• I have not yet found evidence that The Spanish Earth was screened at the Spanish Pavilion during the Paris Exposition (World's Fair) in 1937. It is not mentioned in the Joris Ivens archives; in Miriam Basilio's Visual Propaganda, Exhibitions, and the Spanish Civil War (Routledge, 2013); in Jordana Mendelson's Documenting Spain's discussion of Luis Buñuel's role in selecting the films for the Pavilion (Penn State 2005, p.162); in Catherine Freedberg's two-volume The Spanish Pavilion at the Paris World's Fair of 1937 (Garland 1986); or in the Centro de Arte Reina Sofia's book based on its fiftieth anniversary exhibit about the Pavilion: Pabellón español: Exposición Internacional de Paris 1937 (1987), including in the book's section on the civil war and in Román Gubern's essay, "Exhibiciones Cinematográficas en el Pabellón" (pp.174-180). Freedberg quotes a contemporary L'Humanité article that lists ten films showing at the Pavilion (Freedberg v.1, p.448; L'Humanité, June 15, 1937, p.7), and the Reina Sofia book quotes a contemporary program that provides the same titles plus one, yet also says that these are among the approximately forty films to be shown ("aproximado de 40"; p.152). The sheer number of films increases the odds, yet it is striking that The Spanish Earth is nowhere mentioned. 
  • Claims that Luis Buñuel played a significant role in shaping and editing The Spanish Earth I find dubious (e.g., Gubern and Hammond, Luis Buñuel: The Red Years, 1929-1939, U. Wisconsin P. 2012, p.273). They are based upon a January 1937 agreement letter that Joris Ivens would give Bunuel access to the raw footage in exchange for the necessary permission to travel to and film in wartime Spain. But other than this agreement, no proof positive that Buñuel actually did anything to the film has turned up. He may have seen some of the footage in February 1937; but actual filming continued for over two months, and Buñuel was busily working on his own film. Ivens and company assembled the film in New York City that summer, far from Buñuel's hand. One would also expect that he would have selected a film he heavily influenced and endorsed for the Spanish Pavilion (see bullet above). 
  • To chapter seven's claim that a note of suicide can be heard in A Farewell to Arms, I'd offer this from Edmund Wilson: "A Farewell to Arms, as the author once said, is a Romeo and Juliet" (The Wound and the Bow, in Library of America's Edmund Wilson: Literary Essays and Reviews of the 30s and 40s, p.423). 
  • Hemingway "quotes" Evan Shipman as recalling the disappearance of Frank Vosper aboard the Paris in the 2009 restored edition of A Moveable Feast (p.224). Thanks to Robert Trogdon for discovering an early entertaining article about the case of the missing playwright: "Scotland Yard Couldn't Solve This!" by Bushnell Dimond, Albuquerque Journal (16 May 1937).


  • p.47: "On 15 November [1938], a parade in Barcelona bade farewell to the international volunteers....Hemingway and Gellhorn watched." The farewell parade actually occurred on 28 October. And, contra my book and Moorehead's biography of Gellhorn, the couple probably wasn't there.
  • p83: "an aerial bombardment of the nonmilitarized village of Morata de Tajuna." Morata was anything but nonmilitarized! It was the operations hub for the Republican forces (International Bridages) for the Jarama campaign. See "The Spanish Earth and the Non-nonfiction War Film" (Hemingway Review, fall 2014).
  • p.25: "From the fourteenth to the twenty-first of April, Hemingway, Ivens, Ferno, and Dos Passos filmed in Fuenteduena..." Some Ivens experts strongly contend that Hemingway never went to the village. I'd love to find proof positive that Hemingway visited during filming. For my own rationale for suspecting he went, see "The Spanish Earth and the Non-nonfiction War Film" (Hemingway Review, fall 2014)..