does not agree with definitions of the term remate by other scholars. She concludes by arguing that reconsidering the definition of the term remate would change our understanding about A Moveable Feast. Suzanne infers that the ideology of ‘A Movable Feast’ as a kill shot made intuitive sense. Since Ernest had the idea to write, seeking ‘to get even’ the remate symbolizes the kill shot of a finishing act that would avail an artistic as well as emotional climax.
In conclusion, Suzanne Del Gizzo helps take a deeper look at Mary's use of the word remate as well as that of other scholars. Her article also helps us understand why reconsidering the term remate would change our understanding about A Moveable Feast. In the end, she does manage to convince the reader why Mary's definition and use of the word remate as well as that of other scholars is wrong. Through a well-documented article that acknowledges the vast input of other scholars, Del Gizzo raises significant questions into the term’s definition as well as usage. While Del Gizzo contends the word’s definition, she notes that reconsidering the definition of the term remate would change the literary understanding about A Moveable Feast. Through the article Suzanne significantly contributes to the modern understanding of the term remate in the different ways. First, remate does not mean a "kill shot," or "rebound" or "reflection." Second, the most probable and correct meaning of the term remate is “to finish: to carry out some act that will present either an emotional or an artistic climax.” In essence, Del Gizzo not only denounces past definition of the term but also avails her understanding of remate in line with the Hemmingway usage through past literary works.
Works Cited
Del Gizzo, Suzanne. "Redefining remate Hemingway's professed approach to writing A Moveable Feast." The Hemingway Review 28.2 (2009): 121-126.
